{"id":152407,"date":"2023-03-09T22:33:00","date_gmt":"2023-03-09T20:33:00","guid":{"rendered":"https:\/\/ngradio.gr\/?p=152407"},"modified":"2023-03-14T22:51:59","modified_gmt":"2023-03-14T20:51:59","slug":"the-next-day-turns-10","status":"publish","type":"post","link":"https:\/\/ngradio.gr\/en\/news-el\/music-en\/the-next-day-turns-10\/","title":{"rendered":"The Next Day Turns 10"},"content":{"rendered":"\n<p>\u201cHere I am\/ Not quite dying.\u201d So sang David Bowie on \u201cThe Next Day,\u201d the opener and title track for an album nobody thought would exist. The song was actually inspired by medieval history, and it set up a collection of music that some critics characterized as more consistently bleak than any other Bowie album \u2014\u00a0all death and violence and tyranny and apocalypse. But this is David Bowie we\u2019re talking about, so there was a whole lot of meta layering to\u00a0<em>The Next Day<\/em>\u00a0and the brief, beautiful epilogue it kicked off in one of pop history\u2019s most storied careers. That line meant something in the context of \u201cThe Next Day,\u201d but in the context of Bowie\u2019s career it was also a big \u201creports of my death are greatly exaggerated.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"David Bowie - The Next Day (Explicit)\" width=\"1170\" height=\"658\" src=\"https:\/\/www.youtube.com\/embed\/7wL9NUZRZ4I?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>For the better part of 10 years, David Bowie had receded from view. In 2004, he suffered a heart attack during a performance in Germany. This marked the end of Bowie touring and a sharp decline in his engagement with the music industry or any sort of public life. He wasn\u2019t reclusive, exactly, but you didn\u2019t see him around much. Now and then he\u2019d pop up, appearing onstage with Arcade Fire or singing a song for TV On The Radio or Scarlett Johansson; he cameo\u2019d on&nbsp;<em>Extras<\/em>&nbsp;and portrayed Nikola Tesla in&nbsp;<em>The Prestige<\/em>, amongst other acting odds and ends. It really seemed that, more or less, Bowie was semi-retired and just having fun and spending time with his family. But the quietness with which he went about everything left the door open for speculation about ailing health over the years, too.<\/p>\n\n\n\n<p>So when\u00a0<em>The Next Day<\/em>\u00a0materialized \u2014 10 years ago today in Australia, a few days later around the rest of the world \u2014 it was a shock to the system. Not only was David Bowie mounting a completely unexpected return, he had also managed to keep everything almost entirely secret until he decided to reveal it. For two years, he had been working away on the album with his longtime collaborator Tony Visconti, a few other familiar names, a few unfamiliar names, and a skeleton crew at a studio in Manhattan. Everyone had to sign NDAs; even Bowie\u2019s label heads didn\u2019t know about\u00a0<em>The Next Day<\/em>\u2019s existence until shortly before the general populace. Then in January of 2013, Bowie released a new single called \u201cWhere Are We Now?\u201d<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"David Bowie - Where Are We Now? (Video)\" width=\"1170\" height=\"658\" src=\"https:\/\/www.youtube.com\/embed\/QWtsV50_-p4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>From the start, there was a reflective quality to this new era, referencing Bowie\u2019s past in multiple ways. \u201cWhere Are We Now?\u201d was a spacious ballad explicitly recalling Bowie\u2019s time living in Berlin during the \u201970s. Though it didn\u2019t fully preview the album sonically, it did set up the stakes spiritually and artistically. The album cover was an explicit callback too, repurposing the iconic&nbsp;<em>\u201cHeroes\u201d<\/em>&nbsp;art with the title crossed out and a white block with the name&nbsp;<em>The Next Day<\/em>&nbsp;obscuring Bowie\u2019s face. While some people heard&nbsp;<em>The Next Day<\/em>&nbsp;as a logical continuation of Bowie\u2019s early \u201900s releases&nbsp;<em>Heathen<\/em>&nbsp;and&nbsp;<em>Reality<\/em>, the whole premise of the project seemed to nod to his hallowed art-rock days, the Berlin albums and their immediate predecessors and successors.