Gary Numan's 'Intruder' - Album Review

I am not quite sure that Gary Numan ever quite gets the credit he deserves. He is certainly very popular, and has sold a lot of albums over the years - but his ability to turn his hand to a number of different musical styles, and his huge contributions to electronic/synth-based music often seem to get forgotten. Someone like David Bowie often, rightly, receives a lot of credit for his chameleon-like nature, and his ability to constantly shift his style, but Gary Numan rarely seems to get credited in the same way. While his discography might not be as diverse as someone like Bowie's, Numan has covered a lot of ground. From his early new wave sound with Tubeway Army, through his pioneering synth-based early solo albums, to his darker modern sound - Numan has continually updated his sound and overall look. With some of his recent work moving towards more traditional rock and industrial sounds, he certainly cannot be accused of making versions of 1979's genre defining The Pleasure Principle over and over again. While I am not particularly familiar with Numan's work, and there is certainly a lot of it, I have always admired and respected him for his idiosyncratic approach to music and his willingness to try new things to keep his output fresh. I saw him join Nine Inch Nails on stage in 2009 at the O2 Arena in London, and it was that moment that made me take notice of him properly. Nine Inch Nail's Trent Reznor has always been open about how big an influence Numan is on his and Nine Inch Nail's music, but I think it is also fair to say that some of Reznor's magic has rubbed off on Numan in recent years. Numan's last few albums have been much darker and more industrial than much of his more well-known work; and he has adopted a grittier image to match. I have always been meaning to expand my knowledge of his work, and with a new album recently being released it seemed like the perfect time to do so. Released last month, Intruder is Numan's 19th solo album - and 21st studio album overall if the two Tubeway Army albums are included. A concept album about Numan's views on climate change, and the potential future of the planet, Intruder is a dark listen. It might not be as industrial as some of his other more recent albums, but the subject matter ensures that the album is not always an easy listen despite it perhaps not being as in-your-face as some of his other albums. The album is another collaboration with producer and keyboardist Ade Fenton, and there are regular faces contributing throughout such as guitarist Steve Harris (Archive) and bassist Tim Slade (Mohair). This is very much an atmospheric album at heart however - with the synths and programming of Numan and Fenton dominating throughout, creating rich tapestries and dense soundscapes for Numan's ageless voice.

Being something of a concept album, Intruder has a largely consistent sound that flows from one song to the next. Sometimes it is easy to forget that one song has ended and another has begun, with the overall vibe being one of a journey - which makes the album come alive when consumed in a single sitting. One thing that is striking from the off is how many Eastern vibes are present throughout parts of the album - which creates something of a swirling desert-esque theme at times, despite the plethora of synths present. Opener Betrayed really nails this feeling perfectly, with yaybahar courtesy of Gorkem Sen adding some organic Eastern tinges to the song - while a slow-paced drum loop and the ethereal backing vocals of two of Numan's daughters create an oppressive soundscape. Betrayed really sets the tone for the rest of the album too. It is not really an upbeat album for the most part, and there is relatively little of the energetic synth rock/pop that helped to make Numan famous. The album might not be for everyone as a result, but as a piece of art it succeeds perfectly. The Gift is a bit more of a pulsing number, with a prominent synth bass line that propels the song in a percussive manner - which allows Numan to attack the song vocally, contrasting nicely with the howling croons of the album's opening cut. Sen's yaybahar again adds depth (he is featured a fair amount throughout the album), but there is a lot more of that Nine Inch Nails influence to be found here. There are dirtier drum grooves throughout the song, and there is also a memorable chorus that harks back to some of Numan's classic albums somewhat - but with Eastern strings replacing the cold synths. I Am Screaming is much more synth-focused however, with a catchy, yet dreamy, opening synth melody that later resurfaces later in the song as a hard-hitting chorus. The verses however are quite low key, with subtle keyboard textures providing the perfect backing for Numan's robotic vocal lines. I really like the way that the song moves back and forth between these more gentle moments and much more aggressive sections however. The choruses are certainly more in-your-face, but there are heavier sections that feature more traditional guitar and bass riffs to add some abrasiveness to the track. This vibe is continued on throughout the album's title track, and the Nine Inch Nails influence is very prominent here. The drum patterns are much heavier and groovier, with Slade's fat bass presence locking in perfectly with the programmed beat to drive the song. The track is quite similar to some of Numan's other recent albums, with a strong industrial rock feel that relies less on soundscapes than the album's opening numbers. I really like the mix of programming and more traditional rock instrumentation here - as it creates a great energy that is maintained throughout the whole song.

