Blackstar

I’ve never been one to feel particularly attached to celebrity, but that day in 2016, waking to the news that David Bowie had died, I was deeply saddened. During my stop for coffee that morning, the look on my face must’ve said it all…the cashier handed me my coffee and said “Today’s kind of a bummer, isn’t it?” “Yeah…I loved Bowie. It sucks,” was about all I could muster and the clerk nodded in agreement. In retrospect, it was a nice moment: Being brought together with someone I only had a casual acquaintance with over David Bowie, even if only briefly, was a testament to Bowie’s unique greatness. I did all the things that day that you were supposed to do: I listened to Bowie on the way to and from work, talked with coworkers about our favorite songs, watched the videos of people gathering all over the world to celebrate his life and posted photos and video of my Bowie vinyl collection to instagram. The one thing I didn’t do, was listen to Blackstar. It had come out only a day or two earlier and was cast in an entirely new light after the news broke. I just couldn’t do it, I wasn’t ready. I needed to spend more time with my favorites before I could say goodbye. I must have listened to Station to Station, Low, Scary Monsters a dozen times each that week. Well, weeks turned to months, months to years and here I am, more than 6 years later…really, truly digesting Blackstar for the first time. That’s not to say I haven’t heard it before. I’ve listened a handful of times in the last few years, but it’s been difficult to want to come back to it, to confront it for what it is: David Bowie saying farewell. It’s a difficult record: musically, lyrically and, for me, emotionally. Blackstar is a record that you need to come to terms with. I’m not sure it’s a record I’ll revisit frequently, even after spending the day today replaying it. Ultimately, it is a rewarding listen, ranking among his best, and I suspect that as sad as I was to say goodbye, the same went for David Bowie.

Ah yes, the classic "artist has recently died so let's pretend that their weird-ass, self-indulgent final album is actually a genius masterpiece".

Meh. If the man didn't die a couple days after the release, would it really be praised as much as it is? No disrespect to the Bowie. The response to this album is inflated. It's a mess IMO

What is there to say about this project? It's one of the best swansongs in popular music, and is a personal favorite on top of being my de facto introduction to Bowie qua Bowie (the absolute introduction was the Guardians of the Galaxy soundtrack, but that was Ziggy). It's jazzy without being incomprehensible, but also avoids going pop: This thing is incredibly depressing. Repeated listens have only revealed more depth. As a musical idea, it's probably slightly less than perfect. I believe, though, that it's better as an album for it: It's only fitting that Bowie went out stretching a bit. And while we're talking about perfection, Lazarus is without question a perfect song.

What a legacy from a genius artist... the atmosphere of this album is haunting but beautiful!

Less a swan song and more a swan opera. But it's not maudlin. It's reflective of a life being one of the defining voices in both the art and music of the 20th century. It's a man coming to terms with his legacy. A star slowly fading but still there in the sky, glimmering. You can't quite see it. But it's in heaven. It can be a hard listen, but an important one.

Lots of artists talk about death. None have presented their journey, emotions, or physical experiences, as honestly and vividly as Bowie did while the horizon approached ever closer.

Awesome album, and the context around is next level. Releasing a track called Lazarus with lyrics like "Look at me, I'm in heaven", on an album released 2 days before you die? Very meta.

Zero bad tracks - Lazarus and I Can't Give Everything Away are tops

A haunting vision of mortality. This is one of those albums that gets better and better with repeated listens. Best track: I Can't Give Everything Away

Almost immediately - and I hate having a knee-jerk reaction - I come back to my usual Bowie thoughts: I really don't like him as a singer at all. It's not just his voice, it's the affectations and the style. Obviously a personal taste but it has always been nearly-impossible to get around. His album "Low" was a rare project where his voice didn't seem to be the main instrument and was more a part of the environment, which resulted in a different sort of album I enjoyed. This one had hype upon its release (because of Bowie's concurrent death) but I'd never listened before. And yeah - his vocals are often horrible. Apologies if you loved the dude. Music is wild but too often in a bad way. e.g. "Sue" is difficult to get through. Also stop already with the yodeling on "Girl Loves Me" Positive: I actually like "I Can't Give Everything Away" - would have loved more of this. I just have to settle on the fact that I don't really like Bowie's music overall and I look forward to the next 74 albums I'll have to listen to of his on this list... 4/10 2 stars.

I expect a lot from David Bowie. I know that this was his last album and he was dying while making this record, but I am just not a fan of this one. This doesnt even come close to Ziggy Stardust or some of his other albums. Girl loves me was a solid song. I liked the ending of the last track too. A lot of different noises and sounds on this record. He was a special artist. 3/10 he has much better albums.

