Alternating impeccable midtempo anthems and soft ballads - the latter including duets with Maren Morris ("I'll Be the Moon") and Elle King ("Different for Girls") - Black winds up gelling into gently pulsing AAA-country. When he gets loose, it's in a measured fashion: "Somewhere on a Beach" and "Roses and a Time Machine," tacit sequels to "Drunk on a Plane," march to a beat so deliberate that revelry seems like an afterthought, even when Dierks sings about "edumacation." Only when he brings Trombone Shorty in for a cameo on "Mardi Gras" does the pace actually quicken, but Black is intentionally bereft of such carefree moments. Now 40, Bentley doesn't spend as much time raising the roof as he once did, preferring slow grooves and smoky textures. Call it maturation as much as a shift in aesthetics.
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This change in setting - previously, Bentley has been seeing picking on a porch, grinning in an alley, staring into the sunset, and chilling with a dog - doesn't necessarily suggest a leap into crossover country-pop, but there's little question that the sultry gloss of Black is a consolidation of 2014's Riser, a record slicker and straighter than its predecessors. On the album art of Black, his eighth album, Dierks Bentley appears in a seemingly foreign atmosphere for the country singer: the stylish, sexy streets of a city at night.
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