It’s hard for me to review Beck albums.

Partly because I hate subjective muso-wannabe’s telling folks what’s hot and what’s not, but mainly because I happen to think Beck is the most important artist of the last 20 years.

Yeah, I know, it’ a big statement.

But here’s why I’m standing by it.

For me, his 1998 Forum gig is the best thing I’ve ever seen, while Odelay has sat atop my personal favourite list since I first heard it while sitting on a bus in 1996.
 
He borrows from everything you’ve ever heard and still manages to sound like the most progressive performer since Bob Dylan went electric.

He also plays guitar like a demon, has a superbly distinct voice and can dance the pants off any RnB poser you care to mention.

Admittedly there’s the Scientology, but I choose to block out that small indiscretion.

I mean, nobody’s perfect right?

‘Yeah, yeah….stop brown nosing and tell us about the album’ I hear you wail from the cheap seats.

OK, I will.

Modern Guilt, if you didn’t know (it’s possible you’ve been living in a cave for the last 6 months) was produced by man-about-town Danger Mouse.

Apart from his brilliant work with Gnarls Barkley, DM has spent the last year or so reinventing sounds for The Black Keys, Gorillaz, Sparklehorse, Zero 7, The Rapture and Paris Hilton (she didn’t ask, he just did it).

But with this collaboration you feel like he’s hit pay dirt.

The pseudo-psychedelic groove that Beck has championed for at least a decade just happens to be cut from the same mould as the noises in Danger Mouse’s head. There’s not a dud among them if you ask me.

Here’s the lowdown;

Orphans:
Brian Wilson meets The Beta Band. Classic opener with big drums, features Cat Power in there somewhere apparently.

Gamma Ray:
60’s psychedelia for the 21st century, and the perfect lovechild of Beck and Danger Mouse. “It’s definitely got his ears!”

Chemtrails:
The musical equivalent of spinning around with your arms outstretched. Swirls somewhere between Pink Floyd and Spiritualized.
 
Modern Guilt:
Kinks-like shuffle that’s as comfortable as a pair of furry slippers. Paisley ones.

Youthless:
It’s got that ‘Hell Yes’ vibe and is funkier than a mosquito’s tweeter. Jungle drums, hand claps and keys reminiscent of The Message by Grandmaster Flash.

Walls:
Catchy pop muse with Beatles-esque strings and more bizarre lyrics from the mighty Becktionary.

Replica:
A bit Radiohead, a bit D&B, a bit eccentric. I’m guessing it didn’t sound like this before Danger Mouse got to work.

Soul of a Man:
Big. Bold. Rock. If Michael Hutchence was still alive, he’d have this as the first track on his next mix tape. He’d probably be banging on the lid of his coffin too, seeing as how they buried him.  

Profanity Prayers:
Industrial soul music, if there is such a thing. Trippy fuzzbox Nirvana, possibly the album’s biggest tune.

Volcano:
Slow and dirge-like, harking back to the Sea Change years. More smack than crack.

At 33 minutes Modern Guilt does tend to leave the listener a bit hungry, but that’s better than the alternative right? It’s a return to form for the guy that never lost it and I’m already convinced.

So while I wait for the next album to be released (it may be a while, I’m not holding my breath), I’ll kick back and enjoy the musings of my two new favorite kooks.

Don’t they make a lovely couple?

Modern Guilt is out Saturday June 5