THE NEXT DAY

After a ten year hiatus Bowie suprised friend and foe by releasing a new single on his 66th birthday and by announcing a brand new album. And here it is! Is it any good? For a man in his sixties Bowie sounds as vital and powerful as ever. The music is strangely familiar. Typical Bowie. Sometimes melodic, sometimes rythmic, the way only Bowie can make it sound. A bit like "Heroes" (except for the instrumentals), whose cover picture was the 'inspiration' for the cover of "The Next Day". The cover by the way can hardly be called an inspired cover, but at least it suits the overall nostalgic feel of the album.

Of course this album can never reach the legendary status of his seventies albums, but I still think it is a superb album. Especially when compared to contemporary artists. The songs on The Next Day all seem to refer to older songs. In lyrics, in pieces of melody, in certain rythms. In particular the single "Were are we now?" refers to Bowie's Berlin period. Is that a bad thing? I think not. A man of Bowie's stature has the right to hail the old days. His back catalog is nothing to be ashamed of, so why shouldn't he brag about it? Some people write memoirs, Bowie has just written a musical memoir. If only all memoirs by anyone were this good.

I certainly hope this record will not turn out to be a one time event and that mr. Bowie won't be resting on his laurels for the rest of his days. A latter day masterpiece.

Recorded in secret with musicians sworn to secrecy, The Next Day, the first album from David Bowie in ten years came as a bit of a surprise with no indication that anything was happening until the release of the laid back single Where Are We Now? Itself a bit of a slow burner, taking a few listens before I realised that we may be onto something here. After all, if truth be told, Bowie's released little to get excited about since the early eighties. Living with this for almost 2 weeks now though I can confidently say it's his best body of work since Scary Monsters.

The word was he'd stepped back to his seventies work for influence giving rise amongst many to hopes of something along the lines of Ziggy Stardust. It's clearly not the case and if the cover wasn't a giveaway, a rather cheap copy of Heroes with a large white square containing the album title over it, then a quick listen confirms its nearest reference would be late seventies Heroes and Lodger era. It's a strong collection of songs too with a high percentage of rockers with strong riffs and hooks and only a few ballads. Bowie's on great form vocally too sounding nothing like a man of sixty six. Perhaps down to his near death heart problems ten years back there seems to be a lot of references to death - "Here I am, not quite dying" he sings on the opening title track. Best of the bunch? I'm particularly fond of Love Is Lost with its simple keyboard line and hypnotic drum pattern, the upbeat and spacey I'd Rather Be High, the dark and moody Heat and the Heroes-esque How Does The Grass Grow? And that single's pretty good too. He's assembled a strong band too including some old friends including guitarist Earl Slick and drummer Sterling Campbell and of interest to prog fans, Tony Levin on some tracks too.

Overall then, while this isn't going to compete with his greatest work of the seventies it's nevertheless a fine body of work and far better than I could have dared hope for. I'm more than happy with The Next Day.

How can you not like Bowie. It's like saying you don't like Queen. It's just impossible.

Now Bowie has been MIA for a good few years now, and in all fairness, I was safe in the knowledge knowing that Bowie wasn't going to make anymore music. His stuff in the past was great and he has made his name for himself as a rock icon, legend and ubermensch of music.

So when I heard that he was releasing a new album, I was like "Hmm...not needed...but ok." So I was interested in this album, and was looking forward to hear it. Wasn't overly excited about it, but was still interested in it.

And then I heard it, and now I feel like a douchebag.

Yes, I shouldn't have doubted Bowie. I thought this album would have sounded aged and Bowie would have seemed older. But he really hasn't. This album could have been released in between The Berlin era or even Scary Monsters era, and I wouldn't have noticed a difference. Bowie proved that he hasn't lost it, and he even doesn't need Brian Eno or Robert Fripp to flesh out the sound or make Bowie seem more interesting.

The album is just a very good collection of classic Bowie songs. For all we know these could have been old songs that Bowie just plucked out from nowhere and fleshed to make them sound brilliant. It sounds modern yet also nostalgic.