Cancer, very sad.

It’s rare to find an artist that is consistently making incredible and forward thinking music this far in their career. With David Bowie’s last album, he once again reinvents himself and comes back with an album that is musically interesting and lyrically mysterious. His death in the wake of this album release may have given context to the lyrics, but this album stands on its own.

So bad, I never want to hear any of this crap again

Nope. I never got the whole Bowie thing. I find most of his stuff dreary and droning. I quite literally fell asleep trying to listen to this. There are some interesting song ideas here, I guess, but then Bowie drones all over them. I still don't get the Bowie thing.

Bowie's farewell album. I hope he's had a safe journey back to the far away galaxy he came from.

I walked into this one blind with the preconceived notion that it's impossibly overrated due to the fact that Bowie shuffled off his mortal coil just days after it was released. Obviously Bowie knew he was dying as he was making this, and many made a big deal about the "Look up here, I'm in heaven" line that opens "Lazarus". And realizing that the opening title track was close to ten minutes long didn't help create any excitement for me as I dove in. I was elated to find out all of this album's praise is well-deserved, and I ended up listening to the entire album in its entirety multiple times. As far as Swan Songs go, it's not quite Abbey Road, but it's a perfect send off for Bowie and right up there with Hunky Dory and Ziggy Stardust as his best albums. It's a beautiful and haunting - and yet somewhat not depressing - final bow. I'm not crazy about the album cover. It would have been poetic to instead have that final photo ever taken of Bowie, the one his wife Iman took of him smiling and holding a cigarette.

Pure unadulterated genius. Quietly and secretly taking the time to construct a final masterpiece before an unexpected and unannounced departure is something only Bowie could pull off. And it is a masterpiece, no doubt about that. What a badass baller move, man. Fucking Bowie. Even in death he's an innovator far ahead of our time, the likes of which we'll never see again. A rare, perfect gem, that blazes (that's right, BLAZES, not shines) brighter than any other. Thank you.

The word "genius" is thrown around too easily in music, but there's no other word to describe Bowie. This is dying as performance art. Should we have expected anything less from him? Not only that, but how many musicians are still transforming themselves on their 26th (!) album? Every track is brilliant and all the more deeper for the fact that he knew he was dying (although a few of them predate his cancer diagnosis). The song "Blackstar" is haunting - the 10 minute video is worth watching - disturbing and cool at the same time. "'Tis a Pity She was a Whore" - frenetic jazz over a driving bass line (that makes me think of "The Talking Drum" by King Crimson every time). "Lazarus" - this was the first one I heard off the album, seeing the video just after he died. Watching/listening to him sing "Look up here, I'm in heaven" was eerie (and still is). Again, death as performance art. "Sue (Or In a Season of Crime)" - the lyrics are a fun (?) descent into darkness. Almost like Poe - it also reminds me of some of the music on his album Outside (one of my favorites). "Girl Loves Me" - love the lyrics using words from A Clockwork Orange. Just another incredibly cool track (like all of them - let's also take a moment to acknowledge how awesome his band is on this album - also, how powerful is his singing on this album??). "Dollar Days" - this one is really tough to listen to, knowing that he was dying - the line "I'm dying to..." meant to be heard as "I'm dying, too." Is it a wail of despair or a cry of effort to make his last statement? Plus, that ending is so majestic with the combination of the sax solo, guitar line, and Bowie repeating "I'm trying to, I'm dying to." Man. Finally, "I Can't Give Everything Away" is just a beautiful ending to an amazing album and life. RIP genius and thanks for this beautiful, dark coda.

Where do I start with this wonderful parting gift Bowie left us with? What a wonderful fusion of modern electronic, rock, and jazz. How wonderful to hear wind instruments in contemporary pop. How great to listen to lyrics that aren’t afraid of non political correctness yet are also meaningful. Truly original and creative, and probably the best album of its decade. Blackstar the song is easily the best of its decade. Thank you, Bowie. I miss you

“And the clock walts so patiently on your song” Listening to him sing Lazarus is so sad. We love Bowie and he made this album for us on his deathbed. I've been trying to learn Bowie's "Soul Love" on guitar recently so I have been listening to it on Spotify. It has only half the number of plays that the song Deathstar does. If I could put my objective hat on, I would question if Bowie fans really don't like Soul Love as much. But I can't get my objective hat on today; it just doesn't fit. Rather than spending his last 6 months with his loved ones he spent the time making an album for us.

