Blackstar (album)

Did You Know?

• The cover art, designed by Jonathan Barnbrook, features a large black star with five star segments at the bottom that spell out the word Bowie.
• On the vinyl release, a hidden picture of a starfield is revealed when the foldout sleeve is held up to a light source; it took more than four months for fans to discover the effect.
• The title track was used as the opening music for the television series The Last Panthers.

Recording

Bowie and Tony Visconti co-produced Blackstar, recording it in secret at the Magic Shop and Human Worldwide Studios in New York City. Every musician signed confidentiality agreements. The vibe in the studio was collaborative. Bowie had made demos of all the songs ahead of time, but he pushed the band to experiment. Jason Lindner told Rolling Stone that Bowie gave them the freedom to just play and be themselves. Donny McCaslin called the process supportive and praised the creative atmosphere. Tim Lefebvre liked that Bowie picked a group with existing chemistry instead of hiring random session players, noting they already knew how to lock in together, so Bowie didn’t have to build a groove from scratch. Visconti found the band’s musical approach refreshing.

Recording kicked off at the Magic Shop in the first week of 2015. The sessions produced tracks for both Blackstar and the Lazarus musical: “Lazarus,” “No Plan,” a new take on “’Tis a Pity She Was a Whore,” and “When I Met You.” Most of the rhythm parts were nailed in one or two takes. That same week, Bowie turned 68. After January, recording happened in blocks—four to six days each, according to biographer Nicholas Pegg—in early February and late March. Bowie sent the musicians demos by email before each block.

The February sessions gave them “Dollar Days,” “Girl Loves Me,” “Someday,” and another re-recording of “Sue (Or in a Season of Crime).” “Dollar Days” had no demo; it came together on the spot from a guitar idea Bowie brought in. Visconti said Bowie wanted to redo “Sue” to give it a completely different flavor. James Murphy from LCD Soundsystem played percussion on “Sue” and “Girl Loves Me.” He had been set to co-produce Blackstar but pulled out because he felt overwhelmed.

Music and lyrics

Blackstar blends art rock, experimental jazz, free jazz, progressive rock, and experimental rock, with touches of industrial rock, folk-pop, and hip-hop. Many critics called it Bowie's most adventurous work in years. Jon Pareles described the band as jamming into rock, funk, and electronics from a jazz angle. Jody Rosen noted that labeling the album simply jazz would be as inaccurate as calling it art rock, funk, or electronica, since all those styles are mixed in. This wasn't Bowie's first jazz exploration; he grew up listening to jazz, introduced by his older half-brother Terry Burns. Ben Monder pointed out that the album contains many nods to Bowie's earlier work, but in a new setting. Producer Tony Visconti said he and Bowie deliberately tried to steer clear of rock'n'roll. They were influenced by Kendrick Lamar's To Pimp a Butterfly, released during the sessions. Visconti admired how Lamar avoided a straightforward hip-hop record and threw everything in, which was their goal. D'Angelo's Black Messiah also shaped the album, with its blend of soul, jazz, and funk reminiscent of Bowie's "Sue." Additional influences include the electronic duo Boards of Canada and experimental hip-hop trio Death Grips, and critics compared the record to Scott Walker's music.

Critical reception

Blackstar received widespread praise from both critics and listeners. On Metacritic, it holds a score of 87 out of 100 across 43 reviews, a rating that signifies universal acclaim. Many called it Bowie’s most unconventional work since Low and his most demanding album in years. Neil McCormick described it as extraordinary, suggesting Bowie had returned from the dead like a modern Lazarus. Jon Pareles noted the album was both emotional and mysterious, structured yet spontaneous, and deliberately indifferent to the expectations of radio or fans. It was often seen as a career peak and his finest record since the 1970s. Reviewers commended Bowie for reinventing himself and taking a bold creative risk so late in his career. Michael Rancic of Exclaim! called it a defining statement from an artist refusing to dwell on the past. Ignatiy Vishnevetsky of The A.V. Club felt Bowie was exploring a fringe style he had only touched on before, showing a confidence he had lacked for a long time. Critics compared it favorably to The Next Day; Tom Doyle of Q magazine found Blackstar more concise and far more intriguing. Several reviewers labeled it an anti-pop record and compared it to Outside. Jody Rosen of Billboard said the sound grabs your attention and is as powerful as anything Bowie had made in years. Chris Gerard of PopMatters argued the album serves as a lesson for artists to keep challenging themselves and exploring new directions.