TANNER THE INTERN REVIEWS: DAVID BOWIE’S TIN MACHINE

January 14, 2016

 

Man oh man… it’s difficult to write about Mr. David Bowie. He was a fashion diva,  a musical chameleon, and most of all David Bowie was unmercifully himself, thus teaching generations to love who they are.

 

David Bowie dashes from florescent pink to black throughout his notorious career, swaying back and forth with bouncing melodies to submerging himself in a dark and melancholic authenticity.

 

If someone told you that Bowie would follow up Lets Dance and Never Let Me Down with a grunge album back in 1988, you’d probably smirk pretentiously and laugh. However, The Replacements, R.E.M and Husker-Du were dominating the charts due to college radio and the grunge scene from the Northwest was just sparking.

 

David Bowie met members of Tin Machine through a friend of a friend. Reeves Gabriel, the lead guitarist of Tin Machine, was a member of The Cure. Bowie hadn’t reimagined his sound in almost a decade and I believe that his experience with Reeves Gabriel fired a creative energy to make music Bowie has never made before.

 

Although Tin Machine’s self titled album is heavily inspired by the pre-grunge movement, Bowie tips his hat at 80’s hair glam with heavy, but colorful guitar riffs that could also be found in Seattle legends Alice In Chains and Soundgarden. If you’re expecting Tin Machine to sound like Nirvana, you will be disappointed. Tin Machine’s self titled debut is heavy, hard hitting, and will put you on your ass. Bowie sticks to his vocal style, which feels strange, but once you reassure yourself that you’re listening to David Bowie, Tin Machine is easier to groove to.

 

 Featured image credit: Google, labeled for reuse

 

 

 

 

 

 

 

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