Intruder by Gary Numan: Album Review

If Edgar Allen Poe or Alfred Tennyson were alive today, had access to synthesizers, and made music of their poetry, I firmly believe they’d make Intruder by Gary Numan. The lyrical theme of the new record puts emphasis on what has been lost to circumstance in such a way as to ache with the particular sting of tragic romance that resonates with certain 19th Century poets. The end of the world reminds me of heartbreak. The hurt that is communicated is so clear and that transparency sounds authentic. There’s poetry in these songs. Collapse and distance are offered with genuine concern that makes the content relatable. The past is haunting to those who’ll have it, and I was struck again and again while listening to this album. Lyrics like, “sometimes when I’m dreaming I forget that you’re gone. Now when the wind cries, I remember you,” uses the simplicity of our shared human experience to cut as deep as anything. The end of the world has a lovely soundtrack. 

This new record is rich with dark electronic textures that eclipse all hope. It contains beats that are fine-tuned and tweaked to appeal to new fans while pleasing those who’ve been listening for decades. It’s contemporary sounding, which speaks to a desire to always be learning and applying it to the craft. It’s scarier than Numan’s earlier work, but that’s a wonderful thing. He’s changed quite a bit over time, which is the desired route of a quality artist who has had the longevity of his career. With that longevity comes a sort of freedom, so it seems this is the kind of music Numan wants to make right now, and it’s nothing short of fantastic.

Distorted beats mingle with authentic sounding pianos and strings with eerie intent that is often both high energy yet subdued at the same time. Sharp percussion hammers at the psyche while the music it holds up offers relief. The production is sleek, bright, and beautiful, an aspect that shines through the darker qualities of the record in a niche where production typically aims for something with a bit more dirt. For that, it stands out amongst its peers. I’ve been listening to the record on repeat since it dropped. I’m still impressed. The song Intruder is my personal favorite. It’s aggressive and angry, and the music reflects that without deviating from the production that shines through the shadows of the subject matter. It represents the tone of the record as a whole, as the dark beat carries soaring electronics to heights I didn’t know I could find in what I think of when I consider ‘industrial’ music, but the tracks don’t lie. It’s a heavy hitting industrial record with just enough pop elements to maintain a lure and a hook in every song. There’s nothing to skip on Intruder. Gary Numan is where it’s at. 

Recent Developments: Sellout Productions

I’d like to take this opportunity to indulge what I’ve been up to. While I’d prefer to reserve this blog to a few specific topics, like reviewing music and books, I’ll drop in to give an occasional update from my side of the screen.

Sellout Productions has long been a name of a fantasy of mine. I came up with it in high school, and all these years later it feels right for these endeavors. At this time, Sellout Productions is more or less a front for my work. My self-published novels and a singular set of enamel pins embody the beginning. While my books will continue to be my primary focus, the itch to make music has returned to me, and I intend to utilize my previous experience in audio production to work on new material with a tangible goal in mind. I hope to finish writing and producing an album in 2021. I fully intend to release it on my Bandcamp page, with wider distribution to follow shortly thereafter. From there, I hope to establish some consistency and produce/release new material on a regular basis. For the sake of soulless branding, the name of the project will be the same I had used for the music I made in college: Sellout. I’m looking to make instrumental electronic music, but that’s pretty broad. I’ll just have to shout it from the rooftops again once there’s something for you to hear.

Branching out in another direction, I’ve opened an Etsy shop. That’s where the enamel pins are available, with other products in the works. These items may take some extra time to produce, as I don’t want to simply flood the market with whatever product that could bear a logo. I may’ve gotten ahead of myself in opening the shop before I had more than one item available, but as any stable business owner will tell you, “I’m winging it.” It’s fine…I’m learning lessons on the fly. I got excited, and the first set of pins has been well received thus far. There’ll be more options soon, just not a plethora for the sake of quantity.

For those of you still around, I appreciate you reading this far. This is my attempt to dehumanize myself down to a brand, all while remaining vulnerable and authentic.

WE ARE NUMBERED_ Debuts with Solid Mix of Dance and Experimental Electronic in “Valley of Tunnels”

WE ARE NUMBERED_ is the electronic dance project of musician/author: Logan Ryan Smith. The first record is called Valley of Tunnels and was released by Club Garage Records last month. The album consists of ten instrumental songs that presented me with the fresh air of something new, juxtaposed with the familiarity that suggests I’ve been here before…a soundtrack to an 80’s science fiction flick that never was.

