One record at a time: 302. Gary Numan - Hybrid

With the release of "Sacrifice" in 1994, Gary Numan's music took on an aggressive and darker tone. The irony here is that the sound Numan adopted was originally pioneered by Depeche Mode, Nine Inch Nails and other artists he had inspired himself. Essentially Numan began eating his own young. 

Whilst "Sacrifice" sold as poorly as his other efforts in the late eighties and early nineties, its favourable notices acted as a lightbulb moment for Numan and he never attempted to pander to the radio again. The days of ill advised Prince covers, endless saxophone solos and domineering female backing vocals were at an end.

By the time this remix album was released in 2002 to mark his 25th year in the business, Numan was beginning to realise that his work was revered by lots of contemporary artists.The liner notes hint at Numan's surprise at his new found credibility when he says of the record, "I had no idea it would turn out to be this cool. Thanks everyone."

I originally bought a box set of this album that included two CDs and a DVD housed in a numbered sleeve soon after it was released. To be honest I have no idea why I bought this album as I hadn't moved beyond a "best of" compilation I had bought ten years previously at the time. But buy it I did, and when I heard "Crazier" I knew I was about to buy even more of Numan's back catalogue. This coloured vinyl version was a re-issue from 2020.

Thankfully most of the tracks on this album are "re-interpenetrations" of Numan's material and not simply dance remixes that bear no relationship to the source material. The various artists and producers involved include Flood, Andy Gray, Curve and Alan Moulder. Not all of the versions presented succeed, but tracks like Numan's own mix of "M.E." and Mark Gemini Thwaite's version of "This Wreckage" add a new perspective on the classic originals. A worthy purchase for those already familiar with the source material. 3/5

One record at a time: 301. Gary Numan - Machine + Soul

If insanity is defined as doing the same thing over and over again and expecting different results, then Numan had clearly lost the plot by 1992. At this stage in his career Numan desperately needed to produce an album that would improve his finances and recapture some credibility (chiefly the former). This album failed on both counts as it simply continued to plough the same furrow Numan had been failing with since the mid eighties.

When this album does make tentative efforts to innovate or move things forward, Numan gets things spectacularly wrong. Exhibit A: the sleeve. Exhibit B: a toe curling cover of Prince's "U Got The Look".

There's a quote from Numan about this album on the internet that sums things up well, "I put out a really shit album in 1992 called Machine + Soul which I’ll regret for the rest of my life." 

On this record Numan and producer Kipper act like musical magpies stealing from the nest of Jam and Lewis and throwing in various ideas lifted from the chart hits they were trying to emulate. "I Wonder" features the ubiquitous funky drummer loop and then moves into a programmed pattern that reminds me of "Shout" by Tears for Fears. "Cry" resembles something Price would have left on the cutting room floor and "Poison" sounds like the bastard child of Cameo and Yello.

Having savaged the album I'll now begin to make a case that it is marginally better than its predecessor "Outland". Songs like "Generator" and the title track are pretty well produced and despite the dominance of electric guitar and backing vocals, they sound pretty good. The single "Emotion" was totally out of step with anything on the radio in 1992 but it isn't devoid of charm. So whilst this could never be regarded as a 'good' album, it isn't as awful as some (including the artist) might have you believe. 2/5

Pet Shop Brilliance

This week marks the release of "Nonetheless", the 15th studio album by Pet Shop Boys. I have to admit I was a little apprehensive about this record as some of Neil and Chris's more recent albums haven't been good. I find "Hotspot" really quite grating and "Super" sounded like it was thrown together with little care or attention. The last album I really enjoyed was probably "Electric" but this didn't seem to stop me pre-ordering "Nonetheless" in about seven different formats (not all of them have arrived yet)

We have already heard the singles "Loneliness" and "Dancing Star" and I would rate them as middling (I found "Loneliness" particularly disappointing). However, the other tracks on this record are so good it almost makes me think the boys chose the worst songs to be singles in some perverse act of sabotage.  

Songs that had the potential to sound cheesy ("The Secret of Happiness") sound amazing in the hands of James Ford. The first time I heard "Feel" and "Bullet for Narcissus" I was delighted as there are some great melodies woven around traditional octave basslines and Kraftwerk inspired beats. If you don't understand the genre you might miss the point of "The Schalger hit parade" and some might find elements of "Why am I dancing?" a little repetitive, but there are no horrors on the scale of "Wedding In Berlin" or "Hold On" here.

Make no mistake this is a great album and I consider it their best effort since "Yes" in 2009. In fact I'll go one step further and say I haven't enjoyed a PSB album as thoroughly since "Very". Personally I am delighted they have moved away from Stuart Price and enrolled the brilliant James Ford to produce - everything sounds fresh yet familiar and the production compliments the compositions perfectly.

Predictably the least likely single on the album, "A New Bohemia" is slated to be released next - but it does have one of my favourite lyrics, "My life is a mess, like an unmade bed".

1. Loneliness 3/10                        6. A new Bohemia 7/10

2. Feel 8/10                                   7. The Schalger hit parade 7/10

3. What am I dancing? 7/10          8. The Secret of happiness 6/10  

4. New London boy 7/10               9. Bullet for narcissus 7/10

5. Dancing Star 5/10                      10. Love is the law 6/10

One record at a time: 300. Gary Numan - Outland

"Outland" was originally released in 1991 and finds Gary on his knees. The music on this record was supposedly influenced by the production style of Jam and Lewis but Numan's attempts to write songs in a complimentary R&B/funk style fall completely flat.

It's not that this record is badly made, but the sound of a round peg being hammered into a square hole for forty minutes is challenging to listen to.

"Soul Protection" is just pseudo-R&B garbage that sounds like a poor man's "Rhythm Nation 1814". Don't get me wrong, I like Janet Jackson, I just don't like listening to a bad impersonation of it.

Songs like "My World Storm", "Devotion" and "From Russia Infected" are just too derivative and have a sound that doesn't suit Numan's voice. Adding well-known samples from science fiction films like Blade Runner or The Terminator doesn't add value or make the songs sound atmospheric; it just screams of desperation.

If the previous album "Metal Rhythm" was all about the sound of the Ronald D-50, then "Outland" is built on the Korg M1. Songs like "Heart" are swathed in the preset combination patch "Beauty" and sounds like "Lore" and "Finger Snap" pop up quite frequently. In fact Numan continued to use the "Beauty" patch on quite a few albums until Ade Fenton came along and rightly stamped it out a few years later. I can't warm to this album and whilst there are cheesier albums in Numan's back catalogue, this is the one I enjoy the least. 1/5

One record at a time: 299. Gary Numan - Metal Rhythm

Having struggled for a few years on his own record label, Gary Numan decided to sign with Illegal Records in 1988 and released the album "Metal Rhythm". 

On this offering Gary seems to be creating a kind of pseudo-industrial-funk full of Roland D-50 presents and ideas stolen from Prince. The first three songs are pretty much indistinguishable from each other and whilst they feature prominent female backing vocals, they are thankfully devoid of saxophone. Another slight annoyance on this record is the constant use of the same drum sounds. I am fairly sure Numan used a Roland R-8 here and I feel like I can hear the FATS1 snare sound on every track.

