Though the common-held perception of David Bowie is one of a true pioneering visionary, an artist that started trends and styles, the truth is a little more calculated. What made Bowie great in the 70's and 80's was his perception and awareness; he was an artist who cottoned on to movements and genres just as they were about to blossom, assimilating their characteristics together in order to create something new from something existing. As Tyrannosaurus Rex became T-Rex and released their self-titled LP in 1970, it was Bowie who took that glam rock and distorted it with a progressive rock narrative to become Ziggy Stardust. As the names Can, Neu!, Kraftwerk started seeping into the British music press, so it was Bowie who went to Berlin to embrace their influence; he even took Iggy Pop, whose Stooges foresaw punk by nearly a decade, along for the ride.
The funny thing is this is the norm for artists in the 21st century; there's a whole book about it - Simon Reynolds' Retromania - that summarises new musical progression as musicians reaching back to the past to fit disparate old components together, something backed up by every comparison made to another artist in a music review. Bowie's skill in doing this was quite a singular one at his peak, and it's why his classic records have remained so retrospectively popular. By absorbing so much of each era he passed through, his music became the definitive sound of them, pulling together all strands from glam, to punk, disco, krautrock, to create this tapestry that all different musical tribes could stake a claim to as theirs. But back then there was always something new to latch onto; in 2013, if you take Retromania's argument as truth, the only movements Bowie could take from would be something already looking into the past - which has never been the The Thin White Duke's style. So when it comes to The Next Day, his first album in a decade, he's taken influence from someone who he's rarely tipped his cap to before - himself.
The most obviously self-referencing song on here you already know: 'Where Are We Now?' name drops heavily on Bowie's time in Berlin, with the narrator apparently coming to terms, aptly enough, with how his past has shaped his present. However, there are little codes and reminders all over the place. 'You Feel So Lonely You Could Die' - which, along with closing track 'Heat,' are the closest sonic cousins 'Where Are We Now?' has in their melancholic reflective state - cheekily slips in the drum beat to '5 More Years' in its coda. Elsewhere you have fourth track 'Love Is Lost,' a clear ancestor to Bowie's Berlin period, with its unsettling organ strains and electronic pulses cutting through an otherwise forthright rock chug, pulling it down to somewhere bleaker, darker. The Berlin trilogy is often heralded as his greatest work, and it's clear that the period in the late 70's that saw Low, "Heroes" and Lodger's release remains ingrained within their creator. Though nothing here goes anywhere near as weird as 'Warzawa' or 'Neukoln,' the eerie tension that held those three records together is returned to again and again, even if - on the likes of 'Valentine's Day,' it barely nudges it off course.
Continue reading: David Bowie - The Next Day Album Review
David Bowie has had conspiracy theorists going crazy
David Bowie’s agent says he’ll never tour again.
A University professor is spending a year living as David Bowie.
