Ha ha, it had to happen: Bowie’s back, taking the music business by surprise. No announcement, no tour dates, not even a Tweet: it’s just what he’d do, isn’t it?
That’s why some reviewers saying the new song doesn’t break new ground the way so many Bowie albums did (the plaintive vocals of “Heathen” come to mind). They’re missing the point. The art here is in the way it fits with music’s environmental context. In a world where the most minor talents are turned into celebrities on TV shows, and success in music is about how many Tweets you send and sex tapes you release, the ultimate act of rebellion against the system is …. releasing a new song without any fanfare whatsoever.
Who else could do it? Pink Floyd, yup. Kate Bush, certainly. But in the end it took Bowie to make the leap. I rarely listen to music and buy perhaps 20-30 iTunes a year, but I’ll be buying this one.
Bowie’s return is a look at how music happens, not what it sounds like. In that respect, it’s all Bowie. And I wouldn’t mind guessing there’ll be a big surprise on the album, too: what if this mournful ballad is the only slow song, and the rest of The Next Day is a throwback to Scary Monsters or Tin Machine?