“Commencing countdown, engines on (five, four, three)
Check ignition and may God’s love be with you (two, one, liftoff)”

There are no American flags on the moon.

The crew of Apollo 11 placed six on the lunar soil. They were symbols, invested with meaning. But they were also cheap flags bought at Sears. After fifty years, harsh ultraviolet rays have bleached them entirely white. All their vexillological meaning is gone, erased by the sun.

David Bowie was like those flags. He seemed to transcend humanity, but he didn’t, he was made of flesh, and in 2016 he died. Four years later, the phrase Dead David Bowie still seems fundamentally and grammatically wrong, like a paradox. He cannot be dead.

Blackstar entered the world two days before Bowie left it. He would have suffered through its recordings, but this can’t be heard in his vocal performances, which are powerful and strong, or his arrangements, which are transcendentally detailed and elaborate, performed by Donny McCaslin’s jazz band.

The most noticeable thing is the musical approach, which is different to anything he tried before. Station to Station might seem like an obvious comparison. There’s a long song at the beginning, and some pop songs at the end. But musically it represents a clean severance with the past. He’s gone longer than the title track, and more literary than “Sue (or in a Season of Crime), and catchier than “I Can’t Give Anything Away”, but this particular fusion of elements feels unique, both within his catalog and outside it.

Blackstar has no nearly rock influences: when electric guitars are heard, they exist as pure tones – a vaccuum cleaner or AC unit could have served the same function. I only place hear distorted guitars is on “Lazarus”, where dirty chords smoulder like hot coals on grass that’s slightly too damp to catch fire.

Instead, Blackstar is an album of jazz, electronica, pop, and perhaps three or four genres that only exist in New York. This ambitious approach is seen most clearly on the nearly 10 minute long “Blackstar”, which is propelled by shuffling snare beats and strings, and sounds both final and uneasy, like a monument built on a crumbling cliff. “‘Tis a Pity She Was a Whore” has a deranged energy not unlike the Manic Street Preachers, although without as many layers of guitars. But there’s an element of quasi-improvisational looseness that’s missing from past Bowie classics like Low, which are the result of perfectionism. “Whore” and some of the others sound recorded quickly (I have no idea whether this is actually the case), as though there was a spontaneous energy that Bowie wanted or needed to capture.

The album trails off in quality a little towards the end, and at times Bowie seems a distant presence among the instrumentation. But the great songs truly are great, both for their music and what they portend. Despite his passing, Bowie was a blessed man: he got to write his own legacy. Few encomiums have Blackstar‘s directness and connection to the source.

Earlier, I described the sun as hateful for destroying the flags. But is it really? The flags got there because men put them there. Men who traveled by a rocket powered by compacted algae. Algae that fed upon photosynthesis provided by…the sun. Everything exists as transformation of the sun’s energy. You can’t curse the sun for erasing the past, because it also creates the present. Bowie understood this. He knew that someday he’d be a long dead icon, his humanness erased and forgotten as new days come and new legends get to walk in the light. This was fine. All he could do was try to have the final word.

The Elton John song “Candle in the Wind”, which (after a dead princess and a meretricious rewrite) became the biggest selling single in history, purports to be a memorial of Marilyn Monroe. I always found it disingenuous and creepy. Norma Jeane Mortenson inhabited roles created for her by men all her life, and now here were two more men, asserting their right to write the definitive story of who she really was. Maybe Elton John and Bernie Taupin meant well, but the song makes my skin crawl. Shouldn’t Marilyn Monroe herself be the one writing this song?

Blackstar is exactly that: a self-describing legend who doesn’t need interpretation or reification. Not that people like me don’t try, but we do so at our peril. Bowie has told us exactly who he is here: and if it’s a confusing picture, maybe that was the truth all along. Musically, Blackstar is good and debatably great. But as a final album, it virtually couldn’t have been better. He may have wanted to write more songs, but at least he got to write the last one.

An old story: an art professor split his class in two, and assigned each a task. The first group was to make a piece of pottery each day until the end of the year. The second group was to spend the entire year making a single perfect pot. At the end of the year he compared their work: the first group’s daily pot looked much better.

Bowie became distant from public life after his heart attack in 2004. He never formally announced his retirement, but sometimes people don’t. In 2013, with no warning or notice, he released an album: his first in 10 years. All of the eleven classic Bowie albums (TMWSTW to Scary Monsters) came out in a similar block of time.

It was called The Next Day, and it had an aura of artistic disrespect, from the “vandalised” cover to the lack of pre-release publicity. This approach was becoming trendy in 2013 (just a year ago, Death Grips released an album with the drummer’s penis on the cover). Albums like Ziggy Stardust sometimes seem to creak under the weight of their own heraldry: clearly Bowie’s approach was to release music free from all that. A few years later and TND would have been dropped straight to Soundcloud, along with a fire emoji.

But it’s casual release barely disguises an album that’s fraught with labour. This statue bears its chisel marks: these songs were written and produced over long periods of time, and sometimes sweat with indecision and self-doubt. The Next Day is never more compelling than in the moments when you realise that Bowie must have come close to scrapping the entire thing.