1. The Next Day - Now this is how you start off an album. Reminds me of It's No Game off of Scary Monsters (without the crazy Japanese girl). Great way to start off an album. 9/10

2. Dirty Boys -One of the most noisiest and more grittiest songs on the album. With a lot of Fripp esque guitar work throughout. This song could have even been on Scary Monsters. 8/10

3. The Stars (Are Out Tonight) - When I heard this song, when it was released, I was a bit like "this is a single." But the more and more I listen to it, the more it does shine on me. For some odd reason, this song gives me a very Morissey/The Smiths vibe and tone. 10/10

4. Love Is Lost - Some interesting use of instruments and sounds on this song. But, don't let the blips and beeps confuse you, this is a great and well written song. Also, Bowie's vocals are pretty impressive in this song. 9/10

5. Where Are We Now? - The first song I heard from the album. When I heard this song, I was thinking "wow, Bowie sounds old." Now, his voice does sound a lot lower in this song, but it's mainly just for a melancholic effect. This song just proves how much I love Bowie style of songwriting. A simple idea, with some interesting chord progressions. A beautiful piece of music. 10/10

6. Valentine's Day - One of the albums more ballady moments. A bit forgettable, if I'm being honest. 7/10

7. If You Can See Me - One of the album's most proggy/art rock sounding songs. A weird collection of crazy musical moments and some rather interesting bits and pieces thrown in now and then. One of the most interesting songs on the album. 10/10

8. I'd Rather Be High - An odd song, but still a bit forgettable and a bit dull. 6/10

9. Boss Of Me - This could have been a very dark and brooding song, but it was kind of ruined by brass. Still a pretty cool song, but it started off so interesting and kind of went into normalcy. 7/10

10. Dancing Out In Space - My least favourite song on the album. I kind of get what Bowie was trying to accomplish, but at times, it just sounds very out of tune and off pitched. 6/10

11. How Does The Grass Grow? - One of the most oddest songs on the album, and one of my favourites. A catchy and crazy song, with some very odd backing vocals. 10/10

12. (You Will) Set The World On Fire - One of the albums more rockier moments. This song could have been on Ziggy Stardust, and I wouldn't even have noticed (although I'm not the biggest fan of that album). 8/10

13. You Feel So Lonely You Could Die - Whoever Bowie wrote this song about...I feel sorry for them. The lyrics in this song show a very nasty side to Bowie...and good on him. A beautifully arranged song, with a devious side. 9//10

14. Heat - A nice sombre and beautiful ending to the album. Nice use of atmopsheric keys and some nice lyrics and vocals from Bowie. 9/10

CONCLUSION: Having doubted Bowie a bit...I'm shocked...and impressed. Bowie is back. And he will always be here. Nothing can beat Bowie. Bowie BOWIE...BOWIE! Yes I am going a bit insane here, but in many ways this is an apology to Bowie. Not a personal favourite of mine, but I have to admit, it's up there, even among his "assumed" best work. I shall never doubt Bowie again. All hail Bowie!

8.2/10

This album is without any doubt at least 4/5 stars release (in my case full 5/5 stars). Vinyl version sounds very good in deed (haven´t listened cd yet...) Nowadays there´s always little doubt in buying LP:s because of weak quality overall. I´m happy to inform that Next day´s vinyl´s pressing (E.U.) quality is amazing this time: sound never breaks, bass is deep and David´s vocals are not too much above instruments, which I like. Dim Gatefold cover looks gorgeous, as if it was straight from 70´s. Song are good enough and set includes lots of different moods. Musicianship is brilliant all the way. LP was packed carefully, without any errors (There´s also CD included, which is nice!). Great value for the money. Obviously my vinyl will be played many times!

The Next Day will go down in history as the David Bowie album that nobody expected. Nobody was even anticipating that Bowie had a new album in the pipeline, and certainly nobody expected Bowie to rediscover his art rock muse this late in the game.

Perhaps those two factors are linked: it is possible that the long delay between Reality and this is a simple factor of the Thin White Duke no longer feeling obliged to record unless he has something truly compelling to offer. Either way, the album finds Bowie off in his own sonic universe to an extent we haven't seen since Scary Monsters: his releases from Let's Dance up to Reality seem to have found him chasing fashion or other people's aesthetics rather than crafting a new aesthetic which was truly his, which was the key to his success in his classic era and which is also the secret ingredient in this album's success.

Combining glitchy bang-up-to-date electronics, some of Tony Visconti's most labyrinthine production techniques yet, vocals which have aged like fine wine and the occasional unexpected twist (check out those 60s throwback ya-yas on How Does the Grass Grow?) and the end result is a strange expedition into territory which is highly experimental even by Bowie's standards. The cover art, though ugly as sin, is also kind of appropriate: the DIY/samizdat approach suggestive of Bowie and his allies sneaking off to create this treasure in secret, and also the allusion to "Heroes" as the last time Bowie got anywhere near this odd on-record. "Heroes", of course, though it sounded otherwordly on realease now seems rather conventional; I can't imagine a world where The Next Day sounds similarly conventional, but I look forward to getting there within the next few decades.