Numan only seems to offer us something original on "Devious" and "Voix" in which he recounts some of his experiences with the opposite sex. The single "America" has some nice rhythmical elements, but the sound still harks back to the PPG Wave albums he made two years before. There are some clever stabs at radio friendly pop with "Respect" and "Young Heart" but the sound was already out of step with 1988's chart fodder like Yazz and the Plastic Population or S'Express, so it's no wonder this album only found an audience with his loyal fans. I'm tempted to give this album a low score but I am conscious I have to allow room to go a lot lower. 2/5

One record at a time: 298. Gary Numan - Strange Charm

It's a shame "Strange Charm" isn't more highly regarded as, not only is it the best offering from Numan's 'wilderness years', it is one of his best overall.

I first heard this album when I began exploring Numan's back catalogue following the release of "Splinter" in 2013. My original pressing (replete with 38 year old cellophane) was purchased from eBay in 2014 and sounds very good indeed. 

Whilst I hate to find fault before we have even listened to any of the music, I do have to mention the sleeve. The grainy photo on the front is cropped from the cover of the Sharpe & Numan single "New Thing From London Town" and just screams poverty. The sleeve really does the music an injustice and has always confused me. 

However, it is worth mentioning that this vinyl has far superior sound reproduction to either of the compact discs of this album I own. Both the original Numa and the later Eagle records CDs have very strange mastering that sees the volume move up and down during tracks but the vinyl sounds much better.

The first time I played this album I wasn't too impressed by the dreary monotony of "This Is Love" and the horrible mess that is "This Need" left me totally perplexed. However, after playing the album a few times I realised the first track "My Breathing" was actually a work of genius and that the riffs on songs like "The Sleeproom" or "Strange Charm" have a habit of worming their way into your head. I also like the Sharpe & Numan single "New Thing From London Town" which is presented with revised lyrics by Numan himself. I even began to appreciate the relentless repetition of "I Can't Stop " eventually. Definitely an underrated album. 4/5

One record at a time: 297. Gary Numan - The Fury

Nothing says "I've lost the plot" quite like the cover of this album. Yet who amongst us can say we have never made a mistake? Happily, evidence of my wardrobe disasters from 1985 are safely hidden in photo albums only my mother has access to. Unfortunately for Gary Numan, his poor choices are preserved for eternity on a sleeve that is totally inconsistent with the music it contains.

This album finds Numan on his uppers and full of...well...fury. Opening track "Call Out The Dogs" has Numan sneering at the new boys and wondering why DJs don't know who he is. Elsewhere songs like "Your Fascination" and "The Pleasure Skin" have some great ideas but they tend to be played out on the same recycled synth sounds. We continually hear samples from the film Blade Runner circling around as the grinding synths hammer out proto-industrial beats.

Unfortunately the overbearing female backing vocals and saxophone solos of old return on "The Disease" and the disastrous "I Still Remember". These tracks are a clear indication that Numan was still confused about what radio stations wanted. When you read either of his autobiographies it's amazing how fixated Numan was on securing radio play. Yet in seeking to appease the Gods at Radio 1 Numan lost the very sound that led to his success in the first place. And this is how you end up with an album full of industrial tinged electro pop fronted by a man in a red bow-tie. What a mess. 2/5

One record at a time: 296. Gary Numan - Berserker

After Numan left WEA/Beggars Banquet he decided to set up his own record label and subsequently released "Berserker" in 1984.

I bought a copy of the original pressing from eBay ten years ago and it is in great condition for a forty year old record (the sleeve isn't nearly as badly yellowed as the photo might imply). As an unexpected bonus, my copy turned out to be a misprint as the labels are completely blank.

Whilst this record sold poorly and signalled the start of a fallow commercial period for Numan, I think the music sounds better than anything on his previous three albums. Yes the prominent female backing vocals and terrible saxophone solos are still here, but they don't dominate in the way they did on albums such as "Warriors". The prominent sound this time around is the mighty PPG Wave System. 

In his autobiography Numan mentions sampling into the PPG so he must have been using a Waveterm A alongside a Wave 2.2. This system was expensive and notoriously unreliable but produced a unique timbre that can be heard throughout this record. You can immediately hear a churning bass and cold stabs from the PPG on opening track "Berserker" - sounds that will be recycled throughout the record.

Most of the best songs on this album are on the first side with "The Secret" and "My Dying Machine" being amongst my favourites. There's some great rhythm guitar on "This Is New Love" and "Pump It Up" is unintentionally hilarious - but actually quite good.

Yes the title and sleeve image are a bit naff, but I insist this is a good album. You might think everything sounds old fashioned today but when you consider this was released at the same time as the first album by Art of Noise, "Some Great Reward" by Depeche Mode and "Hysteria" by The Human League, it doesn't sound so out of place. This album deserved to do better. 3/5

One record at a time: 295. Gary Numan - Warriors

"Warriors" was released in 1983 and I own an original pressing along with a version from 2022 that is a particularly vivid shade of orange.

I find this period of Gary Numan's career quite interesting as it is well documented that Numan and co-producer Bill Nelson didn't exactly see eye to eye. In fact, the relationship was so bad that Nelson had his production credit removed and Numan remixed all of the tracks alone.

Ultimately this messy situation created a messy sounding record. You can hear there are kernels of good ideas in these songs but the execution is muddy and indistinct.

To my mind this is one of Numan's least electronic records. Whilst there is a good amount of synths and Linn drum machine, they are dominated by electric guitar, electric bass, viola and worst of all, an omnipresent saxophone. The amount of sax on these songs is truly ridiculous and this could almost be called "The Saxophone Album". Tracks like "The Iceman Comes", "The Tick Tock Man" and "I am Render" are reduced to extended sax solos with short passages of singing thrown in. I can tolerate the occasional 30 second burst of sax, but seemingly endless warbling drives me absolutely crazy.

It's a shame one instrument was allowed to eclipse everything else as there is some considerable merit in the electro-funk Numan and Nelson created. It would improve this album immeasurably if all of the saxophone were cut out and the b-side "Poetry and Power" was added. Unfortunately things remain set in aspic and the potential for these songs is lost. 2/5

One record at a time: 294. Gary Numan - I, Assassin

Unfortunately Gary Numan was always on the outside of the "Futurist" sound he had inadvertently ignited. By 1982 Numan found himself increasingly at odds with current trends and the likes of Duran Duran and Spandau Ballet had run off with his crown.

Having missed the mark with his previous album "Dance", Numan decided to throw funk sounds into the melting pot in an attempt to recapture some credibility and commercial success for the follow up "I, Assassin". You can predict the outcome.

As the hackneyed Linn LM-1 sounds introduce "White Boys and Heroes" you can't help but feel a certain sense of dread. There's a very distinct sonic palette employed on this record and it hasn't aged well. There are plenty of needless saxophone solos and the ARP Odyssey seems to have been wheeled out to provide a few nods back to a time when he was more successful. Pino Palladino's excellent fretless bass is almost as central as Numan's voice but it becomes a little too intrusive after a while.

Despite sounding a little old fashioned in execution, songs like "We Take Mystery To Bed" prove that  Numan could still write a tune and the funk of "Music For Chameleons" is better than almost everything on the previous album. 2/5

One record at a time: 293. Gary Numan - Dance

Gary Numan's first two solo albums achieved gold certification and reached number one in the charts. In contrast, his third effort sold so poorly that the record company were forced to use left over "Dance" picture labels on Numan's next album. 

