In Tokyo

When “Loser” 1993 made its way through the alternative radio formats into the mainstream it seems as if the Douglas Coupland generation not only found their book and with “Reality Bites” and “Singles” their fi lms but also their musical portrait with Beck Hansen. Nevertheless already the versatility of the one year later following debut album “Mellow Gold” was supposed to complete this one-dimensional start of a defi nition of Beck as one-hit boy of the slacker decade which shows the mechanized troubadour as musical personifi cation of the pop-cultural postmodern era. Inspired by an eclectic style intention and accompanied by a rumbling variety of almost all versions of popular music, from folk to rock and rap right up to funk and jazz the artistic mania moves in keeping with the refusal to be pigeonholed hitherto by Becks creative work