Not enough Information

Beck’s latest album “The Information” leaves much to be desired

A review by James McEchron

Beck has been doing a tremendous juggling act since the release of Mellow Gold in 1994. The album’s single, “Loser,” earned praise on alternative stations across the country, despite critics billing him as a one hit wonder. Little did most people know that Beck simultaneously released two other records, Stereopathetic Soul Manure (On Flipside Records) and One Foot in the Grave (On K Records). Though neither were as well known or well-received, his ability to balance several things at once began to emerge.

When Odelay came out in 1996, the juggling became more elaborate. It had influences from hip hop, bluegrass, rock and random bits of jarring noise. The album received a lot of radio play and squashed the critics when it received double-platinum status and two Grammies.

And it was new. No one was capitalizing on the electronical fusion like Beck, or at the very least earning the same street credit. In 1998, Beck released Mutations, which was a somber, melody driven record. The follow up in 1999, Midnite Vultures, was the epitome of what Beck represented. Bizarre juxtapositions of instruments (a banjo solo leading into a bassy, dance rhythm), experimentation, and an obvious passion for several types of music.

The album was not as appreciated critically, and some credit its lack of popularity to the density of the songs.

Why is this important? Because Beck’s new album, “The Information”, (and his last effort, Guero), are missing something. There was a certain degree of magic to his other albums, like you were looking at the work of a mad professor, wondering “what’s this wacko going to do next?” It jutted out in odd directions and his passion for his work was apparent.

Unfortunately, Guero and The Information are both suffering from the same flaw, and it makes little sense considering his earlier work. Beck refuses to follow threads of experimentation on any of the songs, instead sticking with very linear and unevolving melodies. There is playful instrumentation, but it never goes anywhere. He finds 10 seconds or so of music that sounds good and repeats it for three and a half minutes.

And it’s a shame, because underneath the familiarity in his work, it is obvious Beck is talented. He has all the makings of greatness: Varied influences, skill with a variety of instruments, and thought provoking lyrics. But the impulsive fire that drove his earlier works, the ability to wander away from the typical aspects of a songs structure, isn’t apparent here. The tracks are glaringly formulaic, typically consisting of an intro, a verse, chorus, another verse, bridge, and a repeat of the chorus.

Some attribute the uninspired feeling of Guero and The Information to the fact his life has blossomed in the last four years. A recent marriage and a family have put Beck in a happy place. You may disagree, but creative works are often best made in dark, unforgiving environments. The old Beck of LSD binges and alcohol abuse has been replaced with a family man, which is great for him but maybe not so great for his music.

Beck has the talent to do more with his music, but as it is he is a fluff artist; he’s bubble gum when he should be thick steak. To be fair, The Information is filled with “cool” songs, but Beck’s best work is when he allows it to be personal.The attempts here to make personal songs (on tracks like “New Round”) feel too computerized to be honest, though it is novel to hear a musician sing blues lyrics over synthesizers.

Beck is a classic example of a jack of all trades, and if he had flexed those multi-talented muscles on these tracks, they all could have been special. As it is, The Information is a very static album. It’s like if Pollock made a splatter painting with all black paint; The Information could have been something special with a few more colors.