This is a 2018 reissue is pressed on two purple vinyl discs and housed in a gatefold sleeve; it is a collector's dream. And yet, six years after it was released, this edition is still available for purchase at the amazing price of £21. It seems there has never really been a demand for this album.

So what's wrong here? Well, firstly the title is a complete paradox: there's simply nothing on this record to make anyone want to dance. The rhythms here aren't the robotic funk of old and now seem to take an angular approach that make them difficult to navigate. A strange facet of this album is its near constant use of programmed Roland CR-78 rhythms with live drumming dubbed over the top. Unfortunately the drummers are never quite in time and the effect is intensely annoying to me. Numan really should have just let the machines do it.

To my ears this album sounds more like an artistic statement than a pop record and the involvement of esteemed collaborators Roger Taylor and Mick Karn suggest a level of self indulgence that erodes the quality of the material. The sound of the album seemed to leave casual listeners behind and this remains one of Numan's most dispensable.

There are some reasonably good tracks on here with the single "She's Got Claws" being the standout. This version of the album features largely the same content as the original but substitutes "Moral" for a new Extended Version and adds some b-sides, along with the title track that was culled from the original track listing. Also included is the Paul Gardiner single "Stormtrooper in Drag" which featured Numan as co-composer, producer, musician and vocalist. Fittingly the Paul Gardiner single is one of the best things on this otherwise lacklustre affair. 1/5

One record at a time: 292. Gary Numan - Living Ornaments '79 and '80

"Living Ornaments" '79 and '80 were two live albums released by Gary Numan in 1980. Whilst both records could be bought individually, they were also released in a 'limited edition' box set that collected both discs together. As you can see I own the box set and an individual copy of  the '79 album. I think this is because I initially assumed the box set would be hard to find and decided to collect the albums singularly. However, I soon stumbled across a good condition box set at a reasonable price and the single '79 record I had purchased became redundant. 

The '79 disc kicks off with the impressive instrumental "Airlane" before Numan takes the stage for a rather brisk version of the monster single "Cars". Numan dismissively introduces "We Are So Fragile" as "an old b-side" before the band once again light the blue touch paper and go off like a rocket. These recording were made in the days before click tracks and the band must have relied solely on the rhythm section to dictate the speed of the performance. Drummer Ced Sharpley somehow manages to faithfully recreate the distinctive beat of "Films" and the band follow his lead with a faultless performance. There's an older Tubeway Army song "Something's In The House" which reminds us that Numan had already released three albums by the time he embarked on his sell out tour of the nation.

The slightly ponderous "This Wreckage" opens the second disc but it receives a rapturous reception from the crowd. We rattle through a slew of solo and Tubeway Army material before we reach the fantastic "Remind Me To Smile" which sounds really good once it gets going. The '80 disc fills in the holes by including "Are Friends Electric?" and other high profile material that was omitted from the first album. Whilst the prospect of sitting and listening to both albums back to back feels a little like overkill, they feature some good performances that are easily digestible when consumed singularly. 3/5

One record at a time: 291. Gary Numan - Telekon

I bought this 2011 repressing of "Telekon" from Sister Ray records in London not long after it was released. You would be forgiven for thinking that there are more than enough copies of old Gary Numan albums knocking around, but this new version has the advantage of being spread across two discs and includes two tracks not featured on the 1980 release.

After the runaway success of "The Pleasure Principle" Gary went away, bought some shiny new polysynths (Prophet 5 and Jupiter 4) and set about recording his third "machine music" album. The first track "This Wreckage" is a petty dark piece with lyrics that hint at Numan's discomfort with his new found fame. Despite it's seemingly bleak tone there is a great hook running through this song as it stutters along in an angular, but strangely pleasing way. 

"The Aircrash Bureau" features Paul Gardiner's multitracked bass alongside some Roland CR-78 percussion and piano flourishes courtesy of Denis Haines. There's definitely a broader sonic palette here when compared to the previous album, but it isn't always to my taste. The song "Telekeon" is a case in point where the arrangement just doesn't work and the vocals are really quite irritating. 

One of the best songs on here is the brilliant "Remind Me To Smile" which has a catchy handclap motif and some funky rhythm guitar work. "Sleep by Windows" sounds more like something we would have heard on "Replicas" and feels like a step backwards. The first disc finishes with the rapid fire "We Are Glass" which was a single in 1980 but was not featured on the original version of the album.

"I'm an agent" is a pretty good song but I really don't like Numan's snarling vocal delivery. There's a bit more vivacity on "I Dream of Wires" which was even good enough for Robert Palmer to record a cover version. "Remember I was vapour" is another example of the surly vocal delivery Numan seemed to adopt in 1980 and it's not becoming.

The lament of "Please Push No More" is based on a good idea but it becomes boring and repetitive after five and a half minutes. The "Joy Circuit" proves that no matter how many times you overdub a single violin it will always sound like a terrible scratchy mess. We finish with another single omitted from the original pressing, "I Die: You Die". This song was a swipe at an increasingly hostile music press who seemed to have forgotten that their relationship with artists was one of codependence. In 2024 it's easy to see who had the last laugh when you look for a review of Numan's latest album in Melody Maker, Smash Hits or Sounds. 3/5

One record at a time: 290. Gary Numan - The Pleasure Principle

Sometimes, it's only when I come to write this blog that I realise there are some gaps in my collection. As I pulled the first Gary Numan LP from my shelf I couldn't help but wonder why Tubeway Army's first two albums weren't there. At first I wasn't sure if I had filed them under "T", but I soon realised that I don't actually own them on vinyl. So, for this entry, we will have to look at the first LP released under Gary's own name, "The Pleasure Principle". My copy is an original from 1979 that is in very good condition to say it is over forty years old.

Proceedings open with the instrumental "Airlane" which has a great melody and some breathless drumming from Ced Sharpley. It's no secret that this album features an enormous amount of the Polymoog keyboard (as distinct from the synthesizer model) preset Vox Humana and the sound is thrown straight at us here. Up next is the classic track "Metal" which has quite polished production to say it was recorded in 1979 by a man who was only 21.

This may be something of an anathema, but I am forced to admit that I'm not much of a fan of "Complex". For me this song is just too ponderous and the scratchy violin really annoys me. "Films" has a killer beat but there is more to enjoy here than just the drumming. Equally "M.E." is more than a just a repurposed sample - it's actually a really good song. 

On the flip side, "Tracks" is reminiscent of "We Are So Fragile" from the previous album and sounds a little bit too derivative for me. Similarly "Observer" is almost a rehash of the monster single "Cars" which is also included here and is rightly revered as groundbreaking synth-pop. I have always found the melody and main riff from "Conversation" strangely intriguing and consider the song to be underappreciated. Things round out with "Engineers" which doesn't break from the well worn sonic palette employed by the rest of the disc. This album broke new ground when it was released and it still continues to fascinate today. 4/5

One record at a time: 289. No-Man - Love You To Bits

By the time 2019 rolled around I'd rather given up on No-Man. It had been eleven years since their last album and both Tim and Steven seemed to be happy pursuing solo projects. 

To be honest I didn't really lament the lack of output from the band as their last efforts had left me feeling a little bored. Whilst the art-rock of "Schoolyard Ghosts" and the ambience of "Together We Are Stranger" might have their place, I longed for something with a pulse. I had no idea what to expect from this new album, but the sound that greeted my ears as I dropped the needle on this blue vinyl for the first time took my breath away.

