Heathen marks a new beginning for
David Bowie in some ways -- it's his first record since leaving
Virgin, his first for
Columbia Records, his first for his new label,
ISO -- yet it's hardly a new musical direction. Like
Hours, this finds
Bowie sifting through the sounds of his past, completely at ease with his legacy, crafting a colorful, satisfying album that feels like a classic
Bowie album. That's not to say that
Heathen recalls any particular album or any era in specific, yet there's a deliberate attempt to recapture the atmosphere, the tone of his '70s work -- there's a reason that
Bowie decided to reteam with
Tony Visconti, the co-producer of some of his best records, for this album -- even if direct comparisons are hard to come by. Which is exactly what's so impressive about this album.
Bowie and
Visconti never shy away from electronic instrumentations or modern production -- if anything, they embrace it -- but it's woven into
Bowie's sound subtly, never drawing attention to the drum loops, guitar synths, and washes of
electronica. For that matter, guest spots by
Dave Grohl and
Pete Townshend (both on guitar) don't stand out either; they're merely added texture to this an album that's intricately layered, but always plays smoothly and alluringly. And, make no mistake, this is an alluring, welcoming, friendly album -- there are some moody moments, but
Bowie takes
Neil Young's eerie
"I've Been Waiting for You" and
Pixies' elusively brutal, creepy
"Cactus" and turns them sweet, which isn't necessarily a bad thing, either. In the end, that's the key to
Heathen -- the undercurrent of happiness, not in the lyrics, but in the making of music, a realization by
Bowie and
Visconti alike that they are perfect collaborators. Unlike their previous albums together, this doesn't boldly break new ground, but that's because, 22 years after their last collaboration,
Scary Monsters, both
Bowie and
Visconti don't need to try as hard, so they just focus on the craft. The result is an understated, utterly satisfying record, his best since
Scary Monsters, simply because he'd never sounded as assured and consistent since. ~ Stephen Thomas Erlewine
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