Beck

Rock Singer

Beck was born in Los Angeles, California, United States on July 8th, 1970 and is the Rock Singer. At the age of 53, Beck biography, profession, age, height, weight, eye color, hair color, build, measurements, education, career, dating/affair, family, news updates, and networth are available.

  Report
Other Names / Nick Names
Bek David Campbell
Date of Birth
July 8, 1970
Nationality
United States
Place of Birth
Los Angeles, California, United States
Age
53 years old
Zodiac Sign
Cancer
Networth
$15 Million
Profession
Banjoist, Composer, Guitarist, Record Producer, Singer, Singer-songwriter, Songwriter, Street Artist
Social Media
Beck Height, Weight, Eye Color and Hair Color

At 53 years old, Beck has this physical status:

Height
176cm
Weight
Not Available
Hair Color
Blonde
Eye Color
Blue
Build
Slim
Measurements
Not Available
Beck Religion, Education, and Hobbies
Religion
Scientology
Hobbies
Not Available
Education
Not Available
Beck Spouse(s), Children, Affair, Parents, and Family
Spouse(s)
Marissa Ribisi, ​ ​(m. 2004; div. 2019)​
Children
2
Dating / Affair
Not Available
Parents
Bibbe Hansen, David Richard Campbell , Sean Carrillo
Siblings
Channing Hansen
Beck Life

Beck Hansen (born Bek David Campbell; July 8, 1970) is an American singer-songwriter, guitarist, and record producer.

He came to prominence in the early 1990s with his experimental and lo-fi style, and he was known for creating musical collages in a variety of genre styles.

He embodies folk, funk, soul, hip hop, electro, alternative rock, country, and psychedelia today.

He has released 14 studio albums, as well as several non-album singles and a book of sheet music. Beck, who was born in Los Angeles in 1970, grew into hip-hop and folk in his teens and began to perform at coffeehouses and clubs.

In 1989, he moved to New York City and became active in the city's little but ferocious anti-folk movement.

He dropped his breakthrough single "Loser," which became a worldwide hit in 1994, and Mellow Gold, his first major album, in the same year, back in Los Angeles in the early 1990s.

Odelay, a 1996 graduate who appeared in television polls and received several awards, ranked among critic polls.

He introduced the country-influenced, twangy Mutations in 1998, as well as the funk-infused Midnite Vultures in 1999.

The soft-acoustic Sea Change in 2002 showcased a more mature Beck, while 2005's Guero returned to Odelay's sample-based production.

The information in 2006 was inspired by electro-funk, hip hop, and psychedelia; 2008's Modern Guilt was inspired by '60s pop music; and 2014's folk-infused Morning Phase received Album of the Year at the 57th Grammy Awards on February 8, 2015.

Colors, his thirteenth studio album, was released in October 2017 after a lengthy production process, and received accolades for Best Alternative Album and Best Engineered Album at the 61st Annual Grammy Awards.

Hyperspace, his fourteenth album, was released on November 22, 2019. Beck has been praised by critics and the public throughout his career as one of the most idiosyncratic performers of 1990s and 2000s alternative rock, with a pop art collage of musical styles, oblique and ironic songs, and postmodern arrangements incorporating samples, drum machines, live instrumentation, and sound effects.

Odelay and Sea Change are two of Beck's most well-known and acclaimed albums, both of which were ranked on Rolling Stone's list of the top 100 greatest albums of all time.

The four-time platinum artist has collaborated with many artists and has made numerous contributions to soundtracks.

Early life

Bek David Campbell, a native of Los Angeles, California, was born Bek David Campbell, the son of American visual artist Bibbe Hansen and Canadian arranger, composer, and conductor David Campbell. Bibbe Hansen grew up during Andy Warhol's The Factory art scene in New York City in the 1960s and was a Warhol hero. Campbell met her in California at the age of 17 and she met Campbell there. Al Hansen, Beck's maternal grandfather, was of Norwegian descent and was a pioneer in the Avant-garde Fluxus movement. Beck's maternal grandmother was Jewish, and Beck has stated that he is "raised" celebrating Jewish holidays.