Not only was there immediately the sound of a pounding bass drum, but it was augmented with analogue percussion that sounded just like "Ice Machine" by Depeche Mode. A driving synth bass rumbles under Tim's distinctive vocals as he sings of loving someone, "like I don't love you at all". "Love Me To Bits (Bit 1)" and its coda "Bit 2" left me dumbfounded and just a little bit emotional at how totally triumphant this record sounded. 

"Bit 3" kicks into life with some excellent drumming and Steven's precise guitar work before "Bit 4" heralds the return of the synths and a new leitmotif. Side one finishes with a reprise of the rumbling Moroder-esque synth bass from "Bit 1" but with a sprinkling of new lyrics.

The flip side opens with the subdued introduction of "Love You To Pieces (Piece 1)" in which Tim sings of a sticky love that left him weak. As the TR-808 style hit hats kick in, I can't help but anticipate the electronic tricks that Steven Wilson is about to pull out of the bag. Yes, we are hearing the same melody that was used on the first side, but the clever arrangement and Tim's constant development of the lyrics mean things never become boring.

"Piece 2" opens with an aggressive bassline and delivers one of the most amazing electric piano solos you'll ever hear. "Piece 3" continues to develop the relentless groove until things disintegrate into the the welcome ambience of "Part 4" and "Part 5". For me this return to a more melodic and synth driven sound is manna from heaven. Also not to be missed is the magical "Love You To Shreds 1-3" on the single of "Bit 1". Amazing. I want more. 5/5

A forgotten gem

Five years ago I wrote a post about the remix 12" of "Inside Out" by Electribe 101. In my missive I complained this record seemed to have been miss-pressed as it had glitches, pops and all manner of background noise that ruined one of the best records the band released.

So imagine my excitement when lead singer Billie Ray-Martin announced the release of a four CD box set of parent album "Electribal Memories" that included the "MCM Mix" of Inside Out - my prayers had finally been answered. 

I did actually succeed in creating my own recording of the track with all of the artefacts edited out, but it took many weeks and I was never one hundred percent happy with it - but in the absence of the mix ever being released digitally, it was the best I was going to get.

So now I own a pristine digital recording of the mix and I only had to wait thirty four years. Patience is a virtue.

One record at a time: 288. Mo-Man - Schoolyard Ghosts

This album is another ponderous beast that explores the musical wilderness between art-rock and prog-rock. My copy is a 2015 remastered version split across 2 LPs.

Opening tracks "All Sweet Things" and "Beautiful Songs You Should Know" are kitchen sink dramas played out on acoustic guitar, piano and Tim's distinctive vocal tones. These song neither offend nor ignite the imagination.

"Pigeon Drummer" begins as a slow and quiet instrumental before suddenly exploding into a sea of tom drums and squealing guitars. This might have seemed like a neat trick when it was conceived but it only serves to destroy the mood for me. 

There's some wonderful strings on the first part of "Truenorth" which eventually combine with a welcome hip hop beat. As Tim sings of surrendering to the night and the orchestra swells, you realise this is one of the best songs No-Man have recorded in many years. Yes, it is overly long at twelve minutes (maybe they could have chopped out one or two of the jazz flute solos), but it will reward those who persevere.

"Wherever There Is Light" lost my interest the second a pedal steel guitar began howling but "Song of the Surf" is much more interesting and has a great melody. There's another trace of a beat on "Streaming" but the pedal steel guitar comes in to ruin any promise the composition might have shown. The final track "Mixtaped" is far too self indulgent and, whilst the band might have had great fun recording it, it's not much fun to listen to. There are three bonus tracks on side four but none of them stand out particularly. All the marks for this album go to the majestic "Truenorth", everything else is fairly superfluous. 2/5

One record at a time: 287. No-Man - Together We're Stranger

"Together We're Stranger" was released in 2003 and here I am listening to the 2015 remastered version. Unfortunately this pressing suffers from an issue with near constant clicks and pops throughout. I am yet to put these discs through my cheap and cheerful Disco-antistat cleaner, but I'm not convinced it would make much difference.

If this were a normal pop record full of rhythms and busy backing tracks, the additional noise wouldn't be of major concern, but as this is an intimate and atmospheric recording, the surface noise detracts from the experience quite considerably.

I think there is something magical going on here but I haven't yet discovered the key to unlock it. Sometimes an album can reveal itself through repeated listening, but I find that so hard to do in this day and age - so I fear I will never fully appreciate this record. "All The Blue Changes" is probably the most immediate track on here and I guess this is because it is also the only track on the album that creeps above eighty beats per minute. Don't get me wrong, not everything has to be a frenetic dance track, but these songs don't do enough to pique my interest so they can be like wadding through treacle. 2/5

One record at a time: 286. No-Man - Returning Jesus

As a number of albums from the No-Man back catalogue haven't been released on vinyl, we are forced to skip to "Returning Jesus" from 2001. Here I am listening to the 2017 remastered version which sounds fantastic.

Things begin with the magical "Only Rain" which recycles the stings from an earlier track called "Watching Over Me". As the song moves through its different phases you can't help but wonder at the invention and beauty on offer. There's some added vinyl noise for the intro of "No Defence" which revolves around Steven's guitar arpeggios and some deliberately listless drumming by Steve Jansen. 

By far the best track on here is "Close Your Eyes" which is capable of sending a shudder down your spine. At the start Tim sings over some basic organ chords and percussion before the synth pads and guitar licks lift the chorus to a new level. In a way this is typical progressive rock as the song builds and builds until it reaches a searing guitar solo that gives way to an extended instrumental - but it sound much better than this description.

"Carolina Skeletons" is a sad and reflective piece that was released on an EP a full three years before the album. The other tracks from the EP are featured on the flip side of the second record and add value to this package. 

"Outside The Machine" centres on jazz influenced piano chords and the superlative drumming of Steve Jansen once again. The tile track, "Returning Jesus" sees Steven Wilson work his genius with tuned percussion and a guitar that sounds uncannily like Mike Oldfield. Songs like "Lighthouse" and "Slow It All Down" give me the feeling Steven is driving this part of the album and as he weaves Hammond organ and Mellotron sounds into the mix, it feels very much like an ode to prog rock. We finish with another single "All That You Are" which once again revolves around Steven's guitar arpeggios and Tim's intimate vocal. Good stuff. 3.5/5

One record at a time: 285. No-Man - Flowermouth

In the summer of 2004 I wrote a long post on my then website about the No-Man album "Flowermouth". It was an unashamedly gushing piece about one of my favourite albums. The original text described the start of the love affair thus:

I bought "Flowermouth" on the back of hearing “Simple” on a demo CD given away with a magazine in 1994. I kept coming back to the song and every time I heard it, I loved it more. I bought the album on a trip into town one weekday and little did I know my life was about to change.

Historically, one of my only laments about this album was that I didn't own it on vinyl. However, I have recently managed to acquire a copy of the double LP at a reasonable price and can review it here. 

The first track "Angel gets caught in the beauty trap" opens with a distinctive harp theme that gives way to the superlative piano and strings which haunt this piece. Bowness’s vocal moves in almost unnoticed like any other musical instrument, “I can not dream for the dirt on my hands”. Ambience and subtlety abound. By the time the songs ends you have just experienced nearly 10 minutes of bliss.
 
