If you weren’t alive in the 80s and you’ve only just heard the Pet Shop Boys’ Introspective, you’d be forgiven for thinking that this is a much more modern recording, for whilst it has 80s production elements, it hasn’t aged a day. Few records from the era can attest to this quality, but there is no doubt that the Pet Shop Boys were well ahead of the curve when they compiled this release. Yes, nostalgia is all the rage at the moment, and mainstream modern artists, such as The Weeknd, have leant strongly into the era, but Introspective is different. It truly is, timeless!
Released in 1988, Introspective is the third studio album from the English synth-pop duo, and while Please (1986) and Actually (1987) are thoroughly enjoyable, neither compares to the cohesiveness of Introspective, an album that very well could be considered akin to a greatest hits compilation. That cohesive nature, however, wasn’t necessarily planned as Electronic music often focused on individual songs/singles rather than an album-length body of work. Introspective, however, offers both with a collection of incredible tunes that seamlessly blend together.
Beyond the music, the album’s artwork, which is amongst the duo’s greatest, is highly compelling despite its minimal design. While I’ve yet to attain a vinyl edition of the album, one can only appreciate how stunning this piece of visual art would be amongst one’s collection. Merely looking at it ensures the mind recalls the incredible music contained within.
Sonically, the 2018 Remaster of the album, which is available via Apple Music, as well as physical formats, sounds amazing. There’s plenty of mid-to-low-end emphasis, but the crispness of the recording is never concealed as the remaster’s soundstage is well-developed and dynamic, meaning that you’ll find yourself not only immersed in a sonic wonderland, but you’ll feel encouraged to turn the volume up. Remasters can be hit and miss, but in this case, it’s a home run. Given that Introspective has been remastered multiple times, I do hope that this will be the final remaster, as I consider it to be flawless.
While I’ve yet to pick up a copy on Vinyl or CD, the CD-quality Apple Lossless stream sounds so good that I question the need to attain a physical release. Naturally, should another remaster be released, then the sonic qualities I adore could be altered, as renting music lacks the same level of permanency. Some artists (their record label, in particular), however, maintain multiple remasters of albums via streaming services, but the Pet Shop Boys isn’t one of them, given the Deluxe Edition (from 2001) was also remastered in 2018.
While it may be worthwhile picking up a physical release, until then, the Apple Music stream will provide not only the flexibility of being able to listen everywhere, but it has the sonic chops that ensure I don’t feel as if I’m missing out on anything, for Introspective has never sounded better.
Left To My Own Devices is a sonic masterpiece with a sprawling soundstage that will envelop you throughout. While unique in its own right, this is one song that makes me think of ABBA, for there are cues to be heard throughout. Interestingly, and it doesn’t become immediately apparent until you listen intently, but the additional orchestral recording and arrangement really adds another level of immersion without detracting from the overall direction of the track. As the song builds, you’ll find yourself compelled to get on your feet as Left To My Own Devices is danceable, or at the very least is a tune that you’ll feel yourself bopping along to. It’s incredibly compelling and a perfect album opener, one that, ultimately, sets the tone for the entire record.
I Want A Dog continues with the upbeat tempo, flowing perfectly from the opening track, but I Want A Dog settles into a semi-relaxed rhythmic wonderland. The contrast between the lively musical bed, Tennant’s spectacular vocal delivery, and the jazz-inspired piano element is highly compelling, thereby giving I Want A Dog a unique style that will continue to unpack itself upon repeat listens.
Domino Dancing has a Latin flair, but it’s not a distracting element; unless you dislike Latin music, that is. Still, it was an interesting choice for the album’s lead single as it, arguably, isn’t the strongest song from the record. It’s good, great even, but it would have been perfect as the third single released from the album. Nevertheless, Domino Dancing showcases the Pet Shop Boys’ willingness to experiment with their sound, heading into uncharted territory, and, therefore, never feeling tired or worn.
I'm Not Scared, despite being penned by Neil Tennant and Chris Lowe (the duo behind the Pet Shop Boys), was originally recorded and released by Eighth Wonder. While the single for that band saw modest success, I’m thoroughly grateful to the Pet Shop Boys for releasing their own version, as Eighth Wonder’s recording may be aligned with their musical styling, but it’s more akin to a demo than a fully-fledged recording. Of course, when you add in the focused synth/dance-pop style of the Pet Shop Boys, you end up with a song that’s a perfect fit for the duo.
Always On My Mind / In My House is astonishingly good with an incredible opening rhythmic backbeat that builds progressively as the song plays. The song, Always On My Mind, has such a revered legacy, but the Pet Shop Boys have not only offered a unique interpretation but ensured the essence of the original song, and its many excellent interpretations, have been upheld. It is, essentially, two musicians honouring the music that came before, and when done well, as it is via this recording, it’s a lovely homage that can be appreciated in a completely different manner, one that was destined to set any nightclub’s dance floor alight.
It's Alright is a cover of the Sterling Void original, from 1987, but the Pet Shop Boys’ interpretation takes the song to another level entirely as they meld it with their own musical flair. It’s Alright, ultimately, becomes a trademark tune for the duo and is a perfect closing track, one that will keep the party going should you choose to place the album on repeat, or it can be considered the quintessential closing track that will stay with you long after the album has ended.
No matter which way you look at it, Introspective is a landmark release that is not only one of the greatest synth-pop discoesque records ever released, but it’s an electronic masterpiece that reached music lovers of all genres and became one of the most memorable releases from the 80s, particularly 1988. Overall, Introspective is an album experience, one that you’ll enjoy listening to in the album’s linear structure, for as incredible as the individual songs are, it’s the overall flow of the album that is most rewarding.