Beck was born in a bedroom in downtown Los Angeles. He grew up in a poor neighborhood near Hollywood Boulevard as an infant. "They were ripping out miles of houses and constructing low-rent, massive apartment blocks by the time we were gone," the man later remembered. The working-class family had financial difficulties as a result of moving to Hoover and Ninth Street, a neighborhood mainly populated by Koreans and Salvadorian refugees. He was sent to live in Kansas with his paternal grandparents, who later expressed worry about his "weird" home life. Beck grew up with church music and hymns, since his paternal grandfather was a Presbyterian minister. He and his maternal grandfather spent time in Europe.

Beck and his mother and brother Channing remained in Los Angeles, where they were inspired by the city's numerous musical styles, from hip hop to Latin music, and his mother's art scene, all of which would later appear in his work. Beck began playing lead Belly covers at Lafayette Park at 16 and became a street performer. Beck discovered Sonic Youth, Pussy Galore, and X, among other things, but remained uninterested in most pop culture well into his adulthood until several years into his career. Hip hop, which he first heard on Grandmaster Flash records in the early 1980s, was the first contemporary music that made a direct connection with Beck. He found himself the only white student at his kindergarten and learned how to break it quickly. Beck became obsessed after seeing a Mississippi John Hurt video at a friend's house and spent hours in his room trying to imitate Hurt's finger-picking skills. Beck continued exploring blues and folk music shortly after, discovering Woody Guthrie and Blind Willie Johnson.

Beck dropped out of school after junior high, feeling like "a complete stranger." He later said that although he felt that school was important, he felt unsafe there. When he applied to the new performing arts high school downtown, he was turned away. In Echo Park and Silver Lake, his brother took him to post-Beat jazz clubs. He hung out at the Los Angeles City College Library, perusing records, books, and old sheet music. He obtained a fake ID to enroll in classes, and he befriended a literature instructor and his poet wife. He worked in a variety of menial positions, including loading trucks and operating a leaf blower.

Personal life

Beck's nine-year relationship with designer Leigh Limon and their subsequent breakup is said to have inspired his 2002 album, Sea Change. He produced the majority of the songs for the album in one week after the breakup. Beck married actress Marissa Ribisi, the twin sister of actor Giovanni Ribisi, in April 2004 just after the birth of their son Cosimo Henri. They were born in 2007. On February 15, 2019, Beck filed for divorce from Ribisi. On September 3, 2021, the couple's divorce was finalized.

Beck has referred to himself as both Jewish and Scientologist, but he no longer identifys as the former. He has been involved in Scientology for the majority of his life, through his parents; Marissa, his ex-wife, is also a second-generation Scientologist. In a New York Times Magazine interview on March 6, 2005, he revealed his participation for the first time. In a September 2005 interview with the Sunday Tribune, he said, "I'm a Scientologist." My father has been a Scientologist for about 35 years, so I grew up and around it." "I suspect there's a myth that I'm a Scientologist," Beck said in a November 2019 interview with the Sydney Morning Herald, "I'm not sure I'm a Scientologist." I am not a Scientologist. "I have no connection or family ties with it." "I was raised celebrating Jewish holidays, and I consider myself Jewish," he said.

Beck's mother, as mentioned above, is former Andy Warhol (Total) collaborator, writer/performer Bibbe Hansen. Channing Hansen (born in 1972 in Los Angeles, California) and poet Rain Whittaker are among his siblings.

While filming the music video for 2005's "E-Pro," Beck sustained a spinal injury. The assault was severe enough to suspend his touring schedule for a few years, but he has since recovered.

Source

Beck Career

Career

In his teenage years, Beck alternating between country blues, Delta blues, and more traditional rural folk music. He began appearing on city buses, most often covering Mississippi John Hurt's performances alongside original, occasionally improvisational compositions. "I'd get on the bus and start playing Mississippi John Hurt with completely revised lyrics." Some inebriated person will start yelling at me, naming me Axl Rose. "I'd start singing about Axl Rose and the levee and bus passes and strychnine, as well as the whole thing up," he later remembered. He was also in Youthless, a youth-inspired freeform band that held Dadaist-inspired freeform performances at city coffee shops. "We had Radio Shack mics and this handmade speaker, and we'd draft people in the audience to recite comic books or do a beatbox activity, or we'd tie the entire audience up in masking tape," Beck said.

