Pet Shop Boys – Introspective (Album Review)

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.

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Air – Talkie Walkie (Album Review)

Released in 2004, Air's third studio album, Talkie Walkie, is a captivating sonic journey that beautifully combines dreamy melodies, lush instrumentation, and ethereal vocals. As you listen to this sonic masterpiece, you’ll be left in awe of the atmospheric soundscapes the French electronic duo were able to achieve. 

While it is questionable as to how memorable the cover art design is, for 10,000 Hz Legend does a better job in that regard, it's the music that will ultimately make you sit up and take notice. Talkie Walkie was released on vinyl nonetheless and the larger canvas size would certainly present the album artwork nicely, but you’ll find yourself looking at your speakers, wondering just how that incredible sonic presentation is emanating from them as the album plays.

Listening to the lossless Apple Music stream, a non-Apple Digital Master and direct counterpart of the CD release, I’m instantly struck by the recording, mix, and mastering for CD quality rarely sounds this impressive. It’s so good that I can say with a clear conscience that Hi-Res Lossless audio would yield no additional benefit. Some may disagree, of course, but the purity in the recording is delivered in bucketloads with this particular lossless stream.

Venus is an enchanting opening track that sets the tone for the album with core piano chords, an addictive rhythm, and ethereal vocals all dynamically layered to envelop the listener. 

Cherry Blossom Girl is a standout track that combines catchy pop sensibilities with Air's trademark ethereal sound. Think of the overlapping harmonies commonly associated with the Bee Gees.

Run shifts the musicality to the eerie side of the sonic spectrum. It isn't a bad song but the eeriness of the track results in mental confusion, thereby preventing ultimate relaxation at this point in the album.

Universal Traveler offers listeners a spacious enveloping soundstage. However, the harmonious lyrics are repeated ad nauseam and that aspect alone can diminish the sonic impact of Universal Traveller. In fact, this is one song that I feel would be stronger sans lyrics as it would offer a much more relaxed presentation. 

Mike Mills is a delightful instrumental piece that showcases Air's intricate melodies and lush arrangements. 

Surfing On A Rocket is a killer tune, and arguably the best song from Talkie Walkie, with an upbeat and vibrant style that will see you move involuntarily to the rhythm. While the lyrical content is repetitive and somewhat similar to Universal Traveler, Lisa Papineau’s vocal delivery is so compelling that you won’t mind for this is one song that could easily be listened to on repeat, indefinitely.

Another Day will capture your attention in a mesmerising dreamlike haze. It’s an incredible experience and one that needs to be heard in order to be fully appreciated for there are times when the English language is incapable of describing such beauty. 

Alpha Beta Gaga has an upbeat tempo that will hook you from the very first moments of the tune. The playfulness of the song is a result of the whistling melody that will stay with you as you enjoy the rest of your day. If only all earworms could be this enjoyable!

Biological shifts the fluidity of the album, again, and while it isn’t out-of-place with regard to the overall thematic style of the album, I’m not entirely sure it’s positioned in the correct sequencing for it is vastly different to Alpha Beta Gaga. Also, the distorted bounce beat can be rather distracting when listening on headphones; not so much, however, when listening via speakers.

Alone In Kyoto is a mesmerising tune that closes the album out beautifully. With its absence of lyrics, the song evokes emotions of solitude, contemplation, and longing, leaving a lasting impression that encourages repeat listens to not only the song but also the album. 

Overall, Talkie Walkie is an incredible sonic journey that just about any music lover will appreciate as the album is both introspective and accessible. The seamless fusion of electronic and organic elements, coupled with its dreamy melodies and ethereal vocals, make it a standout in Air's impressive discography and is one of the best albums released in 2004. 

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Kavinsky – Reborn (Album Review)

Released in 2022, Reborn is the second studio release from Kavinsky; an electronic musician with a knack for crafting mesmerising sonic experiences. If you haven’t heard of Kavinsky, you wouldn’t be alone for it’s been a considerable break between albums with his first studio release, OutRun, hitting the music scene in 2013. Yes, it may be suggested that his first studio release was Nightcall, from 2012, but at 35 minutes in length, it walks the thin line between being an album or an EP with Kavinsky choosing the latter. Nevertheless, Reborn is true to its namesake for Kavinsky’s music has never sounded better. 

Naturally, music isn’t just about the composition of notes that creates pleasant soundscapes for the artwork for Reborn is extraordinarily good. If there is one album that deserves to be presented on the larger vinyl canvas, this is that album. 