It’s produced by Visconti, and features an impressive lineup of Bowie Band Members from Christmases Past. Gail Ann Dorsey, Sterling Campbell, saxophonist Steve Elson, Gerry Leonard, and David Torn. Perhaps most plangent is the presence of Earl Slick, who provides a crushing single-coil riff on “(You Will) Set the World On Fire” as well as a link back to the glory days of Station to Station. I really enjoy Slick. He might not be as technically capable as Mick Ronson, or as colourful as Carlos Alomar, but he outlasted both of them.

The Next Day it offers music drawn from one of two wells. The first is heavy rock, the second is vaguely U2-ish light rock with ambient and jazz influences. The title track is the most bombastic and magniloquent of the rockers, containing abrasive riffs and lines like “they know God exists for the Devil told them so”. It’s followed by “Dirty Boys”, which is slower but equally savage, its disembowelling stabs of brass pierce the listener like rusty switchblades.

On “The Stars are Out Tonight”, Bowie offers his most coherent thoughts yet on artifice and illusion. The public’s obsession with celebrities seems vapid and awful, but not having celebrities at all might be even worse. His vocals sound querulous and thin, but powerful when they need to be. This is classic Bowie: he sounds weak, but then casts weakness aside like an ill-fitting cloak.

Other tracks are musically indistinct and lyrically indecipherable. On “I’d Rather Be High”, “How Does the Grass Grow”, and “(You Will) Set the World On Fire” he mixes apocalyptic fervour with introspection and perhaps autobiography. Ever since “The Bewlay Brothers”, Bowie’s listeners have known not to take him too seriously (or too lightly), and TND contains reams of lyrics in that vein.

I don’t think it’s a great album. Despite its lengthy gestation it sounds like it could have come out in 2003: as with Reality most of the songs go in one ear and out the other. There’s no spark. “Valentine’s Day” is just mush, “I’d Rather Be High”, “Where Are We Now?” is a ballad so weak it sounds like it could be extinguished by the draft of a shut door, and “If You Can See Me” is a triage squad of musicians furiously overplaying to compensate for the deadness of the music.

It’s over fifty minutes long, and has forty minutes of hooks. The material soon overstays the listener’s patience: even the furious title track just sounds toneless and dumb after a while, like we’re listening to Tin Machine again. TND has many great moments, and even a few great songs, but as a whole it’s exhausting and overlong. It’s like what they said about Wagner: sixty great minutes and a poor hour.

Can it be called a return to form? What form? Bowie has many. There’s vague echoes of the a better past, but also lots of modernistic touches. This is a latter day Bowie album, with influences from some of the worst parts of his catalog. If it’s interesting, it’s for the truly terrified moments, with Bowie just not sure of what comes next. He is a man not prepared for the future, but nevertheless having it bear down on top of him.

For over eleven years, Reality wore a title it was never meant to bear: that of Last David Bowie Album.

It wasn’t supposed to be this way. Bowie had every intention of continuing recording and touring. But in 2004 (near the end of the grueling 112-date Reality World Tour) he collapsed on stage in Germany, evidently from a heart attack. The beautiful statue that had worn countless layers of paint had suffered an interior crack.

There were no more tours, no more albums. For over ten years, Reality was the end. It never felt like one: it was a small, transitory album, trivial at times, and lacked an identity. It wasn’t a grand, towering tombstone, with HERE LIES DAVID BOWIE etched in stone.

Maybe its battlefield promotion helped it, giving threadbare songs like “She’ll Drive the Big Car” and “Looking for Water” more attention than they deserved. But after The Next Day came out in 2013, Reality fell into its correct place. It’s in the lower half of Bowie’s albums, which is no demerit. It’s also in the lower half of Bowie’s post-70s work, which probably is.

It has good songs, as they all do. “Pablo Picasso” takes the Modern Lovers’ one-chord pony on new and surprising adventures. “The Loneliest Guy” is very unsettling, like a taut and humming spiderweb of Mike Garson’s reverb-soaked piano and Gerry Leonard’s vibrato-drenched guitar. Bowie seems to be drawing from Scott Walker’s approach to songwriting here, turning the soundscape into a huge blank space that crashes sea-shell-like with the sound of its own emptiness.

“Fall Dog Bombs the Moon” is like the last Tin Machine song, very dry and underproduced. The lyrics are both cryptic and heavy-handed, clearly exculpatory of George Bush while not really naming him. I sort of like it.

“Try Some, Buy Some” was originally produced by Phil Spector, and sounds like Regina Spektor. I’ve only listened to it once or twice – a little of this stuff goes a long way.

“Reality” is noisy and quickly becomes unwelcome: it’s like a jam session that nobody has the courage to end. But closing track “Bring Me the Disco King” is another album highlight. It’s another powerful minimalistic song, consisting of Bowie’s voice, Garson’s jazz-influenced piano playing, and Matt Chamberlain’s drum loops. The result is enchanting: it has some of the same magic that “Lady Grinning Soul” had, all those years ago. But then Garson starts vamping all sorts of neo-tonal stuff over the outro (as if trying to recapture “Aladdin Sane”), and a lot of the magic leaves.

And then Reality ends. It was supposed to be yet another stone in a road with no clear end or destination: the road of life. The trouble with such a road is that it can just stop at any moment, without warning, and you have to accept that the final moment has come. For a while, Bowie fans had to accept that this album was his Abbey Road. But eleven years later, a new stone appeared.