<\/p>\n\n\n\n<p>There were ways in which\u00a0<em>The Next Day<\/em>\u00a0looked back at all the versions of Bowie: \u201cValentine\u2019s Day,\u201d \u201c(You Will) Set The World On Fire,\u201d and \u201cYou Feel So Lonely You Could Die\u201d all had vestiges of glammier early \u201970s Bowie, and a few songs had the faintest hints of mid-\u201970s cocaine-funk Bowie. But maybe all those years soaking up \u201900s NYC indie \u2014 a good deal of which owed Bowie a major debt \u2014\u00a0had led him back to the stuff that, was at that point in time, his \u201ccoolest\u201d material. From the title track\u2019s corroded strut, to the skronking \u201cDirty Boys,\u201d the eerie pulse of \u201cLove Is Lost,\u201d the icily bugged out \u201cIf You Can See Me,\u201d and on and on, Bowie was successfully exhuming the ghosts of\u00a0<em>Low<\/em>,\u00a0<em>\u201cHeroes\u201d<\/em>,\u00a0<em>Lodger<\/em>, and\u00a0<em>Scary Monsters<\/em>.<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"David Bowie - Valentine&#039;s Day (Video)\" width=\"1170\" height=\"658\" src=\"https:\/\/www.youtube.com\/embed\/S4R8HTIgHUU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>The very fact that there was a new Bowie album, and it drew upon his most critically respected era, and that it didn\u2019t suck, led to a kind of feverish response. People were falling over themselves calling it his best since the early \u201980s, or one of his finest albums period. As far as Bowie\u2019s latter decades go, many of his \u201990s albums have gotten their rehabilitation over the years, but you could still say&nbsp;<em>The Next Day<\/em>&nbsp;stands strong against most of them. Bowie is one of my favorite artists, and even I can\u2019t say I\u2019ve returned to&nbsp;<em>The Next Day<\/em>&nbsp;a ton in the last 10 years \u2014 but upon revisiting it, most of it holds up.<\/p>\n\n\n\n<p>Not everyone was over the moon back then though. The detractors said it wasn\u2019t innovative in the way of Bowie\u2019s past highs \u2014 which is pretty much inarguably accurate.\u00a0<em>The Next Day<\/em>\u00a0might\u2019ve been a bit overstuffed, and the sound of it definitely settled on a kind of middle-of-the-road modern rock sheen. It was often too clean, its weirdest songs in danger of being hemmed in by the slickness of it all. Even if the U2-esque lead guitar on \u201cI\u2019d Rather Be High\u201d was pretty great, it was still the sound of Bowie settling into an aged sound more polite than transgressive. Still, there was much more vitality and creative curiosity in it than what most 66-year-old classic rockers were mustering. If it had turned out to be one last transmission, it would\u2019ve been a nice finale. But, it turned out to be a throat clearing instead.<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"David Bowie - The Stars (Are Out Tonight) (Video)\" width=\"1170\" height=\"658\" src=\"https:\/\/www.youtube.com\/embed\/gH7dMBcg-gE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>In late 2015, Bowie kicked off another album cycle as suddenly as he had&nbsp;<em>The Next Day<\/em>. The startling, 10-minute \u201cBlackstar\u201d preceded another album, also titled&nbsp;<a href=\"https:\/\/www.stereogum.com\/1851252\/album-of-the-week-david-bowie-%E2%98%85-blackstar\/reviews\/album-of-the-week\/\"><em>Blackstar<\/em><\/a>. It arrived on Bowie\u2019s birthday in early 2016, three years to the day after \u201cWhere Are We Now?\u201d and bearing a lot of music that asked that question much more urgently. After wandering through the past, Bowie had rocketed off to\u2026 somewhere.