Bowie has finally cracked the secret of how to handle the onset of his old age - the strategy seems to be to abandon the rock star role altogether and instead become an oracle, a mysterious figure issuing forth strange pronouncements from the future at irregular intervals to be received with religious ecstasy by the faithful. (Perhaps this partly explains the "facelessness" of the cover art, the new approach overwriting the various rock star poses Bowie had adopted over the years.) Nobody knows when Tony Visconti will next descend from the mountain with another tablet of Bowie tracks for us to enjoy, but for the first time in my lifetime I feel I can receive a new Bowie album without a hint of trepidation. The man has well and truly got the magic back.

I have today had the joy to enjoy David Bowie's latest recording "The Next Day" from this very year 2013. This is a very good record, a masterpiece is a little too strong word and Bowie isn't really brave enough to match that appellation. But this surprised many and me too. This music is innovative and rough, it could have been a record from the seventies, but yet not. This is a melancolic and nostalgic record but in the same way it's something new. Bowie's voice is not strong but sharpe and very artistic, just as we knew hem.

Some tracks on this effort is fantastic pieces. My favourites are these: "The Stars(are out tonight)", "Valentine's day", "I'd rather be high", "How does the grass grow" and "You will set the world on fire". On these tracks Bowie exactly knows how to mix popular vibes with more artistic ones. "Valentine's day" is fast and has a catchy melody and something, perhaps in the harmonies sounds Beatles. "I'd rather be high" is a funny work, with edge and progressive intentions. "How does the grass grow" is the best in my opinion. Here the music is frameless and I don't know why but I get a teste of Zappa here. Next track (You will set the....) is poppy and has an up tempo tune with great musicians. All the other song including the title track are good and they all show different sides of David Bowie. This is something for retro lovers but in the same way it's not imitation at all. I can just admit it still happens to come new great albums 2013. It is allways tempting to give a good ands surprising record five stars but that isn't fair. This is really an amazing record with good music but if I am analytical four amazing well deserved stars will be the best.

Also I want to praise all the musicians on this record because Bowie wasn't alone. There are great work by the bassist, the guitarist, the sax man, and the drummer and by everybody here.

To underscore how unlikely it seemed that Bowie would ever make a follow-up album to Reality, The Flaming Lips (with Neon Indian) wrote a song called "Is David Bowie Dying?" in 2011. After his heart attack during the Reality tour, Bowie mostly dropped off the face of the earth, aside from a small handful of guest appearances here and there (and a role as Nikolas Tesla in the movie "The Prestige"), and it seemed that Reality was going to turn out to be his swan-song. I didn't especially mind this, even if it seemingly meant that "Bring Me the Disco King" was going to turn out as the closing track to his career (which wouldn't have been bad, just a little weird), and in the back of my mind I braced myself for the inevitable news that David Bowie had been found dead.

Then, on his (66th!) birthday in January 2013, it was announced that Bowie had finished work on an album that would be released a couple of months later, and the internet exploded. I mostly went out of my way to try and avoid reading specifics about the content of the album in pre-release reviews, but there seemed to be a lot of breathless "DAVID IS BACK AND BETTER THAN EVER!!11!!" hyperbole going on, none of which I was going to buy into. I watched the video for "Where Are We Now" and thought it was decent (it's a gentle Hours-like ballad that sounds much better in the context of the album than as a single), but I also suspected that Bowie wouldn't have come back from a decade-long hiatus to release an entire album of material along those lines, so I was pretty much ready for anything.