This is one of the best albums I've ever heard. I'll never forget the first time I listened to it. A song or two were released prior to Bowie's death, but when the album came out, Bowie had just died or died within days of it. The album is as perfect a mix of who Bowie is than any record I've heard from him. Brilliant musical pieces with depth and lyrics that haunt me to this day. A beautiful, tragic, and complete album that delivers beyond the music and lyrics. I can't say enough about this album.

Bowie has a perfect score with me so far with the albums that have appeared. His last album is as daring and creative as his many others, and it without a doubt cements him as the greatest solo musician in popular music of all time. Creative genius. It is tough to separate the spooky vibe of the album from his death shortly after its release. And because of that, we inherently must praise this album as it carries with it a tribute to all that made Bowie a legend.

Qué brutalidad de disco. Qué brutalidad el momento en que se estrenó. Nunca he sido mucho de comprender las letras de las canciones y acá no va a ser la excepción pero qué brutalidad la de David Bowie. Hasta las palabras tienen melodía. Qué brutalidad los brasses y las percusiones. Los poquititos riffs bien selectos. Qué pinche discazo. Brutal.

This is special to me because of when and how it was released, two days before his death, like a gift for us all. Maybe not his most immediately memorable tunes, but the jazz guys playing rock, lush production and the lyrics imbued with depth and sense of mortality make this very special. A last loving note to us, his fans.

This is a very powerful and emotional album. Musically, it is one of Bowie's best (he is variable, for example I really did not like Aladdin Sane last week). Blackstar is really good with lots of influences (jazz and others) and excellent musicians but it is still very Bowie. BUT just listening to the music at face value doesn't do full justice to the album. In Bowie style, he made himself part of the art, not with an alter ego this time, but as his very self. What a way to say farewell as a musician and artist, bringing out such a work and dying two days later. The context transforms this 5* album in a bigger fatter 5* album. What a performance.

Blackstar Where The Fuck Did Monday Go? I don’t think I’ve listened to this since it appeared, and then when he orchestrated his death as part of the artistic statement. I remember thinking it was a great album, but I’ve only rarely revisited since, as it all feels a bit sad. So it’s great listening 9 and a bit years on, and it's clear at this remove that this is a truly excellent album in its own right, irrespective of the sadness and death and legacy. And it’s probably worth 5 stars for the opening track alone (and another 5 for track 2, and trac 3, and so on). But when you do factor in his death and how and when he recorded it, it gives the album a genuinely affecting resonance and fall of light. References to death and existence and mortality are everywhere in the lyrics and, I think, in the celestial harp sound at the very start of and throughout Blackstar. But it’s never maudlin or self indulgent, and neither is it cold or detached, it seems to tread the line between the two, balancing introspection and playful curiosity. Musically it’s dense and weighty but simultaneously ephemeral, it glides and skims as well as anchoring itself, and it feels like there are musical references to his past too, some drum and bass, some Station to Station-ness. The percussion is also incredible throughout, and I love the jazziness, it really suits some of the sombre and discordant tones. The title track is superb, maybe one of his best songs, the skitteriness and synth bass before it moves into the second part with the ‘Something happened’ lyric and nagging refrain. ‘Tis A Pity She Was a Whore is incredible too, it feels strangely disconcerting and creepy, and the agitated playing is fantastic. Lazarus has a slight Roxy Music-ness to it, and a great, mesmeric groove and superb, moving lyric. I like how it shifts slightly with the gritty, funk guitar and slightly echoey, ecclesiastical sounding vocal of Sue, the combination creates a great bit of tension and strain. Girl Loves Me is another amazing song, the hook is extremely catchy and I love the James Murphy assisted funereal-synth feel. Dollar Days of course has the dying to/too pun and despite the melancholy lyrics has a slightly hopeful feel to me, flowing fantastically into the serenity of I Can’t Give Everything Away. It’s a brilliantly sequenced album, moving gracefully from anxiety and restlessness into acceptance and a sense of stillness and peace. I’ve listened to this a lot over the past couple of days, I just kept wanting to come back to it, and to be able to orchestrate this as his swansong is unbelievable, knowing he was dying and making one of his best albums is absurd really, and to make an album about mortality that is so full of life, that makes you want to come back to it. It’s probably only really matched as a eulogy to en ending by Abbey Road. 🖤🖤🖤🖤🖤 Playlist submission: Blackstar

5 black stars

Where the fuck did Monday go? -> apt lyric because I'm listening to this on a deadbeat Monday which I'm subbing in as the weekend because I had rehearsals all day during the real weekend. Anyway. I got so into this. The murky, tense grooves of track 4 and 5 are deliciousss. His voice and delivery is perfection. Also at one point my headphones got out of sync and it still sounded good, just even more arty, which is surely the mark of a good song lol. And what a farewell. I Can't Give Everything Away didn't make me cry, instead it gave me a sense of satisfaction, of joy and pride about Bowie's life and what he did. Beautiful and dazzling creative to the end <3

One last masterpiece by Bowie

Day339 - i loved this the day it came out and it just gets cooler every listen

Haunting and awesome.