"You grow more beautiful" kicks off with beats that will satisfy your yearning for something different. The song moves between dance, rock and the avant-garde in a way no other can. This would have been a great single but I get the feeling One Little Indian had given up on the band by the time this album was released.

Having had your ambient song and your upbeat (ish) single we move on to the kitchen sink drama in the form of "Animal Ghost". Rumbling TR808 rhythms keep an almost electro edge to a song which even manages to incorporate a flute solo.  There's a funky bassline on the brilliant "Soft Shoulders" and the lyrics to "Shell of A Fighter" are endearing and mystifying at the same time. 

One of my favourite tracks is "Teardrop Fall". Electronic riffs move alongside sweeping strings and crunchy guitars. This song is about feelings. Not theirs but yours. Another single that never was. "Watching over me" provides a change of pace and proves that No-Man have more tricks up their sleeve.

"Simple" is the song that started my love affair with this album. Bowness and Wilson felt this was an ordinary pop song until Fripp became involved. Personally I think it would be a masterpiece with or without him. The Lisa Gerrard sample is exactly what you would expect; haunting. The thumping beats combine with the superlative synth lines to make a perfect piece of music. The lyrics are on another level; “No more dreams turn into armchairs again”. The strange thing is, I know exactly what he means; it’s so simple. Things round out with the lament of  "Things change" which is sorrowful and touching.

I love this album and this record is one of the most treasured items in my collection. There hasn't been a repress of this record since it was released in 1994, but I don't love this record simply because it is rare; I cherish it because of the music it contains. More recent CD pressings contain remixes of some songs that were created in 1999. So whilst I pray for a new pressing, I would prefer it to contain the 'right' mixes. 5/5

One record at a time: 284. Nine Inch Nails - Bad Witch

I remember that producer Gareth Jones once said he had naively assumed "reverb equalled atmosphere" and he had applied it liberally to a Depeche Mode record in search of a more ethereal sound. 

It seems that for this record, Nine Inch Nails had a similar thought but decided to apply distortion to everything to make their record "sound better" (much like Depeche Mode do today ironically). However, there's no subtilty or dynamics here - "Bad Witch" is just a wall of noise.

The first track, "Shit Mirror" is a terrible piece of nonsense - but at least it doesn't last long. Second track "Ahead of Ourselves" would seem to have some good ideas, but everything is buried in so much distortion it is impossible to discern what is going on.

More sonic saturation destroys the aimless "Play The Goddammed Part" which doesn't even have the decency to be brief. By the time I reach "God Break Down The Door" I am feeling tested and the use of saxophone just about finishes me off.

After a short break I resume with "I'm Not From This World" which is a fine piece of sound design but isn't music. There's a trace of a beat on the start of "Over and Out" and it even sounds like the distortion might have been turned down from eleven to...well, at least four. So the last song is reasonably entertaining but this record is a real low point in the NIN back catalogue for me. 1/5

One record at a time: 283. Nine Inch Nails - Add Violence

The EP "Add Violence" starts with the electronic rattling of "Less Than" which has a strong melody and immediate appeal. The first track ends unceremoniously and the percussion of "The Lovers" comes hot on its heels. This is one of those songs where the verse consists of unintelligible whispers/speech but the chorus explodes into a seductive melody revealing the true majesty of the song. "This Isn't The Place" is an atmospheric piece that is largely instrumental and completes the first side without making much impression.

"Not Anymore" relies on the dynamic between the quieter verses and the blazing chorus. Whilst this approach is partially successful, it becomes a little tiring - something the band must have been aware of as the track only last for three minutes.

The remainder of the record is taken up by an eleven minute opus titled "The Background World". Things start out well with ebbing synths pads and a solid programmed beat underpinning Trent's tale of a world "bleeding out". The song proper ends after about five minutes and the remainder of the track consists of a loop with increasing amounts of distortion applied. After a few minutes things simply become a wall of white noise. Why anyone would want to sit an listen to that nonsense for six minutes I have no idea. It's a shame the end of the record is so bad as it drags down the good stuff that came before. At least it came with a free slip mat. 3/5

One record at a time: 282. Nine Inch Nails - Not The Actual Events

"Not The Actual Events" is the first in a trilogy of E.P.s released by Nine Inch Nails between 2016 and 2018. This vinyl edition comes in a sealed bag that contains a black powder designed to leave marks during the production process which means every sleeve is effectively unique. The main music contained on this release is pressed on one side of the LP and three tracks from the "The Downward Spiral" pressed on the flip side. The trick here is that the tracks on the flip side play in reverse.

We begin with "Branches/Bones" which comes in at under two minutes in length but what it lacks in duration it makes up for in noise levels. Second track "Dear World," sees Trent talking over burbling analogue synths until the stripped back chorus injects some more substantial melody. There's more weird noises and effects on "She's Gone Away" which creeps along in the most sinister way. You'd be forgiven for thinking the record was playing at the wrong speed when the chorus kicks which makes for one of the more interesting songs on this collection.

"The Idea of You" is a stilted and traditional heavy rock song that even features Dave Grohl on drums as the final cliche. There's some thinly veiled plagiarism on "Burning Bright" which takes elements of the guitar riff from Black Sabbath's "Iron Man" and tortures us with it for nearly six minutes. 

There's nothing too offensive on here, but there's nothing that is going to set the world on fire either. Everything is middling and vaguely unimpressive. I guess this is why the band encourage us to listen to this record loud: the volume might somehow detract from the slightly mediocre content. 2.5/5

One record at a time: 281. Nine Inch Nails - The Fragile: Deviations 1

You may remember that I regard "The Fragile" as something of a middling effort with only a few high points. So why would I chose to buy a four disc, horrendously expensive vinyl edition of the same album that features only instrumental version of those same mediocre songs? To be honest, I have no idea.

I think I purchased this set as it lured me in with promises of exclusive material and stating it was a "one time pressing; when its gone, its gone". Well I'm calling bullshit on this statement as this record was released seven years ago and it is still available from the band's UK web store today. Occasionally it will show as "out of stock", but it reappears a week or two later suggesting they are repressing this ad infinitum.

I'm certain I didn't pay the current £75 price tag seven years ago. Most of the songs on these discs are OK, but turning them into instrumentals doesn't really do much to enhance them. Some songs definitely sound clearer without the distorted vocals, but that simply doesn't justify the cost. Sometimes it's no wonder people steal or illegally share digital files. 2/5

One record at a time: 280. Nine Inch Nails - Hesitation Marks

We have to jump forward a few albums in the Nine Inch Nails discography to "Hesitation Marks" of 2013 as I don't yet own "The Slip" or "Year Zero" on vinyl. Here I am playing the standard double vinyl that was released here in the UK (by Polydor of all people).

This album was one of the first I encountered where the singles were only released digitally. "Came Back Haunted" was released first and gave me hope that the new album was going to be suitably electronic. I've read this song was created using some of the same synths as used on "Pretty Hate Machine", and whilst it may not sound exactly like something from the band's debut, it certainly harks back to a more melodic and rhythmical template.

The second single "Copy Of A" features various rhythmical elements and burbling synths that are augmented by Trent's repeated vocal phrases. Supposedly the great Pino Palladino is playing bass on this track, but I can't hear any bass guitar - maybe my tinnitus is affecting more than just high frequencies.