Beck took a bus to New York City with just more than $8.00 and a guitar in 1989. He spent the summer trying to find a job and a place to live with no success. Beck began to frequent Lower East Side in Manhattan and stumbled upon the tail end of the East Village's anti-folk wave. Beck, along with Cindy Lee Berryhill, Kirk Kelly, Paleface, and Lach, all based in a loose group of acoustic musicians — including Tim Kelly, Kelly, Paleface, and Lach, who was led by Roger Manning — found them well outside of the acoustic mainstream, with their raggedness and eccentricity placing them well outside the acoustic mainstream. "The entire mission was to eliminate all the clichés and make up some new ones," Beck of his New York years said. "Everybody knew each other." You could go up onstage and say anything, but you won't get weird or feel any pressure." Beck started writing free-associative, surrealistic songs about pizza, MTV, and working at McDonald's, infusing ordinary thoughts into songs. Beck and Paleface were roommates, sleeping on his couch and enjoying open mic nights together. Beck returned to Los Angeles in early 1991, fearing another homeless New York winter. "I was sick of being cold, and I was afraid of being beat up," he later wrote. "It was difficult to be in New York without money and no place [...] [...] I used up all the friends I had." "I was sick of me," said the entire scene.

Beck, a Los Angeles resident, began working at a video store in the Silver Lake neighborhood, "doing things like alphabetizing the pornography section." He began performing in arthouse clubs and coffeehouses like Al's Bar and Raji's. Beck will perform in a joking manner in order to keep indifferent audiences interested in his music. "I'd be banned from singing on a Son House tune and the whole audience will be talking." "I'd make these ridiculous songs just to see if people were listening," he later said. Beck will hop onstage between acts in local clubs and play "new folk songs," accompanied by "what could best be described as performance art," though often wearing a Star Wars stormtrooper mask. Beck met someone who wanted to record demos in his living room, and he began to sell cassette tapes around.

Beck eventually found significant boosts in Margaret Mittleman, the West Coast's director of talent acquisitions for BMG Music Publishing, and the founding members of independent music label Bong Load Custom Records: Tom Rothrock, Rob Schnapf, and Brad Lambert. Schnapf saw Beck perform at Jabberjaw and thought he would be able to help them with their small business. Beck expressed a strong interest in hip hop, and Rothrock introduced him to Carl Stephenson, a record producer for Rap-A-Lot Records. Beck came to Stephenson's house in 1992 to work together. The result, which was based on Beck's one-off experiment, returning to his folk songs, making his home tapes, such as Golden Feelings, and releasing several independent singles.

Beck was living in a rat-infested shed near a Los Angeles alleyway with no money by 1993. In March 1993, Bong Load released "Loser" as a single on 12" vinyl with only 500 copies pressed. Beck thought that "Loser" was mediocre, and that he only consented to its removal at Rothrock's insistence. "Loser" received unexpected radio airplay in Los Angeles, where college radio station KXLU was the first to play it, and later on Santa Monica College radio station KCRW, where radio host Chris Douridas appeared on Morning Becomes Eclectic, the station's flagship music program, where radio host Chris Douridas performed the song on Morning Becomes Eclectic. "I called the record label the day before and asked that Beck have Beck perform live on the radio," Douridas said. "He was in that Friday, rapped to a tape of 'Loser' and performed his song "MTV Makes Me Want to Crack Crack." Beck performed at the Los Angeles club Cafe Troy to a packed audience and talent scouts from major brands that night. The album then migrated to Seattle with KNDD The End, and KROQ-FM began to air the song on an almost hourly basis. Beck was bombarded with offers to sign with major brands as Bong Load tried to press more copies of "Loser." Beck spent many days in Olympia, Washington, recording material with Beat Happening's Calvin Johnson, which will be released the following year as One Foot in the Grave.