&nbsp;<em>Blackstar<\/em>&nbsp;was one of the most experimental turns in a wildly unpredictable catalogue, cosmic haunting jazz-rock that suggested Bowie was primed for one of those rare final acts where an artist departs from pop music and ventures out into the ether. There was precious little to prepare us for this; years later, you can maybe hear hints of where he was going in&nbsp;<em>Next Day<\/em>&nbsp;tracks like \u201cIf You Can See Me\u201d and \u201cHeat,\u201d but&nbsp;<em>Blackstar<\/em>&nbsp;was mesmerizing on a whole different level, and remains so seven years later. Then, three days after he released the album, Bowie died.<\/p>\n\n\n\n<p>After all those years where people thought Bowie might be dying, he had come back to us, and then just as secretly as he\u2019d constructed his return, he also quietly fought cancer for 18 months before it took him in January of 2016. After-the-fact revelations abound, when&nbsp;<em>Blackstar<\/em>\u2019s meaning suddenly became so much clearer \u2014&nbsp;an album littered with references to mortality and death just as&nbsp;<em>The Next Day<\/em>, but now in the form of Bowie staring out somewhere into the universe knowing he was actually near the end of his life. When it was all over, Visconti was once more the mouthpiece, telling everyone Bowie had intended it as his final \u201cparting gift.\u201d<\/p>\n\n\n\n<p>It\u2019s impossible to not have\u00a0<em>The Next Day<\/em>\u00a0become overshadowed when it was followed by\u00a0<em>that<\/em>. There\u2019s also the fact that, contrary to the hyperbole that accompanied\u00a0<em>The Next Day<\/em>\u00a0and despite a similar intensity springing up around the loss of Bowie,\u00a0<em>Blackstar<\/em>\u00a0actually\u00a0<em>is<\/em>\u00a0one of his best albums. But 10 years on, you can almost view it as a package deal. Who knows what Bowie planned before he got sick, but what we got was a two-part goodbye. On\u00a0<em>The Next Day<\/em>, he started the machine back up and rifled through his back pages. It cleared the way. The man who always turned his life into art had done it one more time, wrangling with everything he left behind and mortality, re-emerging in elder years for one more voyage.<\/p>\n\n\n\n<figure class=\"wp-block-embed-spotify wp-block-embed is-type-rich is-provider-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: The Next Day\" style=\"border-radius: 12px\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/album\/16F7X7WOFZhMwQNsMil7lq?go=1&#038;sp_cid=672862ec89bece950f4e9efd28a6895c&#038;utm_source=oembed&#038;utm_medium=desktop&#038;nd=1\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><a href=\"https:\/\/music.apple.com\/us\/album\/the-next-day\/590825692\">https:\/\/music.apple.com\/us\/album\/the-next-day\/590825692<\/a><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>Source: <a href=\"https:\/\/www.stereogum.com\/2215798\/david-bowie-the-next-day-turns-10\/reviews\/the-anniversary\/\" target=\"_blank\" rel=\"noreferrer noopener\">stereogum.com<\/a><\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u201cHere I am\/ Not quite dying.\u201d So sang David Bowie on \u201cThe Next Day,\u201d the opener and title track for an album nobody thought would exist. The song was actually inspired by medieval history, and it set up a collection of music that some critics characterized as more consistently bleak ...<\/p>\n","protected":false},"author":6,"featured_media":152408,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4547],"tags":[17008,18196],"class_list":["post-152407","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music-en","tag-david-bowie-2","tag-the-next-day"],"acf":false,"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The Next Day Turns 10 - NGradio.gr Music The Next Day Turns 10<\/title>\n<meta name=\"description\" content=\"\u201cHere I am\/ Not quite dying.\u201d So sang David Bowie on \u201cThe Next Day,\u201d the opener and title track for an album nobody thought would exist.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ngradio.gr\/en\/news-el\/music-en\/the-next-day-turns-10\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Next Day Turns 10 - 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