Modern Guilt by Beck

Album: Modern Guilt
Artist: Beck
Runtime: 33:38
Producer: Beck and Danger Mouse

I wonder if anyone was really surprised by this collaboration, Beck and Danger Mouse. It was bound to happen. One would be hard pressed to find a DJ/Producer quite as prolific as the Mouse costume-wearing New Yorker and a singer/songwriter quite as welcoming to the Hip Hop ethos as Beck Hansen. Together these two artists have crafted one of the finest albums to be released this year, in what is arguably one of Beck's most diverse albums and also one of his most cohesive.

For each of the songs on Modern Guilt, Beck lends the vocals and guitar, Danger Mouse handles the beats (Read: drums), and a cast of other musicians provide the remaining instrumentation. In reality, this is a two man show. Chan Marshall (Cat Power) makes appearances on two tracks, but these performances are limited to back up harmony and, to be frank, I didn't even notice her on my first listen through "Orphans".

The album opens with the aforementioned "Orphans", which is a great introduction to the atmosphere of this album. The acoustic guitar drifts along whimsically with Danger Mouse's prominent drum programming which, rather than bringing a Hip Hop element to record, instead molds itself to the retro-rock feel of the songs. Beck's vocals float on top of the various layers of synthesizer propelled along by the unrelenting percussive current.

The next track ("Gamma Ray"), though, really picks up the pace, employing a throwback drum sequence and sparse, surf rock-influenced guitar over a machine gun bass. Beck's lyrics evoke a feeling of desolation, a continuous motif on Modern Guilt. This is the most "Pop" of the tracks offered on the album, but is anything but stale or watered down.

"Gamma Ray" moves into the first single on the album, "Chemtrails", which is a standout track. Beck mistily expresses feelings of drowning in a proverbial sea of people over Danger Mouse's best distorted Keith Moon impression. The drum programming on this track is beyond any reproach, not since Entroducing... do I think I've heard such lifelike drum sequencing.

The content of the album remains fairly consistent from here. Beck maintains his lyrical themes throughout most of the tracks, perhaps best ensconced in the title track's chorus where he ponders,

"Modern guilt/ I'm under lock and key/ Misapprehension/ is turning into convention/ Don't know what I've done, but I feel ashamed,"

over a bouncing background rhythm and a predictable, yet effective, string arrangement.

For his part, Danger Mouse explores numerous styles on this record. From his signature barrage of kicks and hi-hats ("Youthless") to his own take on the IDM genre ("Replica"), it's all here.

Modern Guilt's crowning achievement comes in the form of it's final track "Volcano," a plodding exploration of loneliness and directionlessness (Alibi Reviews tm) poignant enough to make Tom Waits bawl. The wandering guitar, hymnal backing vocals, despairing lead vocals, and unassuming drums combine to cap off an already impressive album with one of the most moving Beck tracks in recent memory.

Modern Guilt effectively captures the urban existentialist sentiments of this decade and does so while remaining well above political mudslinging and name calling. This is yet another true testament to the songwriting talent of Mr. Hansen and is a worthy addition to his growing collection of must have albums.

Arbitrary Alibi Rating: 4.5 out of 5 leaping Komondors