If I had known that I would die within a day, then this album definitely became the final sketch of my life path. Everything is perfect in it: from the musical part and vocals, to the images that Bowie builds for us. This is a requiem, an epitaph that Bowie left in this world and this is what deserves every minute spent listening to the album.

To the very end of his life (which came just two days after Blackstar’s release), David Bowie was unafraid to dip his toe into new musical waters; long past the point of having to prove anything to anyone, he still drew inspiration from hip hop and electronic music, art rock and jazz, blending it all into a dazzling, deeply emotional sonic symphony that stands with the very best of his work. A beautiful end to a singular life.

Bowie's 26th and final studio album. There has been a lot written on the songs and their meaning pertaining to his impending death. It is pretty clear that a number of them are written addressing exactly that, especially given the timing of the album's release and his death two days later. This album was recorded in NYC with a jazz quartet. As opposed to telling a bunch of studio rock musicians to try and play jazz, this was the opposite, have a jazz quartet play like rock band. Well, I think this is sort of true; they still sound very much like jazz but is one the reasons it has a very unique and great sound. The more you listen to this album, the sadder it kind of becomes but the more you appeciate the orchestrated final act of Bowie. Every song kind of has a majestic feel to it; Bowie's voice with a complex and improvised jazz backing. "Blackstar" has a unique percussion, sounds more like an orchestra and makes allusions to his impending death. Similarly, the lyrics in "Lazarus" stress how one day soon he'll be free and in "Dollar Days" how he'll never get to see the English evergreens hell try to get to. Maybe, my favorite song for the music is "I Can't Give Everything Away" with its improvised jazz. There are so many great last albums for artists to say this is the best but it ranks up there and I don't know if there is one that so specifically conveys it is the swan song.

Black Star is the most perfect requiem ever written. David Bowie knew he was dying and injected that last months of soul searching and reflection into this album. It was heart wrenching to listen to its for the first time a feq days after he had passed away. I one way it felt ghoulish but for the most part it was a fitting tribute and parting gift from an artist that has meant so much to me.

felt like I was at a party at a New York apartment that had really gorgeous big art and huge sofas and I’ve taken a pill and I’m coming up slowly and then it all went a bit weird and and then it just got really good and I was just moving my body and melting into the sofa.

This man changed my life and sculpted so many of my musical tastes. This album is yet another serving of his endless creativity: unique, exciting, tragic. This heavy dish is not for easy listening.

I can’t speak from experience, but I figure it must be very difficult to make a swansong album. On top of knowing your end is at hand (mentally and physically), but you must also leave your fans with something good to remember you by. I remember David Bowie’s passing somewhat well, but never heard that he released an album two days prior to his death. I’m regretfully not well-versed in Bowie’s discography to say whether or not it’s the perfect end for him, but as a stand-alone album, it is a great swan song. Lazarus in itself feels like a proper emotional goodbye to a legendary artist. Blackstar in its entirety presents classic Bowie with hints of art and experimental jazz. The result is an album that as haunting as it is reflective. I can’t say it was perfect, but for what it is, it works well. It’s a very fitting goodbye for someone such as David Bowie. Favorite track: Lazarus Other hits: I Can’t Give Everything Away, Dollar Days, Sue (Or In A Season Of Crime), Tis A Pity She Was A Whore

An exotic, beautiful and haunting trip through the mind of a musical genius coming to terms with his own death, ★ is an essential album to any Bowie fan. In face of extreme adversity, David Bowie managed to succeed in originality, sofistication and emotion in nearly every song. Truly a powerful statement to end a legendary career.

