HomeDavid Bowie
★
Rock · 2016 · 7 tracks · 41m

A haunting, jazz-infused final statement recorded in secret. Dense textures, skittering drums, and a voice confronting the infinite with theatrical grace.

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Final masterpiece

Skittering jazz percussion and wailing woodwinds rattle like dry leaves across concrete, pulling the curtain down on a career defined by restless reinvention. This dark, ritualistic transmission trades the guitar-heavy structures of the immediate past for a fluid, gravity-defying orbit of brooding studio improvisation and pristine, murky electronics. The performance balances a fragile, whispering vocal delivery against a commanding theatricality, transforming a quiet confrontation with mortality into an incredibly alive, stargazing art-pop statement.

★ · vs · David Bowie
Midnight+4.0σ

A heavy midnight atmosphere wraps these compositions in an impenetrable, velvety darkness that feels entirely distinct from the bright theatricality of his earlier eras.

Tracklist · 7 Tracks · 41m
01
9:58
02
’Tis a Pity She Was a Whore
4:53
03
Lazarus
6:22
04
Sue (or In a Season of Crime)
4:40
05
Girl Loves Me
4:52
06
Dollar Days
4:45
07
I Can’t Give Everything Away
5:47
Moments Worth Waiting For
01The title track '★' shifts halfway through from a brooding, electronic chant into a warm, unhurried art-pop march.
The Donny McCaslin Quartet provides a restless, skittering foundation of woodwinds and percussion that sounds both futuristic and ancient.
03LazarusOn 'Lazarus', a heavy, deliberate bassline and wailing saxophone lines frame a deeply expressive, fragile vocal performance.
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Reviews
Critic Consensus

Critics warmly embraced the album's adventurous departure from traditional rock, widely praising the elegant blend of jazz, art-pop, and dark studio improvisation. Reviewers were particularly moved by the record's meticulous craftsmanship, noting how its restless, enigmatic atmosphere ultimately resolves into a deeply resonant and emotional conclusion.

The Guardian4/ 5 stars
“You have to assume Bowie is tackling myriad theatrical voices as Blackstar throws up one unsettling scenario after another, with little obvious connection other than unease and the outrageously good soundtrack in which they are set”
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Exclaim!
“It’s a defining statement from someone who isn’t interested in living in the past, but rather, for the first time in a while, waiting for everyone else to catch up”
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Spin7/ 10
“Blackstar finds Bowie and longtime producer Tony Visconti as hungry as they ever were, and with no modern context into which the artist can insert himself (including rock) he’s free to do what he likes”
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Rolling Stone4/ 5 stars
“Bowie’s best anti-pop masterpiece since the Seventies”
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Drowned in Sound
“His lyrics and vocals are oblique and otherworldly, freed from the shackles of indie rock”
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Pitchfork8.5/ 10
“Though this mix of jazz, malice, and historical role-play is intoxicating, Blackstar becomes whole with its two-song denouement, which balances out the bruises and blood with a couple of salty tears”
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NME4/ 5
“One of the few certainties we can take from this restless, relentlessly intriguing album is that David Bowie is positively allergic to the idea of heritage rock”
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NOW Toronto
“The ballad Dollar Days is the softest, most classically Bowie moment, but even more Bowie is the way his grand sense of alienation comes through so recognizably in new musical terrain”
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The Independent4/ 5 stars
“The most extreme album of his entire career: Blackstar is as far as he’s strayed from pop”
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The A.V. ClubA-
“With its simple (though oblique) lyrics and endlessly repeated choruses, it’s a secret pop record submerged in the dark places of studio improvisation”
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Under the Radar
“A puzzle begging for examination, and a solidly unique work from an artist who is no stranger to breaking boundaries”
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AllMusic5/ 5 stars
“Bowie’s joy in emphasizing the art in art-pop is palpable and its elegant, unhurried march resonates deeply”
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