Well, the album basically sounds like a sequel to Reality, which shouldn't be shocking considering that Tony Visconti is once again involved in the production. It's not exactly packed with great songs, but it has a lot of good ones, and the combination of (a) the diversity of style and approach in the material and (b) the way he doesn't even try to glom onto contemporary styles makes this into both a very good album and one that will age well. If there's somewhat of a recurring weakness on the album, it's that David doesn't always bother to write good vocal melodies for the more "rocking" material; the opening title track, for instance, doesn't give a great impression in this regard, even if there are some interesting details in the actual playing. "If You Can See Me" gives a similar impression of being a chaotic mess, and "Boss of Me" gets kinda stuck on rambling lyrics that aren't especially memorable. Then again, there are also hard-rocking tracks where everything (vocals and instrumentation) comes together, especially in the breathtaking "(You Will) Set the World on Fire," which goes from a simple-but-heavy riff in the verses to a catchy-as-hell chorus that's one of the best Bowie ever wrote. "The Stars (Are Out Tonight)" is another up- tempo guitar-driven number (with ample use of keyboards and nice production effects in support, not to mention the buried saxophone parts for texture) with a memorable vocal part, and "How Does the Grass Grow," in addition to having an inexplicable (but entertaining) repeated tweaked quote of "Apache" by The Shadows, works really well despite having seemingly only two notes in the vocals at times.

While many reviewers have liked to give special focus on the harder songs, gushing about how this is the most hard-rocking Bowie album ever (which is, uh, I guess a good thing; that would put it above Man Who Sold the World and the two Tin Machine albums I suppose), I quite like the slower and/or gentler numbers as well. Well, I'm not thrilled with "Dirty Boys," which strikes me as tapping into the same unnecessary horn-driven faux- badass vein that Tom Waits did on the Bad As Me title track (I mean, just like that track, this one is basically ok, but it seems calculated to draw a response that it doesn't really deserve). On the other hand, the more eerie and mysterious numbers like "Love is Lost" and the closing "Heat" (an atmospheric drone that makes for a gutsy-as-hell way to end the album in much the way "Heathen" did 11 years earlier), as well as the cheery and poppy numbers like "Valentine's Day" (which combines a happy guitar-based melody with lyrics about a kid shooting up his school), "I'd Rather be High," and "Dancing Out in Space," strike me as great inclusions. I really like the two gentle ballads, the aforementioned "Where Are We Now" and the passionate "You Feel So Lonely You Could Die," as well.

In short, if you don't hate post-70s Bowie, you'll probably like this one. It does seem a little odd to me that Bowie would need until 2013 to make an album that, under more favorable circumstances, could have easily been made in 2005, but then again I don't have much illusion about Bowie's ability to do something truly amazing at this point, so what's here is quite satisfying to me. Bowie's career would have gotten by just fine without this album (I don't feel he had anything left to prove), but very good albums never hurt anybody.

PS: The album cover, in my opinion, is so awful and half-assed that it loops around to brilliant.

Ground control to Major Tom?

Ten years. We had ten years left to cry in?. Oooops?I'm wrong here!

What a long silence from dear David. Almost a miracle! I have to say that I never thought of another album from him; and I was VERY glad when I heard he was issuing a new record. Moreover, when I talked about it with my brother, he assured me that this was a really good effort. So, here we go for another review (after a very long silence of mine).

Well?Most reviews are gorgeous, but I have to say that I am not really in line. There are of course a couple of decent (even good) songs like ''The Stars Are Out Tonight'' or ''I'll Take You There'' but ''Dirty Boys'' is really unnecessary (same comment about ''If You Can See Me'' as well as ''Boss Of Me''). David might have been pleased to release this album after so many years of silence but fans (including myself) were really looking forward for a new trip, but I am overall not very enthusiastic about this work.

Some good melodies (''Where Are We Now'', ''So She''), some decent rock songs (''Love Is Lost''), some déjà vu feeling (''Dancing Out In Space'') which reminds me the ''Let's Dance'' period and some supermarket music (''Valentine's day'') cannot raise this album to the range of masterpiece. And I'm not even talking about prog of course, but that's another topic.

Still, ''The Next Day'' (the album) is a fine piece of music even if there are very few surprises and highlights in here. The title track as well as ''How Does The Grass Grow'' reminds me of good old times (''Heroes''). The ballad ''You Feel So Lonely You Could Die'' is also quite poignant and reminds me of other times (you know: the seventies?)

I am quite surprised that this work rates higher than the superb ''Low'' which is in MHHO (my humble AND honest opinion) the proggiest work from Mr. Davy Jones on this site. Actually it even surpasses such great works as ''Station To Station'', ''Scary Monsters'' or ''Aladdin Sane'' which are parts of MY old time high from the master.

My fave here is the very pop ''Set The World On Fire'': great beat and fine melody are the ingredients. A very good rock song indeed as well as ''I'll Take You There''.

All in all, ''The Next Day'' is not a bad album. But I am just disappointed with the work delivered. Three stars no more. And I cannot be considered to be unfair to the artist. This is called objectivity.

