The Next Day – David Bowie

Released: 2013

Label: ISO, Columbia

When I bought: 2013

David Bowie is one of my absolute favourite musicians of all time. I'll probably go more into that another time, but suffice to say I was delighted when in 2013 the first new Bowie album for 10 years appeared.

Ushered in by the sublime 'Where Are We Now?', The Next Day had no press campaign ahead of its launch. One day there wasn't a new Bowie record, then, the next day, there was.

The album kicks of with a drum whack and we're straight off into the title track. A short intro and there's the Dame, sounding as vibrant and mischievous as ever. The track bounces along before winding up and up into a chorus that demands to be shouted: "HERE I AM! NOT QUITE DYING!"

Ah it's exhilarating. And, as we know now, depressingly apt.

It's a hell of way to kick off your 25th studio album.

And so the record rumbles on, filled with urgency, nostalgia and life.

Many of the tracks on The Next Day would fit perfectly on other Bowie albums.

'Valentine's Day' is pure glam, and Bowie, with his wonderful shape-shifting voice, channels the thin, nasal delivery of Ziggy as he sings about a school shooting.

'(You Will) Set The World On Fire' is a huge song with a glam rock guitar intro, while 'You Feel So Lonely You Could Die' has echoes of a minor key version of 'Drive In Saturday'.

It's not just early 70s Bowie that gets a retread.

Album closer 'Heat' is abstract and sombre enough it could have been on side 2 of Low, 'How Does The Grass Grow?' has a very Berlin-era guitar solo, while 'Boss of Me' and 'Dancing Out In Space' feel like off-cuts from the Let's Dance or Tonight sessions.

Even Earthling Bowie gets a look in with the frenetic 'If You Can See Me'.

A glimpse of where Bowie would go next is seen on 'Dirty Boys', with its off beat drums and sleazy sax the characteristic of Black Star.

The album highlight though is 'Where Are We Now?'. Bowie was in his mid-60s when he recorded the track, and it shows in the most beautiful way.

Here we have someone who has lived many lives looking back on his time in Berlin, reflecting on the places he used to go, with neither excessive nostalgia or crippling regret - just a wondering. It could only be written by someone coming to the end of their particular story, flicking through the photographs in their mind trying to work out what each truly represents in the final analysis.

The album is not perfect. At 14 tracks it's too long, and some of the tracks do lose the attention of the listener.

But in the name of all things Major Tom, it's a more vibrant, interesting, fascinating, rich album than most musicians in their mid-60s are capable of releasing.

7/10

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