One of the things I like about this album is that I am not having to endure acoustic drums. "Find My Way" has some great stuttering rhythms and the slowed down funk of  "All Time Low" twists its way around a perfectly monotonous programmed beat.

"Everything" is the first song to feature guitar prominently and has vocal harmonies in the verses that sound distinctly pop. Thankfully the electronic funk of "Satellite" comes to the rescue and provides the perfect introduction for the second disc. Other favourites are "Running" and the impressive "I Would For You" which prove Reznor remains an engaging and original songwriter.

My attention begins to wain as the album approaches its conclusions and with fourteen tracks there is almost too much here. I guess I am too accustomed to ten track albums designed to fit on a single LP. Yet on this album, Trent did almost everything I wished for: he peeled back the distortion, turned down the guitars, got rid of meaningless instrumentals and largely dumped the acoustic drums. It's not "Pretty Hate Machine Part 2" but it's not a million miles away. 4/5

One record at a time: 279. Nine Inch Nails - With Teeth

Following the release of "The Fragile", Trent Reznor made significant changes in his life and returned to writing music with a new vigour. Around the same time my life began to spiral downward and this music arrived at the intersection of those changing fortunes.

Here I am playing the 2019 "Definitive Edition" on double vinyl, but CD was my format of choice back in 2005. As soon as the electronic rhythms and deep rumbling bass of opening track "Why Do You Get All The Love In The world?" began, I knew this album was going to be much more to my taste than its predecessor. When this song enters its second phase with the arrival of a kick drum and piano refrain, things begin to take off in the most satisfying way.

It seems inevitable that a ridiculously fast and noisy track has to follow, but "You Know What You Are?" is better than most of this type of song Reznor has produced before. "The Collector" has a distinctive bassline and some nice touches but is ruined by the acoustic drums (by Dave Grohl....yawn). Much more to my taste is the single "The Hand That Feeds" which seems to mix a dance beat with distorted guitars and Reznor's slick lyrics to great effect. 

"Love Is Not Enough" is a slow paced and angry song that is mixed to perfection. The distorted vocals and guitar of previous album are here, but they aren't allowed to dominate and the finer detail of the backing track is given room to breathe. Whilst "Everyday Is Exactly The Same" uses acoustic drums, the rumbling synths and soaring chorus elevate this song to a level I worried we might not hear again from Nine Inch Nails. Whilst "With Teeth" is passable, it's the next track "Only" that a blows things out of the water and takes this album to another level. The solid funk of the bassline and the beat underpin some amazing lyrics that I must have sung screamed along to a million times, "I just made you up to hurt myself, and it worked. Yes it did."

"Getting Smaller" is another angry, rapid fire track but it succeeds as the distorted guitars on the chorus remain restrained and purposeful rather than merely generating a wall of noise as they have on previous albums. There's a malevolent air to "Sunspots" but it is one of the more vanilla tracks on here. We have to endure more Dave Grohl drumming on the lacklustre "Home" and "The Line Begins To Blur" before the drone of "Beside You In Time" signals proceedings are coming to an end. There is one final song in the form of "Right Where It Belongs" whose reflective melancholy finally brings the curtain down. 4/5

One record at a time: 278. Nine Inch Nails - The Fragile

There was no significant promotion or build up to the release of the fourth Nine Inch Nails album here in the UK, and I wasn't really aware of it until I saw it on the shelves of my local Virgin Megastore.

When I reached the till to complete my purchase, the guy behind the counter said, "Oh you get this free poster with that CD," and handed me a machine numbered 12"x12" print of the sleeve. I still have that "flat" (as I believe they were called in the industry) but I have no idea why it was given to me. It seems these flats were included in the promotional triple LP, so how it became separated from the vinyl and ended up in a retail store is a mystery.

The confused and slightly muted approach to the release of this album is cited as one reasons "The Fragile" did not sell nearly as well as its predecessor. However, my hunch is that this record failed to find an audience as it fell between two camps. Neither the rock audience attracted by "The Downward Spiral" nor the electronic industrial audience of "Pretty Hate Machine" would have been satisfied with the music on this album.

Here I am listening to the ruinously expensive 2017 definitive edition which is pressed on three 180g LPs and features remastered audio. The first time I listened to this album, the bizarre acoustic guitar riff of "Somewhat Damaged" instantly turned me off and I began to worry this was gong to be another guitar driven rock album. Yet as the beat and stuttering synth noises began, my worries eased somewhat. Whilst there aren't too many lyrical or melodic hooks on this song it makes for a good introduction. 

"The World Went Away" was released as a single in some territories but not here in the UK - which is just as well as this chugging guitar track is devoid of a rhythm and is of limited interest. Reznor's distinctive piano playing features on the short instrumental "The Frail" which segues into the atmospheric "The Wretched". This song is much more like the material on "Broken" that I enjoyed so much as is a highlight of the album for me.  

The single "We're In This Together" ushers in the start of the b-side with its acoustic drums and distorted guitars. The chorus of this song is undoubtedly driving and melodic but the verses are a little tedious. The title track is fair enough but as "Just Like You Imagined" begins I realise I've never really warmed to these songs due to the acoustic drums. The final track on the first disc "Even Deeper" does benefit from drum programming and some instrumentation that isn't entirely reliant on distorted guitars, so all is not lost.

"Pilgrimage" is an instrumental that repeats a leitmotif across different arrangements and instruments without really advancing much. "No, You Don't" is a fast paced and catchy song that seems to cross metal with soft synths and somehow make it work. It's much more successful than tracks like "The World Went Away" and would have made a great single.

The instrumental "La Mer" is distinctive piece that utilises a bassline we will hear later on the record but it runs out of steam well before its five minutes are up. The first song that harks back to a more electronic sound is "The Great Below" which ebbs and flows before succumbing to the inevitable acoustic drums.

For some strange reason I went to see a film called "Final Destination" in March 2000. Whilst watching the movie I realised the brilliant song that was playing was by Nine Inch Nails and must be on their latest album. Back then I had dismissed "The Fragile" as just "noise" and I missed this magnificent return to form. This is the best song on the album by a county mile. 

I like "Where Is Everybody?" simply because it uses synths and programmed beats as a nice change from most of what has gone before. "The Mark Has Been Made" is another atmospheric but ultimately disposable instrumental that points to Reznor's future career as a soundtrack composer. "Please" blends synths, electric bass an those horrible acoustic drums, but it just ends up being too noisy to discern any meaning from what is going on. "Starfuckers Inc." has some great rhythmical elements during the verses but the chorus descends into the bland guitar nonsense we are accustomed to by this point. 

There's even more senseless noise with "Complication" and the truly dreadful "The New Flesh". As I turn over to the final side I'm beginning to feel like I've broken the back of this record and the groove on "The Big Comedown" proves to be a good reward for sticking with it this long. The stuttering and noisy "Underneath It All" is fairly short but the final instrumental "Ripe" is pretty tortuous. 

My disinterest in this album has always been driven by the fact that it is too long and overblown. I have a playlist that strips things down to the six tracks I enjoy and intersperses them with a few of the more interesting (i.e. short) instrumentals as album filler. But even this short version doesn't get played much to be honest. 3/5

One record at a time: 277. Nine Inch Nails - Quake

Back in the nineties a friend of mine would extol the virtues of gaming on a PC and tell me how good games like Doom, Duke Nukem 3-D and Dark Forces were. I didn't really have much time for playing games at this time in my life so I didn't really pay much attention when the same friend began talking about a new game called Quake. In retrospect, I can see that this was a mistake as not only was Quake a seminal moment in gaming, but the soundtrack was created by one of my favourite groups of the time Nine Inch Nails.