            The opening track, Running Thru Miami With Swords introduces the project with a pulsating rhythm that has characteristics of an instrumental Blue Monday. With this up-tempo dance anthem to kick things off, synth stabs get to the heart of the matter with rotating hooks that had me on board to give this record a chance. 

            Cloud Break is the second song, and there’s reverb on the opening drums, a departure from the opening song. The notion of dance music takes a backseat to something a little more experimental here, as the drums abandon the four-on-the-floor approach for something a little more thought out. Synth blasts, coupled with the drum patterns took me out of the club and into a sci-fi storyline. 

            We return to beats, melodies, and structure of fun electronic dance in the title track, Valley of Tunnels. Science fiction vibes move through this song as well, but bring the catchy hooks that have this one playing in my head long after it’s over. 

            Andromeda Dropout is the first track where I noticed what I interpreted to be electronic guitars. To this point on the record I’ve only made out programming and synthesizers, but this song is layered with roomy, ambient guitars that again, shows Smith isn’t one to reveal all of his tricks and talent in one place. 

            Dynamics are often compressed out of contemporary productions, especially music that’s meant to make you get up and dance. I can appreciate it when dynamics are used to enhance the flow or altogether change pace. It’s a rarity that catches me off guard these days. When the engine-like sound cuts through Requiem For a Synthetic, I was made to feel uncomfortable, which seems to be the intent. This kind of hard dynamic stab surfaces again in Mannequin Sunshine, when the synthesizer lead blankets the rhythmic flow of my favorite song on the record. 

            We conclude with See You When It’s Over, where we are again shown that not all of Smith’s cards get played at once. The beat deviates from the standard four-on-the-floor beat for something a bit more experimental. I live for the kind of programmed drums that deviate from expectations, and it’s delivered here. A pulsating rhythm sets the foundation for an electronic wall of sound experience, and I will run headfirst into this wall again and again…because it’s that damn good. 

            Valley of Tunnels is a fantastic first effort by WE ARE NUMBERED_ and while it’s been on my rotation, I’m already thirsty for more. Check it out, give it a spin on whatever streaming service you use. There’s far too much good music that gets lost under the radar, but I’ve taken notice of this, and you should too. There is potential for furthering the catalog and if this project continues, I will be there to hear it out. 

Skold delivers with ‘Dies Irae’

After 2019’s industrial release ‘Never is Now’ the 2020 release of the “Not My God” record with Nero Bellum, it comes as no surprise that the new Skold solo record would incorporate a healthy dose of metal guitar riffs and intricate leads. ‘Dies Irae’ is broken up in a back-and-forth pattern of guitar centric rock/metal tracks juxtaposed with the trademark heavy electronic/industrial sound I’ve come to expect from more current projects from Tim Skold. This parallel mixing of musical styles keeps the record moving in such a way as to never feel stagnant. The constant change up results in a refreshing album. While it may be the honeymoon period talking, I’m confident in feeling that ‘Dies Irae’ is my favorite Skold record yet.

The album opens with hard hitting ‘Dirty Horizon.’ This track has crisp sounding guitars that sound both contemporary, yet familiar in a nostalgic way. A scathing chorus hooked me, and I knew I was in for something fun. The guitar solo is a solid tell of things to come, and sets the tone for more metal aggression. That expectation is subverted when the second song starts up. ‘Unspoken’ breaks the ice with some of the more electronic elements I had expected. There’s a guitar solo in this one that shows off the best of Skold’s vast talent, which shouldn’t surprise me at this point, but it’s so good.

My favorite track is ‘Love is a Disease.’ There’s drum programming in the chorus that has this haphazard hi-hat pattern that is percussive icing that coats a bigger wall sound. The lyrical part of the chorus hits in a way that has lost zero impact after multiple listens. It feels like a confession, and I’m here for that kind of honesty. Another authentic confession is offered up in the atmospheric song ‘Terrified’ where Skold sings, “I’m not afraid of dying…I’m fucking terrified.”

Another track with intricate electronic drum programming is ‘Silicon Dreams.’ It’s made clear that Skold isn’t comfortable falling back on old habits when producing new material. The rhythmic work on this track reflects the coexisting grit and shine of trap music with hopeless undertones, and sparse guitar work that makes use of dynamic range.

The album ends with ‘Goodbye.’ This leans more toward elements of a metal track, and was released early as the album’s teaser. It rings as a highlight for me, as this final track was the first one I heard. It gave a good impression regarding the direction of the album, without revealing all of the tricks Skold deals out over the course of this record. This effort feels like one cohesive work, while showcasing an impressive variety and range Tim Skold brings to the table.