My integration into civilian life was not easy. It was very gradual, but I definitely was so busy that the amount of what I’m doing in a week is what I used to do in a morning. And you feel like you’re sick, you’re wearing your robe. And then all of a sudden I was like, “Wait a minute, I can watch movies. This is part of my job. I’m gonna watch movies I want to see. I’m gonna take care of that dentist appointment.”
Matthew Weiner, on the end of Mad Men.
I’ve erased several months
It’s turning into a year now…
Kashmir, “The Cynic.”
Whether on doctor’s orders or due to his own misgivings about getting back on the merry-go-round, as an old friend once put it, Bowie spent the 12 months after his heart operation in semi-retirement, doing only the occasional guest vocal session. But he wasn’t in seclusion. Living in Soho, Bowie sampled the hip new bands who came to town, avoiding attention by wearing a cap and glasses and sporting, at various times, a mustache and beard. It was his “Berliner workman” days again, only now he wasn’t working.
How did he have so much time to see all of these bands? Dave Itzkoff asked in 2005 (in what would be Bowie’s last to-date print interview). He had nothing but time, he replied. “Fortunately, I’m not working [laughs]. So I’m resting. I get out a lot. I am a New Yorker, very much, and I get out in New York. It’s just a place that I adore. And I love seeing new theater; I love seeing new bands, art shows, everything. I get everywhere—very quietly and never above 14th Street. I’m very downtown.”
So he saw TV On the Radio and the Secret Machines. He saw Franz Ferdinand at the Roseland Ballroom, twice (introducing himself to the starstruck band backstage, Bowie baffled them by doing an impersonation of the Dandy Warhols’ lead singer). Interpol at the Hammerstein Ballroom. Clap Your Hands Say Yeah at the Knitting Factory. Arcade Fire at the Bowery Ballroom and Irving Plaza. The Killers at Irving Plaza.*
Tony Visconti attended the latter, bringing as his plus-one the Danish singer and guitarist Kasper Eistrup of Kashmir, a band Visconti was readying to produce. So Eistrup, in town “on a guitar shopping spree,” wound up meeting Bowie in the VIP balcony. True to form, Bowie said he was a fan of Kashmir and had some of their albums, then began talking about culture, politics and whatever other subjects he was musing on that evening. The three wound up sharing a ride afterward.
Visconti and Bowie had been vaguely planning a new record, which Bowie seemed in little hurry to begin recording. He told the jazz musician Courtney Pine, in a radio interview in September 2005, that he’d started writing songs for a new album (“it looks pretty weird, so I’m happy”), but there were apparently no studio sessions booked. If there were demos, Bowie cut them at home: Visconti wasn’t hearing them.
There was an ambivalence in Bowie’s conversation with Pine (the former’s last radio interview to date). Asked what his fans were expecting from the new album, Bowie responded, “Oh they don’t expect anything these days, I think they just sorta see what I put out…you know, it’s the luck of the draw and sometimes it works really well and sometimes it’s godawful and…but that’s the way it goes and I like that.”
As he had from the renewal of their friendship, Visconti offered Bowie walk-on roles on his other productions (see the Rustic Overtones or “Saviour”).** Working on Kashmir’s album in Copenhagen in March 2005, Visconti was convinced that one track, “The Cynic” (“it had the vibe of a Kurt Cobain song influenced by Bowie”), could use a Bowie vocal, to the point where Visconti sang Bowie imitations (“I can do a decent ‘Heroes'”) for scratch vocals in the second verse. He emailed Bowie the rough mix and Bowie agreed to sing on it. For Kashmir, “it was everyone’s birthday and Christmas morning at the same time,” Visconti said.
Returning to New York in late April 2005, Visconti, Eistrup and Kashmir bassist Mads Tunebjerg did mixing and post-production work at Looking Glass Studios. One morning Bowie appeared, “fresh as a daisy and enthusiastically sang the be-Dickens out of ‘The Cynic’ as if he’d written it himself,” Visconti said. Tunebjerg recalled that once he was in the booth, Bowie said “‘Tony, just roll the tape for me. I’m going to try and have a go at it.’ He knew the song, he had it on his iPod (afterward, Bowie played the band other selections from his current track list). He had one or two runs and he was there. We were sitting on the sofa. We couldn’t move or speak because the atmosphere was so intense.”
Kashmir started in 1991 and had become one of Denmark’s biggest “alternative” bands by the turn of the century. “We are like a boy band with four different characters: there is the little thin one and there is the tall guy and there is the media guy who is good looking and then there is the semi-fat guy who is dancing around,” Eistrup said. Their Visconti-produced record was a bid to break the American market, which didn’t happen. But the band has persevered until this day, still playing and recording, still believers that rock music can offer something to its audience. “That’s one of the most important things about art and that is the actual answer to why art is important because it can be out of time, it can be out of reason, it can be just commenting whatever is in the mind of the person who expresses it,” Eistrup said in 2013. “That little country of freedom can inspire the rest of the assholes to do things in a different way.”
“The Cynic” was a decent piece of brooding post-Radiohead rock, with Bowie’s verse finding him easily handling Eistrup’s knotty melody, then biting into the long vowels in the refrains. Bowie sounded comfortably decayed; he could’ve fashioned a bespoke version of Kashmir or Interpol or Franz Ferdinand easily enough in 2006. The question was whether he wanted to anymore. The answer seems apparent now: No, I’m happy in the audience.
Recorded: March-April 2005, Sun Studio, Copenhagen; (vocals) ca. April-May 2005, Looking Glass Studios, NYC. Released 10 October 2005 on No Balance Palace (Columbia 82876 72767 2).
* Some of these venues are above 14th St., so Mr. “Very Downtown” apparently had to take a cab once in a while.
** A shame Visconti didn’t get Bowie into his finest production of the 2000s, Dean Wareham and Britta Phillips’ L’Avventura. That said, it would have been hard for Bowie to find a place to work on such an intimate album. L’Avventura is a document of two ridiculously attractive people falling in love, yet avoiding solipsism to make their union some public ideal of romance.
*** Visconti also roped in Lou Reed, who recited an Eistrup poem, “Black Building.” “It took a long time to actually get Lou into the studio, but when he came he was well-rehearsed and even prepared a special character for the part. He said he’s got about seven voice characters he uses when he does readings of his poetry. Lou was fabulous, he did about three or four takes for us to choose from and even took a phone call from a Tibetan lama in-between takes. Then, like a New York ninja, he disappeared into the chaos of Broadway as soon as he was finished.”
Eistrup’s memories were less reverent. Reed “was anything but sociable. He demanded that the studio be vacated, then that the whole band smoke. He gave me the vaguest handshake I have ever had in my life… He looked at [my] poem and straightened it. I had used words like pubs that he straightened to bars.”
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