A new David Bowie album is almost irresistible, if only to check out what the old master is up to now, 10 years since his last studio effort. The album cover is tantalising, with the large white square blocking Bowie's visage, taken directly from the infamous "Heroes" album cover.

At first glance one may be mistaken for thinking "The Next Day" was a bootleg with such a cover but it is apparent, as the album gets going, that this is the new Bowie. The first song chugs with an industrial rhythm and Bowie's vocals still hold their own. The title track is not classic though and there is no prog in sight.

'Dirty Boys' is funky with some great sax and a jaunty rhythm. One of the better tracks on offer and very odd wah wah guitar like a throwback to the funk of the 70s. 'The Stars (Are Out Tonight)' has a bright tempo and some nice harmonies from Bowie with a strong drum beat and some great guitar melodies.

'Love Is Lost' utilises 80s soundalike synth pads and pounding drums on an offbeat. Bowie sounds cool as he sings of the darkest hour, your countries new, your friends are new, your house, but your fears are as old as the world. 'Where Are We Now?' is very slow and melancholy, Bowie sounds old and lonely as he croons about memories, a man lost in time, walking the dead."

'Valentine's Day' is a simple pop song with a repetitive hook and certainly one of the lowlights for me. 'If You Can See Me' has a wild raucous musical structure, a ton of drum patterns and quirky vocals. 'I'd Rather Be High' is another pop standard and 'Boss of Me' is notable for the amazing sax playing. 'Dancing Out in Space' is a dancey thing with a strong drum cadence and double layered vox. It sounds similar to 'Modern Love' but not as catchy. 'How Does the Grass Grow?' has a cool groove and forceful vocals, with an anti-war theme. I could have done without the ya-ya-ya's; it sounds a bit dated and kitsch. '(You Will) Set the World On Fire' is a fast paced rocker followed by slow cruising 'You Feel So Lonely You Could Die', another highlight on the album.

'Heat' closes it with a droning synth and wonderful bassline, Bowie is very downbeat and sings with an odd timbre in his voice. I like this a lot too and it is perhaps the best song, certainly the most progressive, even featuring spacey synth and dark atmospherics. The distorted guitar crashes are terrific, and overall soundscape is doomy, especially the drones overlayed on an acoustic and creepy violins; haunting and powerful.

Bonus Track 'So She' has a nice chiming guitar, but 'Plan' is fantastic and definitely one that should have made it to the actual album as it is a catchy instrumental. 'I'll take You There' is the heaviest song and it is a bonus! It is far better than most of the material on the album. the fast paced lyrics are great, Bowie sounds fresh and exciting, and those guitar are crashing with gleeful distortion.

I love a lot of Bowie albums, namely "Ziggy Stardust", "Aladdin Sane", "Heroes", "Scary Monsters" and side 2 of "Low", but this new album does not really hit the mark for me. Apart from 'Heat', there is too much pop and dance stuff, and not enough innovation and edgy material, or even Bowie's trademark guitar riffs and keyboard workouts. I am not saying that Bowie should give the game away, I actually admire his desire to keep creating music as it his passion, but this is a very safe effort, and a major disappointment for an artist I have admired for so many years.

Ok, now it's diggested. EVERYBODY from magazines to all the independent websites have elected Bowie and The NExt Day (2013) in their Top10 lists... Oh that big beautiful hype! This is a very good record? Yes, it is a very good record, and it's good enough as a comeback for Bowie, but best of the year.... well, this is another story.

Will not even mention comparisons to his 70's period (especially because of the cover).... because this is ridiculous!!

Talking about the cover, is worty saying that this artwork is... shameful. I know the intention was to have exactly this feeling, maybe delete himself, who knows. For me he have lost the opportunity to create an unique artwork with this silly Heroes (1977) thing.

Another thing is the drummer of the album, Zachary Alford, that looks like AC/DC drummer, all the songs are EXACTLY the same on the drums. One thing is to keep it simple to make the song work, the other is just being simplist and ruin good songs.

The album itself has some amazing songs, really interesesting like 'The Next Day', the great riff on 'The Stars (Are Out Tonight)', 'If You Can See Me' and 'The Boss Of Me'. The rest feels pretty much like ok fillers. Specially the Space Control kind of feeling in 'The Heat'.

When it comes to Bowie's music I was expecting something more daring. Good, but not quite there.

