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Track List
01) The Next Day
02) Dirty Boys
03) The Stars (Are Out Tonight)
04) Love Is Lost
05) Where Are We Now?
06) Valentine's Day
07) If You Can See Me
08) I'd Rather Be High
09) Boss of Me
10) Dancing Out in Space
11) How Does the Grass Grow?
12) (You Will) Set the World on Fire
13) You Feel So Lonely You Could Die
14) Heat
01) The Next Day
02) Dirty Boys
03) The Stars (Are Out Tonight)
04) Love Is Lost
05) Where Are We Now?
06) Valentine's Day
07) If You Can See Me
08) I'd Rather Be High
09) Boss of Me
10) Dancing Out in Space
11) How Does the Grass Grow?
12) (You Will) Set the World on Fire
13) You Feel So Lonely You Could Die
14) Heat
3:51
2:58
3:56
3:57
4:08
3:01
3:16
3:53
4:09
3:24
4:33
3:30
4:41
4:25
Data Complete
80%
Total Rating
80%Total Rating
(6 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2013
Rock
Weird
Rock/Pop
---
Slow
Album
0 copies
Album Description
Available in:
The Next Day ist das 25. Studioalbum von David Bowie, das am 8. März 2013 erschien. Es war das erste Album mit neuem Material nach zehn Jahren.
Es ist auch das erste Album des Musikers, das Platz 1 in den deutschen Album-Charts erreichte. Auch in den britischen Charts schaffte es den ersten Platz, was dem Künstler 20 Jahre zuvor das letzte Mal gelungen war. In den USA landete The Next Day auf dem 2. Platz, der dort bis dahin höchsten Position eines Bowie-Albums.
User Album Review
Even after 10 years away from the spotlight, David Bowie – pop’s most important post-Beatles innovator – still commands unrivalled levels of fascination.
Just when it seemed that he had slipped into a dignified retirement, which no one would have begrudged, the world awoke one morning in January to the remarkable news of not only a single, Where Are We Now?, available immediately, but also this album.
In the context of the album, Where Are We Now? – a moving, backwards glance at The Berlin Years – seems a slight red herring. Bowie does consider the past, ageing, mortality: on the title track’s chant of “My body left to rot in a hollow tree” and I’d Rather Be High’s stumbling “to the graveyard”.
How Does the Grass Grow? poses the question, “Would you still love me if the clocks could go backwards?” (You Will) Set the World on Fire seemingly addresses his pre-stardom self, a You Really Got Me riff and slick confidence reminding us that he’s always had “what it takes”. This elegiac nostalgia is matched by the beautiful You Feel So Lonely You Could Die.
A complex mood pervades elsewhere, a sense of things gone awry. The nicely sinister Dirty Boys’ expressive, serious vocal depicts a skewed Englishness of cricket bats, “Finchley Fair” and running “with dirty boys”.
The Stars (Are Out Tonight) sees those stars (a recurring theme) anthropomorphised: “sexless and unaroused”, unsettlingly “beaming like blackened sunshine”.
The most experimental cut, If You Can See Me, proclaims – amidst spacey, tumbling rhythms and scattered jumbles of notes and words – “I will slaughter your kind”.
Love Is Lost makes youth seem ominous – newness abounds but still “your fear is old”. Clearly this is no elder statesman simply wistfully gazing into a dappled, romanticised past.
Valentine’s Day and I’d Rather Be High are further standouts – the former is a mid-paced depiction of a character with a “tiny face” and “scrawny hands”; the latter, a furious anti-war song.
The closer, Heat, is a brilliant example of what makes our finest, bravest musician of the past 40 years so irreplaceable. It’s full of spaced-out vocals, ominous noises and bangs, keening strings and disturbing, impressionistic poetry.
With all the opacity and lack of easy answers that you would hope for from this most stylish and creative of artists, this is a triumphant, almost defiant, return. Innovative, dark, bold and creative, it’s an album only David Bowie could make.
External Album Reviews
None...
User Comments
Available in:
The Next Day ist das 25. Studioalbum von David Bowie, das am 8. März 2013 erschien. Es war das erste Album mit neuem Material nach zehn Jahren.
Es ist auch das erste Album des Musikers, das Platz 1 in den deutschen Album-Charts erreichte. Auch in den britischen Charts schaffte es den ersten Platz, was dem Künstler 20 Jahre zuvor das letzte Mal gelungen war. In den USA landete The Next Day auf dem 2. Platz, der dort bis dahin höchsten Position eines Bowie-Albums.
User Album Review
Even after 10 years away from the spotlight, David Bowie – pop’s most important post-Beatles innovator – still commands unrivalled levels of fascination.
Just when it seemed that he had slipped into a dignified retirement, which no one would have begrudged, the world awoke one morning in January to the remarkable news of not only a single, Where Are We Now?, available immediately, but also this album.
In the context of the album, Where Are We Now? – a moving, backwards glance at The Berlin Years – seems a slight red herring. Bowie does consider the past, ageing, mortality: on the title track’s chant of “My body left to rot in a hollow tree” and I’d Rather Be High’s stumbling “to the graveyard”.
How Does the Grass Grow? poses the question, “Would you still love me if the clocks could go backwards?” (You Will) Set the World on Fire seemingly addresses his pre-stardom self, a You Really Got Me riff and slick confidence reminding us that he’s always had “what it takes”. This elegiac nostalgia is matched by the beautiful You Feel So Lonely You Could Die.
A complex mood pervades elsewhere, a sense of things gone awry. The nicely sinister Dirty Boys’ expressive, serious vocal depicts a skewed Englishness of cricket bats, “Finchley Fair” and running “with dirty boys”.
The Stars (Are Out Tonight) sees those stars (a recurring theme) anthropomorphised: “sexless and unaroused”, unsettlingly “beaming like blackened sunshine”.
The most experimental cut, If You Can See Me, proclaims – amidst spacey, tumbling rhythms and scattered jumbles of notes and words – “I will slaughter your kind”.
Love Is Lost makes youth seem ominous – newness abounds but still “your fear is old”. Clearly this is no elder statesman simply wistfully gazing into a dappled, romanticised past.
Valentine’s Day and I’d Rather Be High are further standouts – the former is a mid-paced depiction of a character with a “tiny face” and “scrawny hands”; the latter, a furious anti-war song.
The closer, Heat, is a brilliant example of what makes our finest, bravest musician of the past 40 years so irreplaceable. It’s full of spaced-out vocals, ominous noises and bangs, keening strings and disturbing, impressionistic poetry.
With all the opacity and lack of easy answers that you would hope for from this most stylish and creative of artists, this is a triumphant, almost defiant, return. Innovative, dark, bold and creative, it’s an album only David Bowie could make.
External Album Reviews
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