to "play something funky". Alomar disliked this, telling biographer David Buckley that he "totally, totally resisted it". Despite Eno assuming control at certain points, he appeared on, and co-wrote, only six of the album's ten tracks. Eno felt the trilogy had "petered out" by Lodger, and Belew also observed Eno's and Bowie's working relationship closing down: "They didn't quarrel or anything uncivilised like that; they just didn't seem to have the spark that I imagine they might have had during the "Heroes" album." Visconti shared similar sentiments, saying on multiple occasions: "I don't think [David's] heart was in Lodger." "We had fun, but nevertheless an ominous feeling pervaded the album for me." The sessions at Mountain Studios lasted three weeks, after which the band went back on tour. At the tour's conclusion, Bowie reconvened at the Record Plant in March 1979, where he recorded his lyrics and instrumental overdubs, and began mixing. Belew returned to record further guitar overdubs while Visconti recorded a replacement bass guitar part for "Boys Keep Swinging" after Bowie decided Davis' original was unsuitable; work was completed in a week. Visconti recalled having "sonic problems" during the mixing stage because the studio did not have the technical advancements of European studios. Musical style Much like its two predecessors, Consequence of Sound described the music on Lodger as art rock and experimental rock. However, the album abandons the electronic and ambient styles and the song/instrumental split that defined the two earlier works, in favour of more conventional song structures. Visconti explained: "We dropped the ambient-side-two concept and just recorded songs!" As such, Lodger is the most "accessible" record of the Berlin Trilogy; AllMusic's Stephen Thomas Erlewine described the songs as "twisted avant-pop", while Belew similarly characterised them as "avant-garde pop music". Its musical textures, particularly on "African Night Flight", have been cited as presaging the popularity of world music, Bowie himself considered the album a forerunner of the sounds developed by Eno and David Byrne for My Life in the Bush of Ghosts (1981). Frank Mastropolo of Ultimate Classic Rock wrote that Lodger combines world and new wave music into a "pop format". Although Bryan Wawzenek, also of Ultimate Classic Rock, found Lodger to be the more accessible record of the Berlin Trilogy, he also felt it to be the most experimental, observing elements of Middle Eastern music, reggae, world and krautrock within the vast array of