Modern Guilt

December 16, 2008 | Format: MP3

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Product Details

  • Original Release Date: December 16, 2008
  • Release Date: December 16, 2008
  • Label: DGC/Interscope
  • Copyright: (C) 2008 Beck Hansen
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 33:30
  • Genres:
  • ASIN: B001NBK6GI
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (124 customer reviews)
  • Amazon Best Sellers Rank: #8,553 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

Cheers to Modern Guilt!
Jori Mc.
His new album is ethereal, uplifting, contemplative, witty and crafted with the exquisiteness only an artist of Beck's caliber could create.
Ashley B. Machnick
I'm a huge Beck fan and have all of his albums.
T. Garrad

Most Helpful Customer Reviews

68 of 73 people found the following review helpful By Brandon J. Smith VINE VOICE on July 8, 2008
Format: Audio CD
Beck has done something that very, very few artists have ever been able to do: He's transitioned from young phenom genius innovator to established professional, without sacrificing artistically or compromising his craft. In my opinion, Beck has two masterpieces. First was Odelay. It built off the out-of-nowhere, wonderful Mellow Gold to hone his skills into something really amazing. Second was Sea Change. This was a high-water mark in Beck's brilliance in melding lyrics, melody, and soundscape. I never thought Beck could top Mellow Gold and Odelay, but Sea Change became my favorite Beck album and remains so to this day.

Since then, he's released some very interesting albums. The Information, in particular, has grown on me, revealing more and more as time goes on. It's a great album to revisit, sprawling as it may be.

Summer of 2008 sees the release of Modern Guilt, and, like Guero and The Information, it's got all you'd expect from Beck: cool beats, interesting lyrics, marble-mouthed singing, wide variations in rhythm, and immaculate production. Perhaps I could criticize it for not being as mind-blowing as Odelay and Sea Change, or for not being as totally zany as Midnight Vultures. But would it not be better to hear it for what it is and appreciate the way Beck has created his most focused album in years?

I love the way this simultaneously sounds like a Beck album, yet resists comparison with any one of his discs. It fits into Beck's catalog as another strong entry, another variation on the themes he's been exploring for years. Though it does not defy expectations, it certainly lives up to them.
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34 of 36 people found the following review helpful By DaBrandoChipper on July 8, 2008
Format: Audio CD
2008 has been a prolific year for releases from major artists (REM, Counting Crows, The Black Crowes, Colplay, Alanis Morrisette, Lil Wayne, etc etc). Most of these releases have been worthy of praise, but I have found a few flaws in all of them. Call me an idiot, but I cant find any flaws in Beck's new release, Modern Guilt, although I am sure some reviewers are itching to point some flaws out to me.

As Beck gets closer to 40, his songwriting has matured. He seems to use fewer samples than he used to. He still wears his influences on his sleeve, but his personality is all over the music. His collaboration with Danger Mouse worked well. The "beats" are paced well enough to make the entire album easy to enjoy in one listen, but you will want to listen again as soon as you're done.

Becks lyrics have always been quirky and obtuse, and this album is no exception. But this time the imagery seems thicker and more foreboding. The bodies drowning in the moody and ethereal "Chemtrails" are certainly morose and some may think Beck a bit paranoid, but he may be justified. The crunchy, guitar driven "Profanity Prayers" could be the highlight of the album and is my personal favorite. "Who's gonna answer profanity prayers" is quite a slap in the face of modern man. Our calls to a higher power have become nothing more than four letter words. Beck addresses a higher power at several points and he certainly makes more sense than the hair sprayed con men on TV.

Beck has proven here that middle age doesnt dull creativity. The songs Ive mentioned above along with the bass heavy "Orphans", "Gamma Ray" and "Youthless" easily rank along with some his best songs. (I know this sounds weird...but I can picture Austin Powers doing his "shag dance" to "Gamma Ray").
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19 of 21 people found the following review helpful By Dustin Perry on August 15, 2008
Format: Audio CD
Musical chameleon Beck released his latest album, "Modern Guilt," on his 38th birthday and the songs found therein display an artist far removed from the 23-year-old Los Angeles slacker who was telling us he was 'un perdedor' on "Mellow Gold," his 1994 breakthrough release. This disc finds Mr. Hansen truly exploring the heavy themes of death and personal reflection for the first time, and the results are nothing short of stellar. Middle age, it seems, has its benefits.

Beck tried this feat, the "serious record," two years ago on 2006's "The Information," but the message was pretty much lost to critics and fans, who thought the filtered-through-a-ColecoVision beats and lyrics about cellular phones were more post-apocalyptic and self-referential than anything else. He gets straight to the point this time around, with 10 concise tracks, a 34-minute runtime and not an ounce of leftover ideas to clutter the proceedings.

To the delight of fans the world over, Beck enlisted Danger Mouse (Brian Burton), the reigning critical darling of the music-production world, to man the boards on "Modern Guilt." They make an excellent team, what with their shared taste for `60s psychedelic rock, twitchy percussion and looped string samples -- not to mention their impeccable ear for catchy riffs. The surf-rock bass line that serves as the backbone for "Gamma Ray" makes it the closest approximation to a pop song Beck has written in years.

Perhaps tired of hearing that his last two records were trying too hard to be "Odelay 2.0," Beck has dialed back his use of left-field audio samples and bits of obscure and forgotten songs from decades past, choosing instead to interpret those influences and recreate them as fairly straightforward rock tunes.
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