It is quickly becoming apparent that Brian Burton a.k.a. DJ Danger Mouse possesses the Rubin-esque touch of extracting unparalleled creativity and innovation from talented artists.  This attribute, unique from even the most revered producers or "hit makers" of the modern scene, thrusts the young DJ into a rarified class, populated by talent like the afore mentioned Rubin and Phil Spector.   

Now, teamed with a man who himself has always resided in the abstract realms of experimentation, the tailor-made collaboration of Danger Mouse and Beck on Modern Guilt has finally accomplished a coherent completeness that has greatly eluded Beck throughout his illustrious career. 

Together, these genre-crossing and yet genre-less mad scientists of sonic theory, have successfully harnessed the erratic musical and electrical currents that have previously manifested themselves, at times exceedingly erratically, in Beck's various experimentations. 

Grabbing dually and equally from Beck's bag of psychedelic electronica and grass roots/electric folk and DM's own cache of electronically infused but traditionally derived hooks and beats, the record, while absent the ground-breaking "shock value" of Beck's previously more daring releases, possesses a coherency and direction, a structure and conceptualization, that is stronger then anything he has released, perhaps ever.

Although a departure in sound from his last two records, Modern Guilt does keep to certain Beck consistencies.  Specifically, his unique brand of lyricism is noticeably present.

His smoothly delivered oratations, at many times, boarder on minimalism, and yet always are articulate and effective; a combination and balance rarely if ever found in pop/rock music recorded after 1999.

Keeping with the subdued tone established on Sea Change minus the, at times cringe worthy, amount of introspection, Modern Guilt delivers Beck's cynicism so drenched in the waves of Burton's harmonies and pop sensibilities and so invigorated by his signature, cutting edge, but unobtrusive beats and breaks, that it exists as a finished product that is slick, concise, groovy and accessible from start to finish, while still maintaining the mature intelligence this is a Beck staple. 

Moving through 60's garage rock, thick layers of psychedelia, minimalist proto punk spliced with drum and bass, and even some surf inspired riffs and vibes, the melding of sounds contrasts the tone of the lyrics while softening the negativity inherent in their content.

This effect, coupled with the return of the signature 90's sardonic overtones to his various observations that scored Beck an army of fans back when he was a "one hit wonder" serenading about his tendencies as a "Loser," makes this truly one of Beck's classic releases.

While Modern Guilt is most definitely yet another triumph for Beck the real revelation here may be that Danger Mouse, in the four short years since bursting into the public view with the pirate bootleg Gray Album in 2004, is now the proverbial "Man with the Midas Touch," when it comes to legitimately eclectic creations that sell. 

Constructing a body of work that includes acclaimed releases with the Gorillaz, the Black Keys, and The Good, the Bad, and the Queen, his work with Beck is by far his most prolific and arguably his most successful accomplishment as a producer, excluding his output from his groundbreaking partnership with Cee-Lo, Gnarles Barkley.

Modern Guilt is a prime example that Burton can take even the most successful and innovative artists and inspire and motivate them to create critically respected work while also elevating them to new musical platforms. 

This is a true rarity in an age stifled by an emphasis on regurgitation as apposed to experimentation and dominated by established artists secure and comfortable in the proceeds of their formulaic approaches.