In December 1993, Geffen Records A&R director Mark Kates signed Beck in December 1993, sparking intense competition from Warner Bros. and Capitol. Beck's non-exclusive deal with Geffen gave him an unusual degree of creative control, with Beck remaining free to post material from such small, independent labels as Flipside, which released the sprawling, 25-track set of pre-"Loser" albums titled Stereopathetic Soulmanure on February 22 this year. By the time Beck unveiled his first album for Geffen, the low-budget, genre-blending Mellow Gold, "Loser" was already in the top 40 and its video in MTV's Buzz Bin. "Loser" quickly climbed to the top of the Billboard Hot 100 singles chart and topped the Modern Rock Tracks chart, gaining a top of ten on the Billboard Hot 100 singles chart and top the Modern Rock Tracks chart. The song has also charted in the United Kingdom, Australia, New Zealand, and Europe. As the media dubbed him the center of the new so-called "slacker" movement, Beck's newfound fame led to his characterization as the "King of Slackers." Critics, who felt it was the correct sequel to Radiohead's "Cheep," discovered a sense of nostalgia in "Loser"'s lyrics, although Beck argued for his position as the face of the "slacker" generation: "Slacker my ass." Well, I'm not gonna complain about the fact that I never had any slack. I was working a four-hour job trying to remain healthy. People who have the opportunity to be depressed about everything are the slacker stuff.

Beck, who was feeling as though he was "constantly trying to prove myself," suffered backlash, with skeptics calling him a self-indulgent fake and the newest marketing opportunity. Beck was struggling in the summer of 1994, and many of his fellow musicians believed he had lost his way. Beck reacted with a "one-hit wonder" despite the song's huge success in film and television, resulting in the recognition of the artist as a "one-hit wonder." Crowds at other shows were treated to twenty minutes of reggae, Miles Davis, or jazz-punk iterations of "Loser." He surrounded himself with an artnoise combo at one-day festivals in California. The drummer lit fire to his cymbals, the lead guitarist "played" his guitar with the strings facing his body; and Beck changed the word to "loser" so that no one would understand. "I can't tell you how many times I was looking at faces that were looking back at me with complete confusion—or simply pointing and shaking their heads and joking during that time," the narrator later explained. Despite this, Beck earned the admiration of his peers, such as Tom Petty and Johnny Cash, and established an entire wave of bands determined to recapture the Mellow Gold sound. Beck, who felt that his previous releases were just collections of demos gathered over the course of several years, wanted to enter the studio and record an album in a continuous linear style, which became Odelay.

On Odelay, Beck blends country, blues, jazz, jazz, and rock, the result of a year and a half of feverish "cutting, pasting, layering, dubbing, and, of course, sampling." The musicians started from scratch each day, often working on songs for 16 hours in a row. Odelay's idea was inspired by an unfinished studio album that Beck first launched after the success of "Loser": "Everybody died around me," he recalled later. He was constantly recording and gathered an album of somber, orchestrated folk tunes, one of which, "may have been a commercial blockbuster" alongside similarly themed work by Smashing Pumpkins, Nine Inch Nails, and Nirvana." Rather, Beck plucked one song from it—the Odelay album closer "Ramshackle")—and shelved the remainder ("Brother" and "Feather In Your Cap" were later released as B-sides), but shelved the rest ("Brother" and "Feather In Your Cap" were later released as B-sides). Beck was introduced to the Dust Brothers, the Beastie Boys' album, whose cut-and-paste, sample-heavy design complemented Beck's wish for a more fun, more accessible album. Odelay would be a "huge mistake," he spent months wishing "that I'd blown it forever" after a record executive predicted that it would be a "big mistake."

Odelay was born on June 18, 1996, to commercial success and critical acclaim. The album released several hit singles, including "Where It's At," "Devils Haircut," and "The New Pollution," as well as the Grammy Award for Best Alternative Music Album and Best Male Rock Vocal Performance for "Where It's At." During a whizzing week in January 1997, he received his Grammy nominations, appeared on Saturday Night Live and Howard Stern, and did a last-minute trot on The Rosie O'Donnell Show. Odelay gained a second wind thanks to a burgeoning fan base and increased visibility, but Beck was still befuddled by Odelay's popularity, as well as other Geffen executives. He would often be recognized in public, which made him look strange. "It's just weird." It doesn't sound right. To me, it doesn't seem natural. I don't think I was created for that. "I was never good at this," Pitchfork later told him. Odelay also sold two million copies of "one-hit wonder" criticisms to rest, according to the author. He contributed "Deadweight" to the soundtrack of the film A Life Less Ordinary (1997).

