ARTIST: Beck
ALBUM: Morning Phase
LABEL: Capitol
RELEASE DATE: February 25, 2015
A Good Morning
Written by Silas Valentino
Even if you haven’t heard this record, you’ve most likely heard of this record. Though the Grammys are about as musically significant as Hall & Oates suing a granola company for the cereal “Haulin’ Oats,” the interruption of Beck’s Album of the Year award by some obscure rapper catapulted this blond-haired, former slacker into a new level of stardom. The question here is, does Morning Phase— his 12th record — justify all the commotion or is this just a classic tale of an artist receiving overdue pay?
Sonically speaking, Morning Phase is an aural beauty that touches upon those tender moments generally reserved for an early morn or midnight album snack. The tempo remains just upbeat enough and doesn’t slide down too far for a “breakup album” or some other easy compassion. It’s important to note that this album is called Morning Phase not Mourning Phase so while it treads away from previous Beck rompers filled with fun and delight, the feeling of sadness and melancholy are— for the most part —absent in this go around.
Beck provides most of the sounds on this record even going as far as arranging all the orchestral movements— which is quite a feat for a guy who blasted his way into our cultural psyche with a song all about how much of a loser and ‘90s slacker he claimed to be.
A majority of Morning Phase flows and functions together within the same acoustic structure where everything seems to have been built around the steel strumming of Beck’s guitar. Tracks like “Morning,” “Blue Moon,” Turn Away” and “Country Down” are all cut from the same light country cloth with just a couple of tracks (“Wave” and Waking Light”) acting as musical deterrents.
Enough has been said about how Morning Phase is a companion or sibling to Beck’s 2002 acoustic classic Sea Change and it’s a pretty easy comparison. Both album’s opening tracks begin with the same major E chord strum and I bet if you made a mix of the two interchanged few could tell the difference. But Morning Phase sounds different. Literally. Morning Phase’s sound is much more robust and clear in comparison to a record that was recorded over a decade ago.
If Morning Phase is indeed a mirror to Sea Change, then “Blue Moon” is without a doubt this album’s “Lost Cause.” Though “Moon” is nowhere near as heartbreakingly sad and poignant, it’s instant proof of Beck’s musical genius from the sweetly plucked charango (the mandarin-sounding instrument) to the soft swarming “ooh” chorus.
Another standout from the mix is the rhythmic strummer “Turn Away” which was a song good enough to justify a 1:03 into (“Phase”) and has Beck harmonizing with himself until the climatic orchestral finish. After a feature in the Wild movie trailer, “Turn Away” earns itself a spot in the Pacific Northwest vibe amongst groups like the Fleet Foxes and flannel clothing.
All roads lead to “Waking Light,” the record’s final flash and closer. Built around a piano structure rather an acoustic guitar, “Light” jams all that’s bright with Morning Phase into one track. It’s a mosaic of instruments blending into one another creating a magnificent final bow.
Morning Phase was Beck’s third bout for Album of the Year and in truth, it’s a much better record as a whole in comparison to his 2001’s nominee Midnite Vultures (even though “Deborah” is an all-time great). In 1997 if Odelay would have beaten out the Smashing Pumpkins, I’m sure Billy Corgan would have considered rushing the stage too. This was Beck’s year to win the big, unimportant award. Third time’s the charm but it always helps if the record in question is a musical beauty.