Similarly, if the quality of the recording, mix, and mastering weren’t up to scratch, then Reborn wouldn’t be as compelling as it is. The lossless Apple Music stream, an Apple Digital Master, is stunning. You’ll be enveloped in the soundstage from the very first moment of the album to the last. While I suggest that this is one album everyone should own on vinyl, for the artwork alone, when a digital stream is this good, one needs to question if such attainment is necessary. 

Pulsar opens the album with not only a pulsating sound signature but one that will reach into your soul for the rhythmic beats mimics that of a pulse. Subsequently, it has to be heard to be fully appreciated and while many people listen to music via headphones, Pulsar is one song that I feel is best experienced via speakers as your body senses every element that would otherwise be missed if only experienced via your ears.

Reborn (feat. Romuald) flows beautifully and showcases an album experience more than merely a collection of songs haphazardly sequenced. As solid as Romuald’s inclusion here is, however, I can’t help but feel that this song would have been stronger sans lyrics. Still, it’s thoroughly enjoyable and that opinion is but a minor quibble. 

Renegade (feat. Cautious Clay) is a killer tune and is one of the best songs on the album and one that will stand the test of time. It all comes down to the infusion of rhythm and vocals that are mixed perfectly to create a song that is a modern equivalent of what one may expect from an artist such as Stevie Wonder. 

Trigger is bold, epic, and immersive and you’ll find yourself involuntarily moving along with the musical moments as the song shifts its rhythm throughout.

Goodbye (feat. Sébastien Tellier) slows the tempo somewhat, but because of the instrumental nature of Trigger, and the slow build of Goodbye, it isn’t as disrupting to the senses as one may initially imagine. Tellier’s vocal is incredible and sits in perfect phase with the accompanying musical bed. Goodbye is, subsequently, the most beautiful song to be heard on Reborn; one that will see your soul relax as you listen to the music. Although, that ending is simply too abrupt.

Plasma (feat. Morgan Phalen) picks up the tempo and will compel you to get on your feet. Plasma, however, isn’t the strongest song on the album and while there are elements that I thoroughly appreciate, the song as a complete piece of audible art is just not quite as strong as I feel it could have been. It’s as if it needed a little more oomph with a reduction of a decibel or two on the vocal track in order to really come alive. 

Cameo (feat. Kareen Lomax) is a solid toe-tapper but is a low point within the album. Don’t get me wrong, that isn’t to suggest Cameo is bad, but when you have a collection of songs as exceptional as those heard on Reborn even a solid tune will be lacklustre by comparison. That said, when looking at the album as a whole, Cameo sits perfectly and flows seamlessly. 

Zenith (feat. Prudence & Morgan Phalen) shifts to a more reflective jazzy rhythm and while I normally dislike overly processed vocals, they’re taken right to the edge of what I consider acceptable and Zenith subsequently sounds fantastic. 

Vigilante (feat. Morgan Phalen) is an example of organised chaos. Yes, one should cancel the other out, yet the disjointed nature sits in perfect harmony. While Vigilante won’t appeal to everyone, and it’s difficult to dance to as the mind struggles to find the core rhythm, it’s intriguing nonetheless. 

Zombie (feat. Morgan Phalen) gets the body moving to the rhythm. Sometimes that is all that is needed, for not every song requires extended commentary, it just has to be emotive. 

Outsider returns us to an instrumental musical landscape for the remainder of the album and as much as I appreciate lyrics within electronic music, as I listen to Outsider, I can’t help but wish that Kavinsky had also released a version that was purely instrumental as Outsider and all the instrumental-based tunes heard on Reborn are where the French electronic musician’s skills are strongest.

Horizon is a beautiful closer that compels me to play the album again. While I’m not convinced the electronic nonsensical vocal-styled musical element was required, Horizon is one of those reflective songs that also ensure that if this is the last album you listen to today, you’ll be left in a thoroughly relaxed musical state. 

Whether you’re a hardcore electronic fan, or not, Kavinsky mesmerizes listeners with his signature sound. Each track is notable on its own, but when listened to as a whole, Reborn takes you on an immersive journey; one that needs to be experienced firsthand to be fully appreciated. While each listener will interpret the album subjectively, there is little doubt in my mind that Reborn is one of the best albums released in 2022.  