Beck, who had not been in a professional studio since "Deadweight," was keen to "get in and do some stuff real fast" and assembled several songs he hadn't heard for years. Beck and his bandmates hammered out fourteen songs in fourteen days, but only twelve made it to the album, 1998's Mutations. Beck selected Nigel Godrich, a producer for Radiohead's OK Computer, to be the project's board. In a short time, Godrich was leaving the United States for England, which resulted in the album's quick manufacturing schedule—"No looking back, no doctoring anything." The entire point of the recording was to capture the musician's live performance, an unexpected farewell to Odelay's minimalist cut-and-paste style. Despite the fact that Bong Load Records' album was supposed to be released, Geffen intervened and released the album in defiance of Beck's wishes. The artist then proceeded to void his deals with both record and record labels, and the labels in turn sued him for breach of contract. The case lasted for years, but it's still unclear if it has been fully resolved to this day. At the 42nd Grammy Awards, Beck was named Best Alternative Music Performance for Mutations.

Beck's new studio effort, Midnite Vultures, was originally released as a double album, but more than 25 of the more than 25 nearly finished songs were left behind. Beck and producers investigated contemporary hip hop and R&B, particularly R. Kelly, in order to acknowledge and incorporate those influences in Al Green and Stax's previous decades. A core group assembled at Beck's Pasadena home in July 1998: bassist Justin Meldal-Johnsen, keyboardist Roger Joseph Manning Jr., and producer-engineer Mickey Petralia and Tony Hoffer. Hundreds of session participants passed through, including Beck's father, David Campbell, who played viola and arranged some of the strings. On dusty trails nearby, the musicians held communal meals and mountain bike rides, but the band remained focused on Beck's instructions: to record an up-tempo album that would be fun to perform on tour night. Beck of the recording process said, "I had so many things going on." "I had a few rooms hooked up, I was doing B sides for Japan, I was doing B sides for Japan, I was coding beats in one room, and someone else was preparing dinner in another room." Geffen released the much-anticipated Midnite Vultures in November 1999, sparking controversies: "fans and commentators were mistakenly worried whether it was serious or a ruse," the album's New York Times wrote. The record was bolstered by a large world tour. For Beck, it was a return to the high-energy performances that had been his trademark as far back as Lollapalooza. For the song "Debra," the red bed descended from the ceiling, and the touring band was joined by a brass section. At the 43rd Annual Grammy Awards, Midnite Vultures was nominated for Best Album.

Beck and his fiancée, stylist Leigh Limon, ended their nine-year marriage in 2000. Beck also fell into a period of melancholy and reflection, during which he wrote the bleak, acoustic-based tracks that later became known on Sea Change. Beck sat on the songs rather than wanting to talk about his personal life; he later said he wanted to concentrate on music and not "fully strew my garbage across the public lobby." Eventually, however, he decided that the songs related to a common (a marriage breakup) and that recording them would not be self-indulgent. Beck shifted to the songs in 2001, and she named producer Nigel Godrich.

Retailers expected that the album would not get much radio attention, but they also believed that Beck's celebrity and critical acclaim, in addition to the possibility of multiple Grammy nominations, could help offset Sea Change's noncommercial sound. Sea Change, released by Geffen in September 2002, was both a commercial hit and critical darling, with Rolling Stone raving it as "the best album Beck has ever made," [...] an excellent collection of truth and light from the end of love. This is his Blood on the Tracks. The album was later named by the magazine as one of the decade's best and of all time, and it also ranked second in the year's Pazz & Jop Critics Poll. Sea Change produced a low-key, theater-based acoustic tour as well as a larger tour with The Flaming Lips as Beck's opening and backing band. Beck was both a child and a professional, often throwing in covers of The Rolling Stones, Big Star, The Zombies, and The Velvet Underground.

