Key Tracks: “Colors” “Dreams”
Beck is a literal cornucopia musician – you never know what the next album is going to sound like. And while there’s plenty of other musicians that do the same, they rarely have such big hits as Beck, and rarely do it so alone. Let’s take his 2005 album “Guero” – there’s 11 other credited musicians, but Beck is credited on 20 instruments, and two of those other musicians are credited with spoken word bits and another is credited on “additional sounds.” This album was made with Greg Kurstin, who is credited on veery song along Beck, and almost no one else shows up. Beck has always straddled the line of total outcast – often improvising lyrics in the studio and blending combinations folk, rock, rap, pop, and electronic genres on a whim – and industry favorite, helping to define and cement alternative music more than almost any other artist. On “Colors,” his thirteenth album, he again takes a hard left-turn, this time embracing the pop spotlight he’s so often avoided.
This is Beck’s first album since 2014’s “Morning Phase,” which won a shocking Album of the Year Grammy (an award so much in Beyonce’s favor that Beck’s speech was barely above surprised mumbling, and featured a tongue-in-cheek Kanye interruption). “Morning Phase” was a soft and blissful record, mistaken for somber. It was a direct follow-up to 2002’s entirely acoustic “Sea Change,” with Beck marking the passage of time and the acceptance he has gained since the disastrous break-up that spawned that classic. But the album’s outlook is much brighter than the music seems. And it makes sense that while Beck was working on that record, he was also developing some of the tracks on this album, even though the albums couldn’t sound more different. The tracks on “Colors” are easily the poppiest thing he’s ever done, at least on a full-album scale. This is a straight pop album, and while it isn’t always effective, it is a lot of fun to hear Beck bounce back in an unexpected way.
“Colors” might be the closest thing to a genre album that Beck’s ever done. Even later albums like “The Information” had diversity amongst tracks. This album has big pop beats throughout and, at times, Beck’s return to the pseudo-rapping of his heyday. Radio pop is the one thing Beck really has left to conquer, so it makes sense that at this stage in his career he would attempt it. By this point, he has nothing left to lose and a solid legacy intact. The title track has a pan flute, “I’m So Free” has rapping, “Wow” has both. And every track on this album is inherently catchy and dancefloor-ready. Even at his weirdest, Beck has always mastered catchiness, but here it isn’t hidden behind slide guitar, or robotic noises, or sitar, or whatever else he had laying around.
The album isn’t without downtime, however. Even though it clocks in at 39 minutes, there’s some fat on the album’s bones. Songs like “No Distraction” and “Up All Night” suffer from bland lyrics and the vague catchiness that plague the entire generation of indie music right now, most of whom are imitating Beck in some way. Although Beck’s music hasn’t always been perfect, he’s never seemed like one who would become a victim of his own creation like he does on “Colors.” Also, a weird disappointment of the album is that the whole piece is centered on the song “Dreams,” a guitar odyssey with one of the most memorable bridge sections in any alternative song. But, the song was released a single over two years ago, and has already gone through the whole radio rise-and-fall process and drifted from many people’s radars (not mine admittedly, I love the track). To center the album around this song seems like a cash-out, like Beck admitting that in the two years since he hasn’t been able to craft up something as good.
Still, the album is a fun and accessible, if not forgettable listen. It stands along with “Sea Change” and “Morning Phase” as the most directly cohesive listens in the Beck discography, therefore also making them the outliers. He successfully hides his years throughout “Colors,” pulling off a batch of songs normally reserved for musicians who fell in love with “Loser” in middle school. It’s another new side of Beck: party Beck. And while I hope party Beck doesn’t stick around very long for fear of getting very tiresome, it is a welcome presence. It also makes me ravenous for whatever Beck will have up his sleeve for his next album. But for now, enjoy all the different shades of Beck’s “Colors.”
-By Andrew McNally