8.5

I think a universal law should be voted into place that states that every album can only be 10 tracks in length. With the latest offerings from artists like Coldplay and Radiohead releasing 10 track albums that overwhelmingly outshine their respective predecessors, it’s time to entertain the possibility that in this iPod age, solid, compact albums may be a great compromise that will actually work in everyone’s favor (even Tha Carter III starts to lose me midway through “Playing With Fire).” That wasn’t true…the Carter III thing. Actually, 20 track albums don’t really bother me at all.

With that said, Beck’s 8th album, Modern Guilt is practically perfect in every way. The songs are good enough to stand on their own, but are also part of a cohesive hole that flows in a way few albums manage to do. After the 33:60 is up, it leaves you satisfied, yet consciously aware of the fact that it was short; Short and sweet.

Beck Barkley? Danger Beck? This plays more like a collaboration than it does a Beck album, but I have no complaints. Danger Mouse’s production is immediately recognizable, as a drum and bass line that is very similar to The Odd Couple’s opener kicks off the album. Highlights like “Chemtrails” and “Volcano” play like a musical acid trip, while more upbeat tracks like “Gamma Ray” and “Youthless” combine electronica and 60’s pop in a way that is indescribably good (hence, why I did not describe it).

Beck’s done his acoustic folk record, his hip hop record, his Prince record, and now his psychedelic rock record. He’s also somehow done it without ever coming off like a Jack of All Trades dabbling into genres. Beck has proven once again that he can pick any style out of a hat and create an entire album of amazing material.