“Can we start it all over again this morning?” Beck asks early on in the opening track of Morning Phase, his first album since 2008’s Modern Guilt. After a gorgeous 40 second instrumental opening, strings give way into the plaintive guitar strums of “Morning”, and it truly does feel like a something entirely new, a rebirth — which is odd, because Beck has specifically said this album is a spiritual successor to his 2002 masterpiece Sea Change.
And sure, the beginning of “Morning” has an uncanny resemblance to the beginning of Sea Change opener “The Golden Age.” And sure, all of Morning Phase is ostensibly similar to its much-vaunted predecessor. It does feature the same musicians and the same California-folk influence. And yeah, even the cover art (Exhibits 1 and 2) looks strikingly similar, Beck’s steady gaze staring out behind smears of orange and blue.
But hear me out: the truth is that it’s only similar in the sense that all music by an artist sounds similar to previous music produced by that artist. No left turn is truly a total departure: even the cold, Kraftwerk heartbeat of Kid A‘s “Idioteque” had its roots in the laserbeam percussion loop of OK Computer’s “Airbag”.
The point of all this is to get you to look at Morning Phase in the ways it differs, rather than its similarities, because these differences are what make Morning Phase the best Beck album since 1998’s Mutations.
