 David Bowie finds light in darkness and bids farewell with authenticity. DAVID BOWIE - BLACKSTAR (2016) Stylized with a black star, Blackstar is David Bowie's 25th studio album. Released on January 8, 2016, just two days before his passing, the 69-year-old British musician immerses himself in a darker atmosphere, continuously seeking to break away from the past while embracing his eccentricity in new explorations. Bowie’s notable emphasis on various musical styles outside of pop is a deliberate departure from the mainstream, especially intriguing given the genre's widespread appeal. The title track, "Blackstar," had already made its debut in November 2015 as a single. The production, helmed by long-time collaborator Tony Visconti, is remarkable (marking their 13th studio collaboration). From the eerie introduction with its (funereal?) march to the dynamic pads that underscore Bowie's solitude, he profoundly declares he is not a pop star but a black star — without quite knowing why. As the song progresses, the melody gains vitality, transitioning from isolation to something more tangible, though the repeated choruses maintain a lingering sense of melancholy before the somber (and prophetic) atmosphere returns as a comfort to the artist. With strong jazz influences, "'Tis a Pity She Was a Whore" stands out for its intense saxophone solos and explicit, somewhat unsettling lyrics, making it the least appealing moment of the album. In contrast, "Lazarus" shines as the album's standout track, genuinely serving as Bowie's epitaph. Its liberating verses, accompanied by a captivating rhythm, reveal Bowie’s inner reflections: "I've got scars that can't be seen…," he confides, before asserting he has nothing left to lose; "Yes! I'll be free," he concludes, returning to his cosmic hibernation. "Sue (Or in a Season of Crime)" is an experimental dark jazz piece that bridges two worlds. Originally released in 2014 on the compilation Nothing Has Changed, the track now reappears with new elements in its re-recording, the result of collaborations with Maria Schneider, Paul Bateman, and Bob Bharma. Despite a noticeable lack of harmony in the instrumentation, the lyrics remain the focal point. Midway through the album, "Girl Loves Me" perfectly captures Bowie's creative eccentricity, enhancing his enigmatic presence in the music world — Bowie has always been and will continue to be an enigmatic figure, celebrated for his loyalty to his unique style; it’s interesting and admirable that the artist went against the trend of other bands or personalities by distancing himself from pop, especially when this genre is the most sought after by the majority throughout their careers to gain more visibility and easy money. "Dollar Days" reinforces the theme of letting go of the past, even when a greater force reminds him that every experience is part of the learning process. The closing verse, "I'm trying… I'm dying too…," carries a sense of remorse but also compassion, making it the most intimate song on the album. This introspection allows "I Can't Give Everything Away" to conclude the journey with authenticity, projecting light in the darkness. Blackstar is a truthful farewell from an iconic artist who, even in his final moments, continued to explore new frontiers in music; Bowie is a star who will forever shine in the musical cosmos. ★★★½ (out of 5 stars) |