Not sure if this is up with Bowie’s greats, but each of three playthroughs moved me, and I love the atmosphere of this record, circumstances of its making perhaps playing into that. The skittish drums, the sax-playing that calls back to when it was used as an instrument of manic intensity with the Stooges, and Bowie wringing his ghostliest dregs out of his voice are my first notes on what makes this special. I’m reminded of his Berlin records, as this is largely mood music with some exquisite song-songs in between. This was the record that made me realise - belatedly, of course - that his authenticity was in his theatricality, which he maintained to his death, and is still bold. I am excited to see what Simon thinks!

When I first heard the title track on the radio I was stunned - excited for a new Bowie album for the first time since Outside 20 years ago (then)! And so it is, with new ones always viewed as "his best since..", this one was easily the most *interesting* since Lodger. Its (almost immediate) poignancy adds to the mystery. What an unbelievable talent, what a legacy

4 At the risk of coming off as melodramatic, I feel like I have to start this review off by saying David Bowie’s death is still the one that has upset me more than any other famous person to date. I can remember exactly when and where I was when I heard the news - on my way to my morning class at the Psychology building at Michigan State University… and I cried. I previously talked about what the man means to me in my Hunky Dory review, so I won’t get too into that here, but January 11, 2016 was a sad day in history for me (he passed the day before, but the news didn’t break until the next day… no pun intended) Anyway, sorry for the schmaltzy anecdote, but I do believe his terminal diagnosis and eventual death is important context for the listening of this album. These songs were knowingly his final creative offerings, his final testimony, and a final thank you to the world and those who loved him. Musically, it sounds unlike anything of his released prior - I think the closest comparison would be the soundscape of the Berlin Trilogy, but even then this feels distinct in that it relies more on a jazz backdrop than an electronic one. Supposedly Kendrick Lamar’s To Pimp a Butterfly was a huge influence, which I’ve always found fascinating. I think it speaks a lot to Bowie’s musical passion that a modern icon of a completely different genre could influence and inspire him this late into his career (reminds me a bit of Johnny Cash and Hurt). Lyrically, the album is filled with introspection and reflection upon a career and life that was unapologetically brazen. However, it definitely adds a certain haunting element to the music - I mean, look at the first verse of Lazarus: “Look up here, I'm in heaven I've got scars that can't be seen I've got drama, can't be stolen Everybody knows me now” Chills. So, that all being said, this isn’t my favorite Bowie album, nor do I find myself picking out individual songs to listen to on it often. I would even say there are some minor misses for me here in ‘Tis a Pity She Was a Whore and Sue (Or in a Season of Crime), which I don’t feel like quite fit the rest of the album tonally. Yet, as a whole, the complete package is a unique piece of art that feels cathartic whenever I decide to listen, like another chance to say goodbye to an old friend. It may not be perfect, but it’s an excellent bookend to the career of an artist who only falls to this Earth once in a lifetime.

I remember the double whammy of having this drop and then Bowie passing shortly after. With that retrospect, it’s clear this LP is both a reflection on and confrontation of mortality. Not all the new instrumental ideas work, but there is an overall feeling of completeness and tempered celebration that makes the album flow despite its rougher sections. Few of us will have the chance to eulogize our own death beforehand, but then again no one was quite like Bowie.

The mythos of this album is something otherworldly; the music is, too, but like much that is alien, it’s at times challenging to fully comprehend.

Very cool very swag I like

It’s weird that it’s been five years already. I’ve never really listened to this one, so far it’s melancholic but 100% Bowie. He knew he was close to the end.

David Bowie delivers again, this was utterly haunting and danced around into at times what felt like 11 different genres. Just experiment after experiment, with every track bringing something unique and I really appreciated it all. RIP Bowie.

I can't be the only one who heard Bowie was releasing an album called Black Star and assumed it was about his wife. It isn't, color me surprised. Another surprise is that I actually found myself enjoying the rest of this album much more than I did when it was first released. It can be a little indulgent but the soundscape is awesome, particularly the sax that appears throughout, the guitars on Lazarus and the synths on Cant Give Everything Away. A lot of beauty in the lyrics but its also a little weird hearing a skeletal geriatric sing about looking for ass in the big apple. However, although I know very little about David Bowie's music, this feels authentic. High 3* for me.

This album immediately reminded me of another on this project: "You Want It Darker" by Leonard Cohen. Like Cohen, David Bowie seems to have a level of premonition about his own lingering death. The music, lyrics, and tone are all a bit eerie, even for Bowie, and possess a certain level of gloom throughout the album. Hearing a heavier than usual jazz flair from Bowie was also quite interesting. I tend to prefer Bowie more in the glam sphere, but the decision to go more jazzy was certainly intriguing, and what I believe to be an intentional decision to create some artistic contrast and dissonance. Bowie was no stranger to experimenting, and I feel like this album is no exception. This album defies falling into any one sound or genre. This album is also busy, and not necessarily in a bad way; there are many things going on in the tracks that paint a bizarrely beautiful picture. This is not my favorite iteration of Bowie, but it's certainly a captivating iteration nonetheless. Bowie went out on a high note with this album, reminding us why he was and continues to be a king of the weird.

