Gary Numan - Intruder |  Album reviews

Although he released seedy albums in 1983, 1985, 1988, 1991, and an absolutely sad barely-heard album in 1992, Gary Numan’s long-debated renaissance never really existed: he hasn’t released a less-than-decent album since the 1994 Comeback Spectacular Sacrifice. Numan, once the leader of the Tubeway Army and now the leader of all techno goths for whom it’s too alternative Depeche Mode, made a name for itself on the back of a handful of iconic songs and has released more than its fair share of classic albums.

Most importantly, Numan also helped play a role in the birth and eventual dominance of synth-pop in the ’80s, and the fact that he was forgiven for supporting Margaret Thatcher during that decade should tell you all about that Telling man’s longevity.

Intruder, who forms a kind of trilogy with Splinter (Songs From A Broken Mind) from 2013 and Savage (Songs From A Broken World) from 2017, takes its listeners once again into Numan’s grown mix of Darkwave, Industrial and Trip Hop im Gradually more aggressive and oppressive over the years, to the point where his music today often resembles the darkest works of his colleagues (Depeche Mode) or his descendants (Depeche Mode).Nine inch nails).


If you’ve heard and enjoyed something that Numan has done over the past 30 years, then there is a good chance you will enjoy this record too. Betrayed, with its serpentine vocals and creeping rhythm, offers a clue as to where the album is going. And many of these songs have at least one thing to offer, no matter how boring and desperate the overall recording is. Saints And Liars is blessed with a soaring chorus, Now And Forever advances at a handsome pace, and A Black Sun manages to be both menacing and elegant in its construction.

And it breaks me again is a little misstep, and Numan leans too heavily on the kind of Gen X goth melodrama that household names were made of grain and Linkin Park. The gift, one of the longer selections on the record, seems to have a lot to do with its limited tonal palette, and takes the listener through some harrowing orchestral moments and an eerie electronic haze. But Numan’s persistence is also its greatest downfall. There’s just no need to listen to Intruder if you’ve heard any of the albums he’s released over the past decade as it’s practically identical to his previous works.