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As with Odelay, Guero's instrumentation and sonic textures are always changing. Everything is here--from string sections, celeste and organ (courtesy of guest keyboardist Money Mark) through 12-string and slide guitars, bass from Jack White, a good dose of colourful samples, and programmed blips and bleeps that recall Midnite Vultures' best moments.
Beck is a true master of pastiche, but Guero isn't eclectic merely for the sake of it--instead, it's a constantly surprising, ever-revolving creation that looks at Beck's multiple talents through an entertaining kaleidoscope and which, backed by the Dust Brothers' formidable production, is damn groovy. In sum, Guero is what Beck's admirers have waited so long to hear: "Odelay 2". Where Beck will go from here is anyone's guess. --Jonathan Davies
Review If anything, this is a return to the swagger of Midnite Vultures and Odelay, but it's not a copy. Almost ten years on from Odelay, Guero has more assurance than its swaggering predecessors. The opener and current single, "E-Pro", sets out Beck's store pretty effectively: swagger, funk, breaks, and the first signs of the latin flavour which colours the whole album. 'Que Onda, Guero?' (Where you going, White Boy?) is a good question; the answer, it seems, is wherever he wants. Guero is quite a ride.
Beck hasn't forgotten Sea Change by any means; not the feel of it, nor the production approach. "Broken Drum", particularly, has echoes of the melancholy and careful, bare arrangement from Sea Change. But even at the point of closest approach there's been forward motion: distorted guitars and crunched percussion play off the backbone of piano and acoustic guitar.
In fact, the whole album is a move forward. Even at its most raucous ("Chain Reaction" gets pretty shouty), things are more restrained, while the production is more adventurous, with richer textures and arrangements. This is an album covering a fair amount of ground, taking in breaks and funk at one end, through infectious pop and out to the kind of noise that's somewhere on the path to post-rock.
Guero, then, is something of a coming together of Beck's various stylistic forays, making use of all the tricks he's picked up along the way. It's a good mix, and a grower. Ten years on, and Beck's in rude health and definitely on form. --Matt Patterson
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It's quite understated (minimalist production, vocals low in the mix), so it takes a few plays to get under your skin - but once the individual songs register, it just keeps getting better. There's a slow burning groove to many of the tracks - it would make a great party album (assuming your party goers are old enough to look beyond the top 10).
The lasting impression is of subtly catchy tracks driven along by a slow-cooked mix of bass riffs, hand claps and finger snaps, overlaid with low key but tuneful vocals.
Some of the tracks rock (E-Pro, Rental Car), some have a old-timer county twang (Farewell Ride, Emergency Exit), others are almost pure rythmn (Black Tambourine), and Broken Drum is just beautiful, but with the possible exception of the final bonus track Chain Reaction they all stand - indeed develop with - repeated plays.
Highly recommended.
PS inspired by reviews of other Beck albums, I've since picked up the highly rated Sea Change album. It's a great if very different album (haunting breakup songs rather than grooves - Broken Drum would slot right in), but it doesn't diminish Guero. Ignore the nay-sayers; there's room for more than one style in an artist's pantheon, and Beck is talented enough to deliver across genres in spades - Guero is ace.
These changes in style continue throughout the album, but they blend so well together because they often maintain a strong rhythm. Missing sees Beck singing more clearly than ever before and the strong bossa nova rhythm is maintained throughout Missing, making the sparse funkiness of Black Tambourine seem a natural follow up. The Spanish sounds continue with Earthquake Weather which also melds hip hop and pop and Money Mark on the Organ.
The terse Hell Yes is funky, but is much simpler than the layered tracks of Midnite Vultures. Christina Ricci's Japanese vocals add charm. The album becomes quite subtle for the next few tracks, but doesn't dip in quality- the epic Broken Drum, the countrified and danceable Scarecrow, the toe tapping Go It Alone and the death march of Farewell Ride. A car engine starts up beginning Rental Car. It starts out quite rocky and then leads to it's amazing, somewhat baroque yeah, yeah, yeah chorus with clavinet. As if it could get no better, you hear Petra Haden's quirky and cheerful vocals. The track stops quite abruptly for the reflective and prayer- like Emergency Exit. The following two bonus tracks, Send A Message to Her and Chain Reaction are pretty different covering 60's pop and folk hop to anthemic bonus noise. Try to get a listen of Clap Hands, the weird hip- hop bonus track for Japan and the Guero DVD.
Guero is an album to enjoy and get a little bit lost in, an album to play to other people or in the car because it's exciting and interesting. The artwork by Marcel Dzama is good too. It might not be a good comparison for Guero, but try to imagine a radio that has overnight been possessed by sharks, Los Angeles, Japan, cowboys, ghosts both sad and happy, game boys, ice lollies and spacemen. Then when you turn it on in the morning you hear a variety that radio stations often promise. It's not like a Beck "best of", but it is very good.
Very highly recommended and, along with Kaiser Chiefs' "Employment", a likely candidate for "Album of the Year"
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