Enjoyed Blackstar, Lazarus and Dollar Days. Found some of the other songs a little less enjoyable. It is Bowie so I came into the listen knowing that there were going to be some quirkiness. Probably should be on the list because of influence and last album.

Controversial opinion but this would've flopped if Bowie hadn't died like immediately after releasing it

Last album by the great. It’s really hard to judge considering how it was written. But it is also hard to listen to

I am frustrated by the curve on which we as a society grade an aging artist's late-career projects that have no actual cultural or chart impact. It's like the bullshit "lifetime achievement award" to pay your respeks. "Oh wow, so brave, good for you still out there making music." Who honestly wants to this self-indulgent shit instead of a contemporary artists at the top of their game. Listen to his back catalog and then this and tell me they are being judged the same way. I DGAF if he died, this still sounds like shit. I'm sick of everyone pretending this kind of stuff is good just because of the artist's "legendary" status.

Álbum titânico. Monumental. Lendário. Consigo contar nos dedos quantas vezes música me levou a chorar, e uma delas foi a primeira vez que eu ouvi esse disco, com a notícia da morte de Bowie ainda em primeiro plano. Que perda... Induvidavelmente, o maior artista que já viveu. É estranho ter esse álbum como o primeiro do Bowie que recebi aqui no projeto. No meu ranking de sua discografia, ele está em oitavo. Mas não interprete isso como um afronte a esse álbum, mas sim como um testamento do quão fantástica e expansiva é a discografia do Bowie. Que um capolavoro como esse ficou em oitavo. Entenda, Bowie lançou discos desde o final da década de 1960. Não dá pra imaginar um artista daquele tempo lançando um de seus melhores álbuns em 2016. A ideia é ridícula, absurda. Mas Bowie foi lá e fez. Histórico. Esse álbum é a culminância de todo o corpo de trabalho do Bowie depois de tantas décadas gravando. Você encontra vários elementos da carreira dele aqui dentro. É um álbum forte, sua última mensagem pro mundo. De certa maneira, ele me lembra muito o Closer do Joy Division. Os temas fúnebres vão muito além da instrumentalização (fantástica, inclusive, que banda fenomenal que ele juntou para gravar aqui). A voz dele nesse álbum é inexplicável, seus gemidos e palavras suplicantes. A produção é fantástica e destaca cada elemento na medida exata. Sonho para audiófilos! Compre o CD e ouça ele bem alto. Bowie te abraça e beija sua testa. A alma dele transborda do começo ao fim. Fantástico, lindo, emocional. Ouça a discografia inteira do Bowie em ordem cronológica. Todo mundo deve fazer isso ao menos uma vez na vida. Ao chegar em Blackstar, é impossível não se emocionar. Que vida, que talento, que perda. Amo você Bowie. Sempre te amarei.

Aweso.e death mask

I'm going to allow myself to be a bit of a hipster on this one and say I already loved this album before Bowie died. I know it was only two days, but this became my most anticipated album of 2016 after the title track came out on the previous October and knowing that "Sue (Or in a Season of Crime)" was also going to be on it. (not the original version with Maria Schneider, which is also great, but a new one with LCD Soundsystem main man James Murphy). This is Bowie fully indulging in his Scott Walker aspirations, streching songs out, playing with structure, and filling them with surreal narratives. For Bowie, however, those narratives seem to come from a more personal place, and after his death it became easy to read (too much) into these songs to extrapolate their meaning. I remember early reviews were mildly positive on the album in lead up to its release and then immediately changed their tune by the end of the week. I also remember I did a full Bowie marathon in the days after his death while studying for a college exam. Regardless if someone enjoyed this right away, jumped on the bandwagon later, or never really gotten into it, it cannot be denied this was a triumphant ending to an already impressive body of work, and the way Bowie managed to turn even his own death into an art piece. Truly the mark of a Great Artist. Key tracks: Blackstar Lazarus Sue (Or in a Season of Crime) Girl Loves Me I Can't Give Everything Away

Remarkable album. I want it on repeat.

