Colors, Beck’s last album, won two Grammies. Its sequel finds Beck retaining the marketplace nous of producer Greg Kurstin on one track and adding that of Pharrell Williams, purveyor of cheek-popping flair on more than half the album. Beck’s records can often veer away from the sound of their predecessors, but Hyperspace is no minimal DIY folk jam: it’s dewy, plush and on-trend.
Beck’s eclecticism arguably paved the way for the bonfire of the genres in the present decade – even phenomena such as Old Town Road. Here, Saw Lightning is a genre-torching bop that harks all the way back to Beck’s Loser days, but it’s a red herring. Lit by the glow of vintage video games and a kind of hazy west coast liminality, Hyperspace sounds mushily contemporary, at least at first. It glides along on lasers, coasts on thermals – until suddenly it doesn’t. Deep turmoil festers at the centre of these superficially dazed confections, featuring Auto-Tune, multi-tracking, bleached funk, raps and woah-woah-woahs. The gestation of the album coincided with the breakdown of Beck’s marriage of 15 years. Once the lyrical sorrow and apocalyptic visions hit home, Hyperspace is revealed as a bleak, spacey R&B tour de force.
