David Bowie, the classic chameleon, understands that even people with a merry-go-round of revolving attire and musical fortes need some consistency to avoid parodying themselves.

Artists that change per release have to be careful not to fall into a rut where drastic alterations are the expected norm, not a novelty.

Beck has finally reached that point.

He now comes across like he is stealing once-brilliant ideas from himself. It wouldn’t be surprising to hear cut-and-pasted samples of other Beck songs replacing the genre-altering loops traditionally tucked among his anti-folk roots or soul tendencies.

Unfortunately, the acoustic elements are not as bizarre as “Mellow Gold,” as introspectively somber as “Sea Change” or ambient as “Mutations.” The electronic moments are not as cohesive as “Odelay” or as derivative of neo hip-hop as “Midnite Vultures.”

What is pieced together is a record that hedges its bets between several more imaginative releases.

“Guero” – Spanish for “white boy” – does have elements of latin music but not prominently enough to breach a new genre entirely. And considering “Loser,” his first international single in 1994, featured a part of the chorus in the language, his bilingualism isn’t anything new.

Beck’s maturation as a songwriter and consummate performer hinders his more experimental ideas. He now has a conscience on his shoulder to remind him to stay on track and reign him in whenever he gets too innovative.

A decade ago, that same conscience would have thrown caution to the wind, dressed up in pink pants with an acoustic guitar under one arm, a turntable under the other and awkwardly danced en route to a flawless record.

But alas, the times they are a-changin’. And not even the wirey white boy genius can move forward fluidly while staring so intently backwards.