Such an amazing record, what a way to go out on

Bowie has been a muse and guide for me since my youth and I've loved everything he ever recorded. I am still not at peace about his death, and as a result I've only listened to this album a dozen times or so. I always imagined that Bowie truly was untouchable and that death would not take him. This album breaks my heart. It's genius but I can't accept that it's over. I want to take the rest of my life to get to know these songs.

Of the "Big Three" of farewell albums (being this one and those of Johnny Cash and Leonard Cohen), this is the one I was least familiar with. I find that for both Cash and Cohen, their final works are among my favorites of theirs, so I was excited to get this one generated. I found it a bit different from the others... where "When The Man Comes Around" is about Cash looking back at his life, and "You Want It Darker" is about Cohen looking at his impending death, this feels like an album by a ghost who is already dead. I found it less devastating and more... haunting. I think part of this relates to the cultural context in which Bowie died just a day or two before the album's release, whereas Cohen lived for another few weeks and Johnny Cash lived another year. However, it can also be heard in the music. From the lyrics ("Look at me, I'm in heaven") to the music videos, to the much grander Jazz instrumentation, this album feels like it, more than any other work by any other artist, is meant to mythologize Bowie's life and death, where he's fully embracing his mythical persona and abandoning the material world. Also shoutout to the Jazz musicians who he got to perform on the album. They really tie it together. Favorite Track: Blackstar

Wow. I first listened to this when Bowie passed away, and this record still resonates just as much as it did then, back in 2016. Full of existential anxiety; this really is a beautiful parting shot from one of music's greats, and my favourite Bowie album by a long way. A true genius in every sense of the word. Favourite tracks: the whole thing.

First album I already had in my listening repertoire. A masterpiece!

Blown away by this album and shocked I was so out of the loop when it came out and Bowie passed. He's quickly rising to be one of my favorite artists thanks to this project. Blackstar the song feels particularly heavy after knowing the context of Bowie's passing from liver cancer 2 days after the album released. Side note, you can really feel Kendrick Lamar's TPAB influence on this album which I think is really cool and unexpected.

Such a great swan song album.

Throughout the completion of this 1001 album project, my 1* reviews can be summed into two themes: especially awful music, and “why this?”, with the latter warranting a more cutting review about why the album was ever chosen to be featured. My 5* reviews, on the other hand, have exclusively been within the theme of especially excellent music - until now. Blackstar is a “why this?”, because the “why” is beyond something any nice sounding record can do. Blackstar fills me with gentle assurance. The artistry, to be handed a terminal diagnosis and respond with a grin. “Watch this”, I imagine him thinking. Even in death, another artistic reinvention - his final form - enshrouded and buried, and showing that art can be found in all things.

Masterpiece

Oh hell yeah, I was literally just thinking about putting this album on because it had been a while since I last listened to it! It’s amazing that Bowie was still at the top of his game right up until the end. Rest In Peace Starman! Favourite tracks: like all of them, but if I had to pick Lazarus, Sue (or in a Season of Crime), Girl Loves Me

never a dull moment with this guy

Very nice saved a song

Warren Zevon knew he was making his last record and put everything he wanted to say into it. This feels like Bowie threw together his swan song on the fly. The fact that Bowie's is better is a testament to his craft. It's both just another great Bowie record and the perfect death bed goodbye. Dark and beautiful.

++: ★, 'Tis a Pity She Was a Whore, Lazarus, Sue (Or in a Season of Crime), Dollar Days, I Can't Give Everything Away +: Girl Loves Me 9,7/10

Been looking for a reason to revisit this album. That intro track is a haunting masterclass in atmosphere and the video sticks in my mind to this day. The new versions of Sue (Or In A Season of Crime) and Lazarus are incredible highlights, and the former, I *think*, is my favorite. Knowing that Bowie knew it would be his last gives the whole album a sense of finality and permanence that permeates everything and is difficult to forget about.

I’ve always been grateful that I heard this on the day it was released, and was immediately able to see (as the critics did), that it’s a brilliant album of weird, otherworldly, boundary-pushing music, before Bowie’s death could influence my judgement one way or another. The news of his death undoubtedly imbued Blackstar with new layers of poignancy though - rarely has context added so much to an album. The man knew he was dying but kept it a secret from the world, thoroughly in keeping with the air of mystery he cultivated throughout his career. With that in mind, I find the last two tracks in particular heartbreakingly beautiful.