The audio for the soundtrack was included on the CD-ROM of the game but it wasn't made available as a stand-alone album until this vinyl was released in 2020. The music on this record consists of ten tracks of ambient soundscapes that Reznor himself describes as, "not music, it's textures and ambiences and whirling machine noises and stuff."

I think the completist side of me decided to buy this record, but neither the music fan in me or my bank balance have thanked me for it. So maybe it was actually a blessing that I didn't pay any attention to my friend talking about Quake back in the day as it delayed the disappointment of hearing the soundtrack by at least twenty four years. 1/5

One record at a time: 276. Nine Inch Nails - The Downward Spiral

If Nine Inch Nails debut album put them on the map, then "The Downward Spiral" moved them into the mainstream. For whatever reason, this album seems to get all the love amongst fans and sold in its millions. Personally, I think this album is OK, but I really can't see what all the fuss is about.

I read somewhere that there is some form of story that pins these tracks together; but I find it impossible to discern any narrative here. One of the things that disappoints me about this album is its lyrics. Unlike previous records, these songs are neither subtle nor clever; everything seems crude and puerile. Whereas lyrics on previous albums would amuse or titillate, they simply induce an involuntary eye roll here. 

"Mr Self Destruct" is a strange track that switches between rapid-fire verses and a barely audible middle section. There's definitely some merit in this track, but it isn't an auspicious opening. It feels like all of the focussed anger from "Broken" has begun spilling out and landed in a sticky mess on the floor.

Things get back on track with "Piggy" which has enough ideas and crazy drumming to entertain. There's very little electronics going on in this song, but the traditional instruments on display are mangled and abused enough to make them sound interesting. When you have finished listening to this album it's likely this is the song you find yourself humming. "Heresy" gives our first sign of a more synth driven track but its lyrics are straight out of a teenage diary: "You God is dead and no one cares. If there is a hell, I'll see you there". Oh please.

I bought both CDs singles and the 9" vinyl of "March of the Pigs" when they were released but I wasn't really that impressed by any of them. For me this song is just too fast, too noisy and only offers a brief nod to melody. Whilst I have always assumed this song must somehow relate to the second track on the album, I could never figure out how.

"Closer" is a rather infamous song with less than subtle lyrics and a relentless beat. When it was first released as a single, the groove in this song really impressed me and gave me hope that Trent hadn't completely abandoned the use of synthesizers. Yet when I hear it today, the music isn't enough to save this song from its boorish and vulgar lyrics. Maybe I'm just getting too old.

"Ruiner" sounds OK but it has a bizarre Jimi Hendrix style guitar solo juxtaposed with a driving beat that just doesn't work for me. I'm really not a fan of the samples of screaming people that are used in "The Becoming" but the lyrics are much improved. One of the best songs on the record is "I Do Not Want This" which moves between delicate verses and a raging chorus. Next up is a short song called "Big Man With A Gun" which begins and ends without making much impression. "A Warm Place" is a dream-like instrumental that sounds like it belongs on the soundtrack to a film. There's an indistinguishable wall of noise in the form of "Eraser" before the slightly improved "Reptile" raises our hopes that we will encounter a melody before the end of the record. The title track is a lazy screaming rehash of the end theme from "Closer" that is drawn out for four whole minutes. Today, it's impossible to divorce the final track "Hurt" from the version recorded by Johnny Cash, but this original recording has a different feel that provides the perfect end to the album.

This 2017 definitive edition features remastered audio spread across two 180g records and is housed in a gatefold sleeve. The records are beautifully presented but, whilst there are some good points, the sound is just too rock for me. The synthesizers have been buried in the mix and everything sounds like an overtly masculine, axe wielding cliche. This might be Trent's biggest selling album and a fan favourite, but I'm not an admirer. 2/5

One record at a time: 275. Nine Inch Nails - Broken

I bought the CD of "Broken" by Nine Inch Nails the day it was released in 1992. When I got home and loaded the CD into my Sony MHC-1600 mini hi-fi, I assumed this album would be similar to the dark electronic music of debut "Pretty Hate Machine". Boy, was I in for a surprise.

As the music played I couldn't quite work out what was going on. Was this heavy metal or rock music of some kind? Was this an E.P. or an album? Why were there ninety tracks of silence? Even the fold out packaging seemed deliberately obtuse and contained barbed remarks aimed at record executives. 

The 2017 definitive edition I am playing here opens with the quietly sinister "Pinion" which soon cedes to the aggression and seemingly limitless anger of "Wish". Whilst the imaginative synth textures and samples of "Pretty Hate Machine" are still evident, guitars are much more prominent and the 'extra real' drums add another layer to the frenzied cacophony. This track is everything I don't like in music; and I love it.

The opening guitar riff on "Last" is an immaculate slice of noise that induces an immediate, almost visceral reaction. Everything on this record oozes anger and Trent seems to scream lyrics like, "Still stings these shattered nerves, pigs we get what pigs deserve" with a depth of feeling I haven't really heard anywhere else. As we move through the various sections of the song you begin to appreciate the intricacy and detail that is underpinning the wall of noise. For me "Last" is the highlight of this record and sits comfortably in the top ten of best Nine Inch Nails tracks.

"Help Me I an in Hell" is one of those short and menacing instrumentals that isn't too exciting when heard in isolation but definitely adds to the overall atmosphere of the record. The promotional single "Happiness in Slavery" comes next with its distorted vocals and frenetic guitars which are counterbalanced by some great synth elements. Any notion that Trent's anger may be receding is soon dismissed when the chorus of "Gave Up" drills into our cranium. Whilst I like this song, it isn't one of my favourites as there is less use of electronics in the mix. 

After the four songs and two interludes we've reached the end of side one and the mini album/EP. The original CD went on to play ninety tracks of silence before 'hidden' cover versions of Adam and the Ant's "Physical" and Pigface's "Suck" erupted. On this vinyl edition, the extra tracks are contained on a separate 7" single so there's no doubt the intention was to present these tracks as being distinct from the original content. Both additional tracks are well realised, but the chugging monotony of "Physical" has the edge for me. 4/5

One record at a time: 274. Nine Inch Nails - Pretty Hate Machine

One day in November 1991, as I stood in the queue for the till at HMV, the guy in front of me said to his friend, "I really like that song at number 35 called "Sin'". It's really electronic". Upon hearing this I decided to leave the queue to investigate further. I'd never heard of Nine Inch Nails, but the sleek black digipak and gloss printed artwork of the single intrigued me. So, "Sin" came home with me and I've been a fan of Trent Reznor ever since.

Here I am going to be playing the 2010 remastered double vinyl of Trent's debut album which includes the b-side "Get Down Make Love". I also own the Halo I-IV box set from 2015 which includes a single disc version of the original master of the album. 

Having only heard one track when I bought the CD back in 1991, I wasn't sure what to expect from the rest of the album. However, opening track "Head Like a Hole" soon allayed any fears that "Sin" might have just been a flash in the pan. There's something about the lyrics on this song that have always fascinated me and the couplet "Bow down before the one you serve, You're going to get what you deserve" always appealed to my teenage angst. I can still remember finding the 10" and 12" singles of this in Our Price and being captivated by the artwork and different remixes they contained.

