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 enlarge | Artist: Beck
Label: XL Recordings
Category: Music
List Price: £13.99
Buy New: £7.52
You Save: £6.47 (46%)
New (35) Used (4) from £6.40
Avg. Customer Rating:  14 reviews
Sales Rank: 1268
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 4.7 x 0.4
UPC: 634904036928
EAN: 0634904036928
ASIN: B001ASVALY
Release Date: July 7, 2008
Availability: Usually dispatched within 1-2 business days
Condition: IN STOCK. USUALLY DISPATCHED SAME OR NEXT WORKING DAY (MON - FRI). PLEASE ALLOW 3 - 6 DAYS FOR DELIVERY. BRAND NEW AND FULLY GUARANTEED BY A WELL ESTABLISHED TRUSTED LTD COMPANY. EMAIL DISPATCH CONFIRMATIONS SENT. TRACK PROGRESS 24/7
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| Customer Reviews:
Modern guilt of past crimes July 21, 2008
2 out of 3 found this review helpful
I like any hardcore fan of Beck from the start, stopped listening to him when the atrocity that was Midnight Vultures came out.
After that I pretty much resinged his career to the bin as I did with said Lp.
I gave up on him as he lost what he once has and had never actually came close to Mellow Gold in music terms since. This Lp though is a nice little shot in the arm. Every track is great and pulls on some matured posturing albeit with a sturdy nod towards some of his older work ethics.
There is not a single bad track on this Lp and the beats on it are great, unlike a former review claiming 8 out 10 were just wrong.
A big thumbs up. If Beck carries on releasing this kind of quality I'll defnitely start listening to him again.
 No Beck. No. July 17, 2008
1 out of 6 found this review helpful
The i-tunes exclusive single "Timebomb" was no masterpiece and seemed a bit too much like a mid life crisis attempt to rekindle the fun of "Sexx Laws" era Beck. At least it was fun.
Following that release, Beck has chosen to change tack and go for a more "introspective" Beck record. Sadly this is no "Sea Change" - his last brilliant record in my view. The teaming with Dangermouse is also a mystery...he hasn't worked his magic here and recent Gnarls Barkley material would suggest that he too has lost his muse.
"Chemtrails", the lead track, is reasonable but in comparison to his past glories it sounds like a C side, bot even a B side. This record saddens me greatly, and seems like such a waste of time. The fact that it is his last release for Geffen in the US strongly suggests contractual obligation, and nothing else. Avoid at all costs.
 What's the problem? July 15, 2008
1 out of 4 found this review helpful
It's 2008, it's summer. it's a new Beck album, just what more do you guys want?
 Very Good, But Whats It All About? July 14, 2008
1 out of 3 found this review helpful
Being Beck means being one of the ultimate modern cyphers. His lyrics are meaningless, rhyming piffle. His voice is a barely bothered exclamation. Musically, whilst Beck changes with the wind, ever moving forward to create new and interesting textures, ultimately, every Beck album reveals that whilst Beck moves between styles and sounds with great fluency, almost every Beck song sounds roughly the same.
Produced by Dangermouse, "Modern Guilt" is also, like REM's "Accelerate" a slight experience. It's over in 34 minutes, and even manages to omit the rather brilliant MP3-single "Timebombs". Though, I'm fairly sure that "Timebombs" isn't actually about "Timebombs", and Beck titles are mostly now like New Order songs, having very little to do with the songs themselves : I can't tell what any of these songs are about. Sure, the songs are memorable, but production wise they start to turn into one, long, 10 part song instead of songs having their own separate identity. Within the album itself, moods never move beyond a fairly stable emotional baseline, neither of highs nor lows : as if the album is a representation of a mood flattener like Prozac. "Chemtrails" is a great song, albeit one that is nearly neutered of personality. "Modern Guilt" is a good, not a great record, with no distinct personality of its own, and in this day and age, where thousands of records are released every year, good just isn't good enough. Why be good.. When you can be great?
Sea CHANGE July 13, 2008
4 out of 6 found this review helpful
A quick glance at his watch and Beck's decided that it's time for a change. Out goes the quirkiness, the carelessness and the charm that swam about in 'The Information' and less recently, 'Guero'. In comes Danger Mouse with his surgery gear in hand, and they've got a record to make.
'Modern Guilt' is not quite the sudden jolt in movement or a shock to the system some have been hyping up. Beck's still the name, Beck's still the nature. We don't have a change in tactics equivalent to PJ Harvey's white dress, doom and gloom movement of 'White Chalk' - with the help of John Parish. Although when ears first came across 'Chemtrails', sinking in heartbreak and reverb, it was more than on the cards. 'Gamma Ray' is classic Beck and classic Danger Mouse, a simple bass riff moulded into a complex pop song due to the work of surrounding musicians. Soothing backing vocals (a regular attendee in the record) appear for the first time and it's about then that we realise the extent of Beck's "transformation".
Pop is very much on the agenda - 'Soul Of A Man' and the sharp and cutting title-track are simplistic, edgy and with a very, very modern edge. Brain Burton, who was only initially brought in to collaborate on one song, has inspired material reminiscent of Gnarls Barkley at their finest. Clocking in at thirty and a bit minutes, it's a futile task in attempting not to remember the jerky 'Youthless' or the bass-heavy opener 'Orphans' first time round. The same can be said for closer 'Volcano' - the biggest shock to the system you're bound to hear on the record. Eight albums in, and Beck might have written his most beautiful song to date. Melody the key, melancholic backing vocals at the ready, "I'm tired of evil /And all the things/ That I don't know" quivers the sleepy-head. Proceedings suddenly become haunting - "I don't know if I'm sane / But there's a ghost in my heart" and 'Modern Guilt' ends on anything but an anti-climax.
Other moments aren't as instant, requiring time but not effort. Chunky drums (looped of course), take control in 'Walls' - possessing one of the catchiest chorus' in Beck's career thus far, all thanks to Burton's production, it has to be said. 'Replica' stands out as the most complex and dysfunctional effort, sitting comfortably and not requiring as much attention and care as the other tracks. There isn't a great deal of variation on 'Modern Guilt' but for a record so short, that'd be all too much.
Beck's still not the entertainer he used to be in the "good old days" of 'Odelay' and the like but he's settled into his new skin remarkably well. Thriving in the less obvious moments, the addition of Burton on board was essential, an ideal companion for a record so clear in direction. Hell, we'd give th
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