Is This World Not Enough is similar too, with the heavier beats carrying over from the album's title track, but the pace is slowed down somewhat to allow a more atmospheric sound overall. It is still quite a heavy-sounding piece however, with Harris' doomy guitar riff driving the song in a monotonous and metronomic way - but the synths are much spacier this time around, fusing all of the sounds that have been present on the album so far together nicely. There are moments that slow things down a lot, and focus on wordless female vocals and sparse synths, while other moments up the pace a bit and place a lot of emphasis on Harris' doomy playing. A Black Sun slows things down further, with much of the heaviness of the last few songs stripped away, and for the first time the album focuses on piano melodies in a much more typical ballad-esque approach. Subtle strings back the rolling piano lines, while Numan croons atop them in his usual strange, but captivating, way. There are slightly more heavier sections throughout, with the choruses being backed by a tougher drum groove, but the piano never really goes away. Even as the song slowly builds occasionally around a more expansive sound, the core melodies and feel never get overshadowed - which helps to give the song a different vibe from many of the other songs here. The Chosen is much groovier, with the Nine Inch Nails influences once again on show in a big way. The song is another heavier track, with Harris' guitars taking on a much more prominent role - with them creating something of a wall-of-sound while Fenton's grimy programmed beats and synth bass create chaotic rhythms and melodies beneath. The track is one of the album's most industrial and abrasive as a result, and calls for a strong vocal which Numan delivers perfectly - his anthemic howls bringing the choruses to life perfectly. The song segues smoothly into And it Breaks Me Again, but the latter is much different to The Chosen with its return to the more soundscape approach that characterised the album's opening moments. The programmed beats are much less in-your-face this time, and the swirling desert vibes are back with layers of synth textures that create a surprisingly warm backing for Numan's anguished vocals. Things pick up a little during the choruses, with Harris' guitar once again adding some depth, but on the whole the song is much more low key, which really allows the synth textures from both Numan and Fenton to shine. It is a song that revels in its more simple arrangement - and provides something of a break between The Chosen and what is to follow.

Saints and Liars follows the sparseness of And it Breaks Me Again with a bit of a left-field turn, as the song roars out of the gate with a spiky guitar riff and a punchy drum groove. It is the most overtly rock piece here, with Harris leading the charge throughout with his tight riffing - while Slade's bass slides provide a great contrast to the shimmering synths that are still present to add depth. Anyone who loves With Teeth-era Nine Inch Nails will instantly recognise the style at play here, with the mix of more organic rock elements and playful synth melodies coming together perfectly to form a catchy song that is certain to go down well live. Many of the tracks here require a number of listens to fully digest, but this is one that hit me from the off on my first listen to the album. It recalls the hooks of Numan's early work, while still being packed full of the atmospheric feel of the rest of the album. This atmospheric feel is pushed back into the spotlight however on the following dense, slower piece Now and Forever that totally forgoes any sort of guitar playing altogether - which allows the album's core soundscapes to really shine. Numan's daughters once again add some subtle vocal harmonies throughout which enhance the song greatly, but the highlight here is the overall dour beat and the coldness of the piece - something which Numan has always excelled at. The End of Dragons returns to the piano-focused approach of A Black Sun, but fuses it with the album's core soundscapes and a more industrial approach to make the song one of them album's most diverse and dynamic pieces. Piano sections sit nicely side by side bigger beats and occasional guitar stabs - but it is a song that requires a few listens to fully appreciate due to its diverse approach that fuses a lot of sounds together. It does not always quite hang together in a coherent way, but I like the approach taken despite this - as it provides a great mix of sounds towards the end of what is actually quite a diverse album despite the conceptual, soundscape-based approach taken throughout. When You Fall brings the album to a close, and unsurprisingly it is that soundscape-based approach that shines here - although Harris' guitar does toughen the song up somewhat, and the dancing synths help to conjure up one final burst of energy. Despite this energy however, the song still has quite a sombre atmosphere - which is fitting given the album's overall themes. As a result, it works well as an album closer due to its focus on the album's overall core sounds as well as providing a summing up of Numan's overall message. I like the way that the song ends in quite a low key way too - which seems fitting given the album's dense and synth-heavy approach. A heavy ending would not have seemed right given the circumstances, and When You Fall hits the spot in that regard. It is also a great way to reflect on what is a very strong album. As I said earlier, I do not have a lot of history with Numan's work but I have been enjoying this album a lot over the past few weeks. There are a lot of memorable moments here, but crucially the album flows perfectly as a whole conceptual piece - and that is how it should be experienced in my opinion. Numan sounds as vital and fresh as ever here, although this is no doubt something that his long-terms fans will not be surprised by at this point.

The album was released on 21st May 2021 via BMG Rights Management (UK) Ltd. Below is Numan's promotional video for Saints and Liars.