This album came out shortly after his last Tubeway Army effort was released. I mentioned there that this record is generally viewed as his magnum opus. On the strength of its songs, I’d agree, though I have a greater personal liking for Replicas simply because I heard it first.

In many ways, it’s more of the same. The major exception to that broad statement is that there’s no guitars on this record. It’s all synth and drums. It’s a showcase for the Polymoog.

As with the prior album, you’re in android territory here. Nearly all of the songs are from the view of a robot or a human caught in a robotic world and/or mindset. Even Cars, the world-wide hit, sounds like a product of an android’s fevered mind. It’s wonderfully impersonal music, though I have to say, it’s a lot warmer than its predecessor. The ballad Complex sounds far more human than the corresponding Down in the Park on the prior record.

There are no real weak tracks on this record, though you could argue it lulls a little through songs like Observer and Conservation. Some of the best music Numan has made is to be found right here, from the opening surging instrumental Airlane to the closing, pulsing Engineers. Apart from the aforementioned Cars (which isn’t even the best thing on the record) you have the classical groove of metal, the sad fey of Complex, the soaring charge of Films (album highlight), the mechanical pity of M.E and the steely reflectiveness of Tracks.

Make no mistake, this is a landmark record and it’s possibly the last great thing he ever made. The next album, Telekon, has its moments but it goes downhill from there as Numan moved away from the sound that brought him fame.

All hail this android masterpiece!

the pleasure principle