I listened to this a lot upon its release. I haven't since, as I genuinely found it too sad, post his premature passing. The album sounds like nothing he's done before, but there are many echoes of the past (Diamond Dogs, Station to Station, Young Americans, Low, Black Tie White Noise, Outside, Earthling, Hours, Heathen all feel present here). Bowie was clearly grappling with mortality - it's moving, yet admirably devoid of self-pity. This level of invention after a 50 year career is beyond belief. With echoes of the past, it's firmly fixed on looking forward, staring down death under the shadow of terminal illness with a hell of a lot of dignity. 'I Can't Give Everything Away' is a devastatingly beautiful ending to an unmatched career.

It's insane to think that Bowie still had so much to give even after all of his success and artistic output. This album is as fresh as anything he had put out in his career. The fusions of jazz and art rock work so well on this album, and I get the sense that Bowie was always inspired by current music. These tracks have a lot of hip-hop, soul, and funk influence. Blackstar is the ultimate swansong to an absolutely storied career, even without the context of Bowie's health during its recording. It's the culmination of everything he did before. 9.5/10

very cool

My feels

Отличный альбом, последний к сожалению((

Elegant farewell.

David Bowie’s Final Masterpiece: Blackstar Blackstar is nothing short of superb. As his final work, it stands as a bold, emotive, and forward-thinking statement from an artist who continued to innovate until the very end. In an industry where many artists struggle to remain creatively relevant with age, Bowie defied the trend — evolving, experimenting, and delivering something truly fresh. This album isn't just a farewell; it’s a reinvention. Deeply atmospheric and layered with meaning, it feels like Bowie knew this would be his last artistic statement — and he made it count. Favourite Track: It’s hard to choose, as every song is a gem, but Dollar Days resonates most with me. Least Favourite: Honestly, I couldn’t find a single weak track. Album Artwork: Minimalist, striking, and instantly iconic — perfectly befitting the music within.

Exceptional album

The last album by david jones… like as in the monkeys? Or the squid guy? Nah David Bowie. One incredible musician. But how you pronounce Bowie (like I’ve heard people say BOWie like as in a bow tie or bOWie like submitting to authority). Reminds me a bit of the start of the song ‘andy warhol’ from hunky dory ‘Warhol… as in HOLES’. But that’s a very different album, this album blackstar (like the radiohead song) is a perfect send off there’s only 7 songs but you can’t call any bad. Like it’s good to the point that sparks (who I love) came on after and I just wanted to go back to bowie. Brilliant ending to a great career 5/5

Rest in peace king

I was going to give this album a 4, since I only remembered two songs from it, and they were fantastic. I ended up really enjoying all the songs that got overshadowed by Lazarus and blackstar for me on previous listens. It’s now one of my favourite Bowie albums.

Both beautiful and haunting.

Wat een album. Wat een last dance van een legende.

This is actually the album that introduced me to David Bowie. Awfully bad timing, I should say because I was just began to get into him and then he's no longer with us...but enough of the regret, this is a pretty solid album, I remember when I first listened to it I thought "oh this is very Doctor Who-ish". I mean if the Doctor must have an soundtrack I would've chose this "Blackstar". I love this album, especially "Lazarus", heartbreaking for no particular reason. 5/5.

9.5/10 Favorite Tracks *Sue(Or in a Season of Crime),** Dollar Days*,

Heartbreaking, Bowie knew he’d die soon and the mood is reflected here. Interesting push pull of very Bowie traditional compositions and his modern jazz musicians. This album influenced me. I became aware of a lot of these players from this album when it came out

the final Bowie record, then he died, and the world has not been the same since

Massive Bowie fan but not one who thinks everything he does is genius. But the man was feckin’ dying and he knew it and he’d not long brought out his best album since Ashes to Ashes! And then this appears FFS! It is very dark, for obvious reasons, but I love it and probably don’t listen to it enough as it does make me sad when I do.

- To produce something so relevant, so solid, so enjoyable so late in life after so much output .... -

I still get surprised by how good this is. I enjoyed The Next Day but felt it did have that feel of "oh well this is as much as you can expect". Very good not great. Blackstar meanwhile really is up there with his best.

Even on his way out, Bowie produced a one-of-a-kind album featuring his particular brand of songwriting and music. He sounds worn, and tired, but still had something to say.

How can it be anything less than 5 stars? It’s a Black Star!

Rocks

Post post

I've never been an actual fan of the musician David Bowie, but this one is very alright. Sprawling, dark jazz rock that I never felt like skipping and if I can trust my reviews of the other five Bowie albums I've had, Blackstar's the probably most coherent. Not entirely my cup of tea, still, but a very high four and then, the Swan Song. Rounding up.