Blackstar by David Bowie

I've delayed reviewing David Bowie's latest album for quite some time now, and it's been for what I believe to be a fairly good reason. The powerful album is even more powerful when listened to under the circumstances of Bowie's untimely death. I didn't want my opinion to be changed by the tragedy of his passing, nor did I want it to be swayed by the impact he had on me personally as both a musician and as a person. So because of that, I've waited. As time passes however, I've noticed that after multiple listens to the album, even after dissecting each track individually and taking the time to really sort my feelings for the music, it still remains a fantastic collection of songs that make for a perfect "final hurrah" so to speak.

The track that, for me at least, really sums up the project is Lazarus. The second single from the album opens with a line that may be the most iconic and memorable from the whole album, as Bowie sings "Look up here, I'm in heaven." The track features some very prominent use of horns, and much like the rest of the album, some very dark and jazz influenced production. Rumour has it Bowie was inspired in large part by Kendrick Lamar's latest album To Pimp A Butterfly, and also by experimental hip-hop group Death Grips. While the influence might not be clear in that actual sound, it can easily be said that this album is one of the legendary art-pop superstar's more risky and experimental releases. He toys very heavily with elements of experimental rock and jazz, something he has done now for the better part of 40 years.

Track after track on Blackstar, we hear Bowie contemplating his own mortality, seemingly embracing death and reflecting on what he has done throughout his time. Not only does it make for a very emotional experience, but also one that is very personal, and seems to really be intended as a final word between Bowie and his fans. As the album changes in tempo and heaviness, tracks like 'Tis a Pitty She Was a Whore and Sue showcase a fast paced drum beat and much more jazz instrumentation, especially with the use of the saxophone on the first of the two tracks. The one thing that remains very consistent on the album, however, is the iconic voice of David Bowie himself, who seems always comfortable and in control while reflecting on his mortality. My favorite cut on the record has to be Girl Loves Me, a hard hitting cut that features some very simple yet dark and dreary production, and Bowie engages in some of his most experimental lyricism ever. Through speaking in Nadsat, the fictional language spoken by the teenagers in the iconic Anthony Burgess book, and Stanley Kubrick film, A Clockwork Orange. We also see the edgy side of Bowie, as he boasts before the chorus "Who the fuck's gonna mess with me?"

It would be easy to sit here and babble on for days about exactly what makes Blackstar the perfect farewell from someone who I consider to be one of the most talented musicians ever, but the album is more than that. Forgetting the legacy, forgetting the unfortunate post-release events, and forgetting anything else that may be considered a bias to opinions regarding this album, David Bowie came through, and in his final days released an album that will be considered among the best he's ever made.

Favorite Tracks: Blackstar, 'Tis a Pity She's a Whore, Lazarus, Girl Loves Me, Dollar Days.

Least Favorite Tracks: None

Rating: 5/5