Beck felt that newer songs were sketches for something more evolved in the future, and that he'll produce nearly 35 more songs in the coming months, including demos of them on tapes in a suitcase. During his solo tour, Beck lost the tapes during a stop in Washington, D.C., and was never able to recover them. It was disheartening to the musician, who believed that the two years of songwriting represented something more technically complex. As a result, Beck took a break and wrote no original compositions in 2003. He began working with Dust Brothers in an effort that dates back to Odelay, but felt as though it might take him a long time to "get back to [songwriting] territory. Nearly half of the songs have existed since the 1990s.

Beck's eighth studio album, Guero, was released over the course of nine months: his mother, Marissa Ribisi, got pregnant; their son, Cosimo, was born; and they moved out of Silver Lake; and his uncle, Cosimo, was born. The second collaboration with the Dust Brothers, who were his second, was notable for their use of high-tech techniques to produce a lo-fi sound. For example, the Dust Brothers processed it in an Echoplex to produce a gritty, reverb-heavy sound after recording a "sonically pleasing" version of a song at one of Hollywood's finest recording studios. It sounded too good, but it was the issue." Guero's initial plans were supposed to be out in October 2004, but unmastered copies of the tracks appeared online in January.

Guero debuted at number two on the Billboard 200, selling 162,000 copies, an all-time record high. "E-Pro" lead single at number one on Modern Rock radio, making it his first chart-topper since "Loser." Beck, who was inspired by the Nintendocore remix scene and feeling a connection with its lo-fi, home-recording system, collaborated with artists 8-Bit and Paza on Hell Yes, an EP released in February 2005. Geffen also released Guerolito, a completely reworked version of Guero starring remixes from the Beastie Boys' Ad-Rock, the Dust Brothers' John King, and the Scottish electronic duo Boards of Canada. Guerolito's remixes of B-sides and recent album tracks are mixed with new tracks to create a track-by-track reconfiguration of the album. A Brief Overview, a 12-track promotional-only "History of Beck" compilation CD sampler that featured a mixture of older and newer Beck songs, was also released in 2005.

Beck's ninth studio album, Information, began in 2003 as Guero. Beck built a studio in his garden, where they wrote several of the tracks while collaborating with producer Nigel Godrich. Beck said that "introspective hip hop" meant getting people in a room together recording live, dropping poor notes and screaming." Beck characterized the recording process as "painful," noting that he edited down songs on a daily basis and that he may have listened to the album three times. Beck was allowed to make a long-awaited rollout, made low-budget videos to accompany each song, wrapped the CD with sheets of stickers so buyers could personalize the cover, and leaked tracks and videos on his website months before the album's debut. The song's additional video was included in each single purchase, and physical copies came with an additional DVD containing fifteen videos.

Beck introduced the single "Timebomb," which had been nominated for a Grammy Award for Best Solo Rock Vocal Performance in 2007. Beck picked Danger Mouse to produce his tenth studio project, and the pair first met in December 2007 to record. The pair cut two tracks in two days in two days, but the feeling that the album would be finished in a timely manner was quickly dismissed. Danger Mouse had known him well before, as many of his former musicians ended up working with Danger Mouse's side project, Gnarls Barkley. Despite this, the musicians were surprised at how well they got along. Beck was drained after the grueling recording schedule, describing that he "did at least 10 weeks with no days off" and "the most intense work I've ever done on anything" and that "the most intense work I've ever done on anything" and that "I did at least ten weeks with no days off" until four or five a night. Beck's initial plan was a two-minute song burst, but the songs gradually grew as he adapted 'two years of songwriting to two and a half months.' Modern Guilt (2008) had a "full of off-kilter rhythms and left-field breakdowns, with a general 1960s vibe."

Modern Guilt was Beck's last release in Geffen Records' contract. Beck, then 38, had been in possession of the job since the early 20s. Beck started concentrating more on his own seven-year-old brand after being released from his label and going solo. Beck moonlighted as a producer, working with artists such as Charlotte Gainsbourg, Thurston Moore, and Stephen Malkmus, focusing on smaller, more quixotic projects. Beck stayed at the small studio on his property in Malibu for five to six days a week and established Record Club, a charity in whichby an entire classic album —by The Velvet Underground, Leonard Cohen, INXS, Yanni — would be accompanied by another musician in a single day. Four songs were recorded for the film Scott Pilgrim vs. the World (2010), each credited to the title character's fictional band, Sex Bob-Omb. Beck also worked with Philip Glass, Jack White, Tobacco of Black Moth Super Rainbow, Jamie Lidell, Seu Jorge, Childish Gambino, and The Lonely Island.