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RÜFÜS DU SOL – Surrender (Album Review)

Electronic music isn’t my first love, but RÜFÜS DU SOL’s Surrender, released in 2021, goes a long way to shifting that viewpoint for its house with a mix of alternative rock vibe connects with my soul in a way that I wasn’t expecting. Surrender is uplifting, relaxing, but most importantly is an exceptional piece of musical art. 

Compared to their prior releases, Surrender is their most polished and overall tightest composition that expands their creativity to such an extent that Surrender is anything but predictable while remaining entirely familiar. Subsequently, it showcases a level of artistry that has evolved beyond core elements alone and sees RÜFÜS DU SOL further advance their unique sound that will continue to set them apart from their contemporaries.

Surrender is also their first album delivered in Dolby Atmos. Compared to the already immersive, and utterly impressive, stereo mix, the Dolby Atmos edition gives a fuller sound. If you’re using headphones, such as Apple’s AirPods Pro, you’ll thoroughly enjoy the experience over the standard stereo mix for you’ll feel enveloped in the music. That said, via speakers, I find the stereo mix is the stronger of the two so it comes down to how you like to listen to music. Perhaps the Dolby Atmos edition is best described as different, rather than better, but you’ll really notice the benefits of the surround mix on songs such as See You Again, On My Knees, and Surrender.

Next To Me has a masterful haunting piano opening that, remains central to the mix as the soundstage builds. It’s a stunning opener, but perhaps the greatest sense of imagery comes from the lyrics: 

And when the lights come down

I want to feel you standing next to me

As someone with two left feet, and therefore not a clubbing enthusiast, it would be easy to dismiss the meaning behind these lyrics, but in our modern era, where music is not as easily experienced in person, Next To Me reaches into your soul and when the beat drops you’ll feel the intended emotional elements.

Make It Happen is one of those unique love songs that many of us would long for; having found the one we love earlier in life if only to have spent more time in pure emotional bliss. Initially, the children’s choir approach to the chorus seemed a little campy, but the more I listen to Make It Happen, the more I see the innocence and intent in this style. Plus, it strangely works perfectly with the musicality that will have you moving involuntarily to the rhythm. 

See You Again has a sense of positivity that is needed in an uncertain world. The layering of music, while indicative of this form of musical art, is extraordinarily tight here with every element perfectly positioned, resulting in an immersive soundstage that will amaze you as it envelops you. 

I Don’t Wanna Leave has a slightly slower tempo compared to some of the other songs on the album, yet the authority of the music remains as it slowly builds. It may not instantly get the dance floor shaking, but will certainly be memorable as I Don’t Wanna Leave is one of the best songs on Surrender. 

Alive is a masterpiece, both musically and lyrically, and was rightfully the lead single from Surrender. It is one of those songs that allows the listener to decide how they choose to interpret meaning and while some may point to its moodier tone, I prefer to look at the positive aspects of the song acknowledging, all the while, that at least I’m alive. 

Alive (Reprise) is a lovely musical-only interlude. Is it necessary? Well, no, but if it were to open Side 2 of the upcoming vinyl counterpart, then it acts as a connective element.

On My Knees is gripping. The beat, the vocal aspects, the overall musicality, will get you moving even if you’re, a little more reserved like I am, meaning that On My Knees is not only an exceptional song but one of the best by RÜFÜS DU SOL and one that will be, in my opinion, a landmark track in the alternate dance genre as it’s an evolution of the art. 

Wildfire is an interesting song that never really arrives, despite the slow build. It is intentional, no doubt, but does it work? Subjectively, I don’t think so, but your opinion may likely differ. 

Surrender is incredibly multi-layered and takes a few listens to connect with the song beyond its backbeat. It’s beautiful and perfectly suited as the title track and as it slowly builds, the listener is taken on a journey that can only be described as a genesis moment. 

Devotion isn’t a bad tune but I’d class it as album filler as it’s somewhat predictable and doesn’t forge new ground. 

Always is the culmination of all that has come before and, as the closing track, it encourages me to listen to Surrender again. As with many songs on the album, the concept is based on despondency but as the song builds it delivers a sense of hope. Given the times at which this album was recorded, and the world it enters into upon its release, this is the kind of message that we all need more than ever before.  

Surrender is so addictive that I can’t help but put it on repeat. I want more, yet the 53-minute runtime is absolutely perfect ensuring that I leave the album feeling rejoiced, empowered, and relaxed. If the aim of music is to allow music-lovers to feel emotion, then the trio that is RÜFÜS DU SOL have transcended themselves on Surrender to achieve that very result. 

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