Dierks Bentley describes his eighth album Black as “a relationship album that covers the ups and downs of the journey and ends with some self-realization and evolvement.” The title comes from his wife’s maiden name, although the themes of the record are universal and not specifically about her.
I’ve already said my piece about the album’s vapid first single, the out-of-character “Somewhere On A Beach.” The song is awful, but the video’s farcical nature has eased my fears that this song is supposed to be taken seriously.
Bentley has followed with a unique marketing strategy that successfully sets the mood for the album. He’s released four black-and-white music videos connected by the story of a woman juggling two lovers. The visualization gives context to Black while simultaneously giving fans a taste of the record. He began with “I’ll Be The Moon,” an excellent duet with newcomer Maren Morris. Bentley has always championed up-and-coming female artists, and this is a perfect showcase for her contemporary stylings that allows her (and him) to show maturity.
The bombastic “What The Hell Did I Say,” came next. The rockish uptempo number, about a 3 a.m. drunk dial doesn’t fall into familiar troupes, which is a refreshing change of pace. “Pick Up” is even more modern, and unlike its predecessor, it’s nothing more than what you’d expect – a guy with a pickup truck and a phone desperate for time with his girl.
The final number in the video series is the title track, which Bentley chose to open the album and set the mood for the project as a whole. It’s a very sexy slice of pop/rock that has no resemblance to country music whatsoever. I will give slight credit to Bentley, who is wonderfully committed to helping advance the ambiance of the song through his vocal.
“Freedom” is atmospheric rock, an anthem for a life free of constrictions. “Roses and Time Machine,” with its hip-hop beat and deliberate phrasing, is likely to be the album’s most alienating number. Bentley doesn’t do himself any favors with the immature lyric or grating melody. The sonic nature of “Mardi Gras” is even worse, with Trombone Shorty’s contributions making the song damn near unlistenable. He mostly gets the lyric right on “All The Way To Me,” but fails to keep the arrangement tastefully uncluttered.
Bentley does succeed lyrically with the blistering “Light It Up,” a track that could easily be written for his wife. It’s a number about his woman’s ability to turn around his attitude with the little things in life. “Why Do I Feel” is the sense of balance on Black, a modern ballad that retains a bit the old-school Bentley we’ve come to admire all these years. I hate the repetition of the word ‘girl’ throughout, the song doesn’t need it at all, but in 2016 it’s all but unfortunately required.
“Different for Girls,” on the surface, isn’t a great song. But once it gets to the chorus, I like how Bentley turns convention on its head and makes it a breakup song detailing the differences in how a woman responds to the situation opposed to a guy. Elle King, of “Exs and O’s” fame provides a somewhat weak vocal that lacks the punch she brings to her own work.
The smartest aspect of Bentley’s video series is how it positions him as the narrator of Black and not the guy in these songs. In that sense he hasn’t lost his integrity as an artist. That doesn’t excuse the fact that Black is the most polarizing album he’s released to date, with hardly any reminders of his bluegrass-loving traditionalist side coming through. He’s forged ahead with a modern country album aimed at taking his career to the next level. Black is a serious push to get Bentley in awards contention, especially in Male Vocalist races. I cannot blame the strategy, nor do I blame him for it.
I do actively hate how the album is littered with references to modern technology, including cell phones and text messages. I understand it’s all a part of our modern world but I’m just not ready to have it bleed into my music in this heavy an extent. Black is just a bit too modern for my tastes but I’m also not embarrassed by it either. There’s too much by way of sex, but I didn’t feel it was handled in a grotesque manner. Bentley is still the adult in a world of overgrown boys.