Song Reader, a Beck project launched in December 2012, is 20 songs released only as sheet music in the hopes that enterprising musicians will record their own versions. Song Reader was around fifteen years ago, right after the appearance of Odelay. Beck decided to play through it and became involved in the world before recorded music was sent. He wanted to keep the arrangements as open as possible, to re-create the accuracy of the codes, and was preoccupied with only those that would fit within the Great American Songbook. Beck revealed in 2013 that he was performing special Song Reader concerts with a number of guests and that he was working on a compilation of fan versions.

Beck was confirmed to be working on two new studio albums, one a more self-contained acoustic disc in the vein of One Foot in the Grave and the other a "proper follow-up" to Modern Guilt. Beck is expected to release both albums as a result of the summer, with the electro ballad "Defriended" and the chorus-heavy "I Won't Be Long." On September 17, "Gimme," a third single, appeared on September 17. Beck became a member of Capitol Records in October 2013.

Beck's "Blue Moon," his twelfth studio album, Morning Phase, was released on January 20, 2014, was supposed to be the lead single. Just before the official launch of Morning Phase on February 21, 2014, the second single "Waking Light" was released on February 4, second single "Waking Light" was released. Beck reunited with several of the same artists with whom he had performed on the critically acclaimed 2002 album Sea Change, and, presumably because of this, the two albums have a common theme.

Morning Phase received three Grammy Awards on February 8, 2015: Best Engineered Album, Non-Classical; Best Rock Album; and Album of the Year. The album came out a winner on the Year of the Year award, beating out Pharrell Williams' G I R L. Beyoncé's Self-titled album, Sam Smith's In the Lonely Hour, and Ed Sheeran's x.

Beck said he had been on another album at the time, but that the new album would be more like a pop record. Beck unveiled the first single from Morning Phase's Grammy win on June 15, 2015, "Dreams" is the first single off the forthcoming thirteenth studio album. "I was really trying to make something that would be fun to play live," he said shortly after the game's announcement. Nevertheless, Beck had no further information relating to the album's unveiling. Beck announced a new single titled "Wow" on June 2, 2016, almost a year after the initial release of "Dreams," as well as a lyric video of the song and a reminder that his untitled album will be available on October 21, 2016. Beck said he did not know "when it's coming out" in September 2016, and that no new information was released on September 24, and that he was not sure when it would be announced. It's likely that it's been in a few months. However, no further singles were released and no new release date was set for the album.

On September 8, 2017, Beck released the single "Dear Life," which was quickly followed by the official launch of "Up All Night" on September 18. On October 13, 2017, colors were released. It was shot at co-executive producer Greg Kurstin's Los Angeles studio, with Beck and Kurstin playing almost every instrument themselves. Critics generally applauded the experimental pop-fused record. On the soundtrack for Forza Horizon 4, the song 'Colors' from the album of the same name was included. Beck performed the title track Colors and the first single "Wow" on The Late Show with Stephen Colbert on July 18, 2018.

Beck's fourteenth studio album, "Saw Lightning," was co-produced on April 15, 2019. On November 6, the song "Dark Places" was released, with the album releasing on November 22.

Art career

In an exhibition titled "Beck & Al Hansen: Playing With Matches," which displayed solo and collaborative collage, drawing, and poetry works, Beck's art collaborations with his grandfather Al Hansen were on display in an exhibition titled "Playing With Matches" in 1998. The show moved from the Santa Monica Museum of Art to galleries in New York City and Winnipeg, Manitoba, Canada. As his grandfather provided their famility stability through his work as a Winnipeg street car conductor, Beck chose Winnipeg due to a family link. Plug in Editions/Smart Art Press also published a catalog of the show.

Source

Beck Tweets