Darkness in an album is a quality one would expect from a release by emotive bands such as Pearl Jam and R.E.M. But listeners could not possibly have expected the woe-laden "Sea Change," the eighth release by perennial poppy Beck Hansen. Yet, it is in this unprecedented darkness in which Beck truly shines.
Beck's career has come a long way since he released his major-label debut "Mellow Gold" in 1994. This change can be seen through a comparison of titles of two of his lovesick, love-lost ballads: "Asshole" off 1994's "One Foot in the Grave" and "Guess I'm Doing Fine," the third cut on his latest album. As he sings on "Doing Fine," Beck realizes that "All the jewels in heaven/They don't look the same to me/I just wade the tides that turned/Till I learn to leave the past behind."
Beck certainly leaves the commercial phases (1996's "Odelay" and 1999's "Midnite Vultures") of his past behind on "Sea Change" as he embraces a more regimented formula of morose, reflective guitar ballads. As he sings in his rough, yet enchanting voice on "Side of the Road," there is "Someplace I'd like to go/To let all I've learned/Tell me what I know."
Lyrics and arrangement are the album's strong points; on these elements alone, "Sea Change" can easily be ranked as Beck's finest release to date.
I was simply taken aback by words from the pessimistic-yet-realistic "Already Dead," like "Days fade to black/In the light of what they lack/Nothing's measured by what it needs."
"Lonesome Tears" is one of the album's standouts as it incorporates ingenious lyrics with rock-solid musicality to place the listener in the center of Beck's cerebrum. As he wails, "How could this love/Ever turning/Never turn it's eye on me/How could this love/Ever changing/Never change the way I feel," one experiences Hansen's individual sense of wandering emptiness reinforced by loose guitar notes.
"Tears" showcases Beck's unique voice, which contains the harshness of Lou Reed and the sincerity of a Johnny Cash or Elvis Costello. Against the background of a cosmic synth line, Hansen's innocent words take on new power.
String arrangements by Beck's father, David Campbell, on "Paper Tiger" and "Lonesome Tears" give the tunes a feeling of grandiose importance. However, Beck manages to keep "Tiger" somewhat light-hearted with cookie-cutter lyrics: "One road to truth/One road back to civilization/But there's no road back to you."
The album truly excels in the fact that it is completely accessible to listeners of all ages and backgrounds. Beck addresses topics such as high school angst-ridden breakups as well as the struggle to find oneself in this oppressive world. Beck invokes Kerouac, as he sings, "Put your hands on the wheel/Let the golden age begin."
The album can serve many purposes: as a truthful reality check, as relaxing candle music, or simply as a good driving soundtrack.
"Sea Change" is far from perfect. Many of the songs sound disappointingly similar with their very dark lyrics, strong and cutting acoustic guitar chords and floating tonal relationships. "End of the Day," particularly sounds like "Lost Cause" and "Guess I'm Doing Fine." "End" operates on a mediocre level that is marred by trite lyrics.
To capture the essence and importance of this recording, one must examine the context in which "Sea Change" was released. In the wake of Sept. 11, the pop community was condemned as a frivolous, hedonistic gathering of no-talent imitations. Albums like "Change" show naysayers that traditionally pop-oriented artists, too, can produce a complex and interesting recording devoid of commercial hipness.
Beck Hansen, forever stuck with his boyish looks and ragged voice, seems to be the perfect character to buck the trend of pop in which he appeared to be so firmly entrenched. On "Sea Change," Beck leaves one past behind, embraces another and reaches new artistic heights in the process.