After the guitars and aggressive noise of the first track, we segue into the sparse metallic rhythms of "Terrible Lie". As the song progresses we hear various synth patches and samples that are cleverly woven around Trent's suitably angry vocal by producer Flood. The next song is actually a remix called "Down In It (Skin)" that builds on Trent's much sparser demo that was originally scheduled to be included on the album. Whilst "Sanctified" is probably the most dated track on this record it is such an atmospheric composition that it is able to transcend its slightly anachronistic execution. 

Things slow down for "Something I Can Never Have" which is a brooding piece driven by piano and Trent's amazing lyrics. My only slight gripe with this song is that there isn't quite enough going on to justify a six minute run time, but it is still an amazing piece of work. There's a slightly mischievous air to "Kinda I Want To" but it remains unclear what the protagonist wants to do or to whom. I read recently that Trent remains unsatisfied with this song and it is one of his least favourite creations. Next up is the excellent "Sin" but the version on the album is a better mix than the Adrian Sherwood version on the CD single.

The transitions of "That's What I Get" don't work for me and the song sounds a bit of a mess until we hit the raucous, and repetitive coda. "The Only Time" is probably my least favourite track on the album but it does feature the immortal line: "the devil wants to f**k me in the back of his car" that used to cause so much amusement to my teenage friends. One of my favourite tracks is the closing song "Ringfinger". Things initially sound almost like a synth-pop anthem (all be it a rather sinister one) before the twisted chorus turns things on their head. After about four minutes there's an injection of pace that ensures the main album goes out on a high of rattling synths, distorted guitars and samples. The 2010 version then plays Trent's cover version of "Get Down Make Love" that was originally the b-side to "Sin". Personally I'm not totally enamoured with this track and regard it as superfluous to the main album. 4/5

One record at a time: 273. New Order - Republic

Here I am playing a 2015 repressing of New Order's sixth studio album "Republic". This record has great sound reproduction but is let down by the terrible graphic design and the frustrating nature of the music. Things start promisingly enough with the classic track "Regret" which somehow straddles the genres of rock and pop whilst delivering an infectious melody. "World (The Price of Love)" is much better than I remember it being, but the Korg T3 piano and breakbeats sound pretty old fashioned today.

Things go downhill with "Ruined in a Day" which is a bit lacklustre and uses a drum loop that sounds totally out of place on a New Order record. The Sly & Robbie dub mixes included on the single must surely win the prize for worst remixes of 1993 (which is quite an achievement when you consider the DJ Pierre remixes of Pet Shop Boys "I Wouldn't Normally Do This Kind of Thing" were also released in that year). "Spooky" is a more upbeat track but it will never be amongst the band's best. "Everyone Everywhere" sounds more akin to old school New Order and its rhythmical complexity marks it out as superior to large chunks of the first side of this record.

"Young Offender" sounds like an early nineties dance anthem trying to burst out of a pop song - a phenomenon that is curiously enjoyable. "Liar" has a great rhythmical intro but it turns into a weird nineties pop song that I could easily hear a talentless boy band singing. There is another stab at dance music with "Chemical" but it sounds confused and antiquated. In fact, some of the songs on this album are so poorly executed it's easy to forget that they were produced by the illustrious Stephen Hague.

As another annoying breakbeat introduces "Times Change" you could be forgiven for thinking things can't get much worse. Yet, when Bernard starts rapping I find myself lifting the needle and skipping to the next track. Having endured a few decidedly iffy moments my tolerance is at an all time low and the final two tracks don't make much impression on me. In terms of vinyl, this is where New Order and I part ways. I dislike "Get Ready" and I don't enjoy "Waiting for the Siren's Call" or "Music Complete" enough to justify the cost. 2/5

One record at a time: 272. New Order - Technique

"Technique" was first released in 1989 and has gone on to become regarded as both a fan favourite and a classic of the decade. Here I am playing my copy which is a 180g repressing from 2009 that sounds nearly flawless to my ears.

"Fine Time" is an amazing dance track and was a brave choice for a single back in 1988 as it doesn't employ a traditional song structure and is largely instrumental. Put quite simply, this is a classic of the New Order canon and essential listening for anyone with a interest in electronic dance music.

"All the Way" is a more traditional rock number but has a strong melody and just enough synth for me to enjoy it. "Love Less" is another enjoyable guitar based track that reminds me of Cocteau Twins with its high chorused bass and floaty melody.

We move back to electronic music with the orchestra hits and Roland D-50 of "Round & Round". This track is another prime slice of late eighties electronic music where the dance floor was inspiring and rejuvenating pop. Whilst I am probably more accustomed to the tighter and punchier single version of this song, the mix on the album is still excellent. I've always liked the strange programming of the percussion and the agogô pattern almost sounds like it was lifted straight from Pet Shop Boys (it wasn't). The final song on this side is "Guilty Partner" which takes off a bit in the chorus but is otherwise a standard rock album track.

One of my favourite songs on here is "Run". This is surprising as it isn't a electronic song but driven by an acoustic guitar and prominent bass work from Peter Hook. The backing vocals and guitar work are excellent and when the Melloton like strings come in towards then end, things take off again in the most brilliant way. "Mr Disco" prophesies the sound of Bernard's  "Electronic" project and is the equal of anything he would go on to produce with Mr Marr. The excellent "Vanishing Point" rumbles into life with a mix of heavy synth bass, TR-909 snares and Roland D-50 Fantasia. This is another one of the high points of the album for me and I used to love hearing this song when it was used on the TV show "Making Out". The album ends with "Dream Attack" which is rescued by its synth bass but is otherwise unremarkable. A great album but would need less guitar and rock tracks to achieve a higher score from me. 4/5

West End Mystery

What do these six images of the Collector's Edition of "West End Girls" by Pet Shop Boys have in common? If you can't spot the problem, don't worry as it probably takes quite specialist and nerdy knowledge to discern what is going on.

The answer is that for all of these records, the 'wrap around' sleeve has been applied incorrectly. This single wasn't issued like this, but the owners haven't been able to work out how to put them back in the sleeve properly. If you search for images of "Pet Shop Boys West End Girls 10 inch" almost every picture looks like this. I'm not sure why it is so difficult to fold the sleeve correctly, but almost everyone seems to get it wrong. Apart from causing me some mild annoyance, this isn't an issue as how people chose to store their records is no concern of mine.

However, if you advertise your record for sale as "mint", "still sealed" or "never opened" using images like these - I know you're lying. This is quite a collectible record for Pet Shop Boys enthusiasts and people will pay anywhere between £25 and £75 for a copy in good condition. So if you're looking to buy this record and the sleeve doesn't look like image to the right, then it is not "mint" and has definitely been opened.

I bought my copy of this 10" twenty tears ago from a well known online retailer (I still have the receipt and cringe at the £85 price tag - but hey, the postage was only £1.85). Even though mine was sold as mint and shows no signs of wear whatsoever, it was nineteen years old when it came into my possession and I have no way of knowing what truly happened during those years. In fact, when I look closely at the photo I just took, I can see the catalogue number is upside-down, which suggests the sticker has been re-applied the wrong way round. So my copy might not be mint either, but at least I don't have a strip of the inner photo showing through the front - which is more than 99% of people selling them can say.