This is a fantastic album. Alive with detail, variety and interest. Every song flows easily to the next but a few listens informs me of the detail.

First I heard the standard edition. I thought lost of great material but I didn't really get that album hit I expected. Heat is a fine number but not an album closer not for me anyway.

I really do recommend the deluxe edition. There's a couple of remixes that add to the album experience but mostly it is the rest of album - it's really a 3 LP set akin to Shut Up An' Play yer Guitar or Yessongs. 2 /3 of either are fine but the final 1/3... well you can work that one out.

Performances exemplary, every song worked out so well. Nothing questionable Bowie is far too smart and mature to have not have weeded out anything that may not have fitted in with this album.

The roots and orientation of this album references back to the Berlin trilogy and a few ironic sounds from Scary Monsters rears their head. Ignoring the '80s (thank you DB) the music continues on from his 1993 to 2002 area but sticks manly to rock rather than electronica dance sounds - no good nor bad thing, it's just what it is. As it is with Gail Ann Dorsey and Tony Levin supplying bass grooves there is no shortage of groove that can hit head and feet. Rock but ultra modern.

Four stars for the standard edition, more for the Japanese edition or the one with 3 extra tracks - 4 on the Japanese edition. Masterpiece level for the deluxe edition. There you get a DVD (not seen yet - videos for 4 tracks) plus all the interesting bits that get included in box sets. You get the lyrics, separate sleeves, a photo essay all marked Frame, Tracks, Extra, in black on white stark outline. The most puzzling in a book of 20 sides of blank paper marked "You." At least I don't have to put up with the worst thing - that edited Heroes cover. Sorry DB thought that was the worst cover idea since P Tree changing Stupid Dream to look like a promo for a music company. Or that Aphex Twin cover...

So like I say, this is like a 3 LP set and no wonder it took a while to write, record and produce this. Heroes. Low and Lodger took a while, no wonder really (plus some touring).

There are no real obvious hit songs (no Sound And Vision or Heroes) but you may beg to differ. Excellent. If this is the worse that can be said about a superb piece of modern music craftsmanship the bar is set very high indeed.

Bowie released a studio album again after a decade, with a record that, despite the iconoclastic cover, satirizing "Heroes", is a good summary of the stylistic trends he has adopted over four and a half decades: the melancholy à la Low in "Where Are We Now?", the glam guitar solo of "Valentine's Day", the flirtation with electronics of "Love Is Lost" and the alternative rock à la Scary Monsters of the title track and "The Stars (Are Out Tonight)". However, The Next Day is kind of uneven, since after the 6 first tracks, which are all very good, there are some minor songs, like "If You Can See Me". Nevertheless, the two closing songs, "You Feel So Lonely You Cold Die" and "Heat", recover the high level of the beginning of the album in its final stretch.

David Bowie returned with a nice comeback after 10 long years and he looks and hears to be revitalized, full of new energy and motivation. Looking at the album cover, references to former works from the 70's can be expected. After hearing an album you will confirm that but DB does not rest on the laurels and keeps the record natural by sticking to rock receipts as well as mixing slight electronic hints. Solid and well crafted outcome is the result. I don't agree with those that praise the album to be much better than the previous 3 albums, songwriting is at the same level or slightly worse but DB and his team spent more time on production and natural sound. You can hear that all players in the mix are very competent players who don't steal the spotlight, naturally.

The album starts off quite loud and upbeat with the most obvious referene to the 70's - "The next day" that sounds like producted with Brian Eno. "Dirty boys" is made in similar spirit - evocative format, good sound but no much of a songwriting power. The high quality of Bowie's creative writing comes to the surface in the latter tracks which are less about the sound and more about the substance. "Love is lost" is noteworthy for its combination of hypnotic church organ on a synth and modern drums. The ballad of the album is "Where are we now" and is easily one of the higlights with its haunting building melody, sad voice and keyboards. "Valentine's day" has a catchy melody and perhaps some 60's British corns in it.

"If you can see me" is a fantastic prog-rock track with syncopes, steady rhythm and full of ambition. "I'd rather be high" is a brilliant British pop track. "Dancing out in space" has a playful chorus. "(You will) set the world on fire" is an eager and anxious song that can be described as motivational by its name.

"Heat" is a dramatic track with rising cresciendo, full of reflection and a typical Bowie emotional vocal. Warm strings contrast with the dark air in the track. Maybe it was intended as a farewell track at its time.