It’s what Beck does best. Follows his muse wherever it leads. It’s what sets him apart. And what makes Hyperspace such a standout and rewarding listen.
That Beck should choose to magpie from pop’s zeitgeist is no shocker - nor, of course, is it that he’s done it so well - but that ‘Hyperspace’ is quite so seamless in its execution is an utter joy.
Not all of the 11 tracks here strike gold, but they glitter and glow with positivity. Given the world’s stresses and troubles at the time of its release, that means there is definitely room for time spent in Hyperspace.
With Hyperspace, he explores new but familiar territory, inherent in his alternative rock roots.
Once the lyrical sorrow and apocalyptic visions hit home, Hyperspace is revealed as a bleak, spacey R&B tour de force.
Beck takes on a new cosmic identity with aplomb, roping in Pharrell to achieve pop minimalism that proves there's no sound he can't excel at.
While there’s no memorable poppy chorus here, or lush, full-band arrangements, or zany quirkiness, Hyperspace is nevertheless totally Beck: an experiment in broadening his own horizons, trying something new, which yet again just so happens to sound quite refreshing. It’s a worthy addition to this musical chameleon’s catalogue.
Mixing just enough of the familiar and the unexpected, defying expectations of a Pharrell collaboration, Hyperspace manages to stand out among Beck’s diverse and tenured discography.
Overall, in spite of its goofy throwback artwork and the presence of Pharrell Williams, Hyperspace belongs on the shelf closest to Sea Change. There are more clunkers here than on that classic, but it feels similarly honest and world-weary.
It's a beautifully understated album with subtleties that reveal themselves on repeat listens.
It is a Beck album that’s distinguished from the ones that came before it, and at every turn it evinces a singer, songwriter, and record-maker who’s unerring in his craft.
Beck never lingers upon either his melancholy or his celestial flights of fantasy: they exist simultaneously, resulting in a tremulous and pretty soundtrack for moments of fleeting introspection.
Although Hyperspace can be dull at certain moments, Beck has discovered a new songwriting style that’s conducive to his adventurous tendencies.
It’s a testament, then, to Beck’s artistic vision and his personal gravity that Hyperspace holds together as well as it does.
Beck's postmodern plea, like the music itself, isn't compelling, as though he couldn't care whether you listen to him or not. Instead, he shrugs and floats on, searching for a new place to land.
"It’s like there’s a radio station playing in my head all the time.” Listening to Hyperspace provides a similar experience—sometimes he hits pure signal, and sometimes it’s just background noise as he gets to wherever he’s going next.
The whole album, with its dabbling through styles makes it sound like walking through a mid-market clothes shop on a Saturday afternoon. It’s just about enough to keep you browsing, but never enough to inspire.
While these are enjoyable enough tracks to soundtrack your day, there’s little of the lasting emotion or progression for which we know Beck.
Hyperspace feels inconsequential and incomplete.
Hyperspace ends up being a frustrating record.
Worst of all, the element of surprise within past glories, and his joyful surrender to incoherence, has long waned into mediocrity that’s much too keen to please.
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It's rather sad to think that with this new album, we can say that "Colors" is no longer Beck's worst album.
It seems that since his victory at the Grammy Awards with "Morning Phase", Beck want to look for a new audience by going to a more pop sound. So two years ago, he tried the test and failed by releasing a very conventional, too smooth and cheesy album that still had some nice songs here and there. But here it is, our friend Beck has to win a ... read more
Beck released his most boring and lifeless album since he was an independent artist (most specifically I’m talking bout Golden Feelings in the 90s, his worst album). Hyperspace sounds like a parody of beck discography and not beck himself here, a lot of airy synths and generic beats that makes the experience even more lazy and dull, the songs sounds like the same song on repeat. from someone that released one of the best breakup albums of this millennium... this breakup album is pale and ... read more
genuinely enjoyable. i don't get what exactly people hate about this, is not a masterpiece but it has some really cool tracks and the production and sound design are great
Definitely better than colors, the problem is the first half is pretty bad, it’s basically just colors again with the millennial burger type choruses.
However, even though there’s some weird trap influences spread throughout the second half it’s definitely better if this wasn’t EP starting at chemical and ending at everlasting nothing this would actually be pretty great, as it stands though it’s pretty good in my opinion I really like the production in particular. ... read more
| 1 | Hyperlife 1:37 | 65 |
| 2 | Uneventful Days 3:17 | 71 |
| 3 | Saw Lightning 4:01 | 63 |
| 4 | Die Waiting 4:04 with Sky Ferreira | 64 |
| 5 | Chemical 4:18 | 72 |
| 6 | See Through 3:38 | 64 |
| 7 | Hyperspace 2:45 with Terrell Hines | 62 |
| 8 | Stratosphere 3:57 | 67 |
| 9 | Dark Places 3:45 | 65 |
| 10 | Star 2:50 | 60 |
| 11 | Everlasting Nothing 4:59 | 61 |
| #7 | / | Good Morning America |
| #11 | / | Rough Trade |
| #20 | / | OOR |
| #27 | / | Albumism |
| #39 | / | Rolling Stone |
| #65 | / | MOJO |