Replicas is the second and final studio album by English new wave band Tubeway Army, released in April 1979 by Beggars Banquet Records. It followed their self-titled debut from the previous year. After this, Tubeway Army frontman Gary Numan would continue to release records under his own name, though the musicians in Tubeway Army would continue to work with him for some time. Replicas was the first album of what Numan termed the "machine" phase of his career, preceding The Pleasure Principle and Telekon, a collection linked by common themes of a dystopian science fiction future and transmutation of man/machine, coupled with an androgynous image and a synthetic rock sound. Fuelled by a surprise No. 1 hit single, "Are'Friends' Electric?", the album reached No. 1 in the UK charts in July 1979 and was certified Gold by the BPI for sales in excess of 100,000 copies. A loose concept album, Replicas was based on a dystopian book Numan hoped to complete someday, set in a not-too-distant future metropolis where Machmen and other machines keep the general public cowed on orders from the Grey Men.
While the album's setting and lyrics were directly inspired by the science fiction of Philip K. Dick his seminal work Do Androids Dream of Electric Sheep?, the title was not. Although Numan's Machmen were similar to Replicants, the term used for androids in Ridley Scott’s Blade Runner, Scott’s film came out three years after Tubeway Army’s album and Dick never used the word "Replicant" in his original 1968 novel; the album cover shows Numan as a Machman staring out from his room at a waning crescent moon hovering above "The Park" as a visible man stands outside while Numan's reflection stares back at himself. Musically, Numan’s main influence was the commercially unsuccessful John Foxx-led incarnation of Ultravox. Tracks like "Speed of Life" and "Breaking Glass" from David Bowie’s Low were cited, along with Kraftwerk’s The Man-Machine album, in particular the long and wistful track "Neon Lights"; the recording was a development of the sound of the first Tubeway Army album. While the tracks "The Machman", "You Are in My Vision" and "It Must Have Been Years" recalled the earlier album’s guitar-oriented rock, the rest were built solidly around an analog synthesizer, the Minimoog.
Along with "Are'Friends' Electric?", this included "Me! I Disconnect from You", the atmospheric "Down in the Park", the multi-layered title track and the closing instrumentals "When the Machines Rock" and "I Nearly Married a Human", the latter featuring Numan's first use of a primitive drum machine. Replicas' synthesizer sound and nihilistic lyrics had a major impact on the industrial acts that came to prominence in the mid-1990s such as Marilyn Manson and Nine Inch Nails, both of whom covered Numan's songs on record. Both Manson and Foo Fighters released versions of "Down in the Park". "Are'Friends' Electric?" was covered by a number of artists, was most notably the basis for Sugababes' No. 1 hit "Freak Like Me" in 2002. Numan has continued to play tracks from Replicas on his live tours, with "Me! I Disconnect from You", "Are'Friends' Electric?" and "Down in the Park" being mainstays, whilst "Praying to the Aliens" and "Replicas" have lately become part of his live repertoire. The 1999 and 2008 reissue editions included several bonus tracks, including three single B-sides: "We Are So Fragile", "Do You Need the Service?" and "I Nearly Married a Human".
"The Crazies", "Only a Downstat" and "We Have a Technical" were outtakes from the Replicas sessions. All songs written by Gary Numan; the lightbulb on the front sleeve artwork was removed for the 1995 reissue to allow for a larger print of the album title. "Me! I Disconnect from You" – 3:23 "Are'Friends' Electric?" – 5:25 "The Machman" – 3:08 "Praying to the Aliens" – 4:00 "Down in the Park" – 4:24 "You Are in My Vision" – 3:15 "Replicas" – 5:01 "It Must Have Been Years" – 4:02 "When the Machines Rock" – 3:15 "I Nearly Married a Human" – 6:31 "Do You Need the Service?" - 3:40 "The Crazies" - 2:54 "Only a Downstat" - 3:36 "We Have a Technical" - 8:04 "We Are So Fragile" - 2:56 "I Nearly Married a Human 2" - 6:38 To coincide with Numan's 15-date Replicas Classic Album Tour in 2008, Beggars Banquet issued an expanded 2CD and limited 3CD version of Replicas, titled Replicas Redux. Disc One "We Are So Fragile" - 2:55 "Do You Need the Service?" - 3:39 "I Nearly Married a Human 2" - 6:38Disc Two This disc contained a complete earlier version of the Replicas album, recorded in late 1978 and January 1979.
"Me! I Disconnect From You" - 3:24 "Are'Friends' Electric?" - 5:25 "The Machman" - 3:08 "Praying to the Aliens" - 4:08 "Down in the Park" - 4:24 "Do You Need the Service?" - 3:42 "Only a Downstat" - 3:35 "We Have a Technical" - 8:00 "You Are in My Vision" - 3:22 "Replicas" - 5:02 "It Must Have Been Years" - 4:04 "When the Machines Rock" - 3:15 "The Crazies" - 2:54 "I Nearly Married a Human 3" - 6:24The early version of "When the Machines Rock" featured vocals by Numan, unlike the instrumental standard album version. Disc Three - Replicas - Mixes + Versions This disc of bonus tracks was only available for a limited time when Replicas Redux was purchased via Numan's official website. "Are'Friends' Electric?" - 5:15 "Replicas" - 5:05 "Down in the Park" - 4:23 "Are'Friends' Electric?" - 5:28 "Replicas" - 5:00 "Are'Friends' Electric?" - 5:14 Gary Numan – keybo
The biblical Magi referred to as the Wise Men or Kings, were – in the Gospel of Matthew and Christian tradition – distinguished foreigners who visited Jesus after his birth, bearing gifts of gold and myrrh. They are regular figures in traditional accounts of the nativity celebrations of Christmas and are an important part of Christian tradition. Matthew is the only of the four canonical gospels to mention the Magi. Matthew reports that they came "from the east" to worship the "king of the Jews"; the gospel never mentions the number of Magi, but most western Christian denominations have traditionally assumed them to have been three in number, based on the statement that they brought three gifts. In Eastern Christianity the Syriac churches, the Magi number twelve, their identification as kings in Christian writings is linked to Psalm 72:11, "May all kings fall down before him". Traditional nativity scenes depict three "Wise Men" visiting the infant Jesus on the night of his birth, in a manger accompanied by the shepherds and angels, but this should be understood as an artistic convention allowing the two separate scenes of the Adoration of the Shepherds on the birth night and the Adoration of the Magi to be combined for convenience.
The single biblical account in Matthew presents an event at an unspecified point after Christ's birth in which an unnumbered party of unnamed "wise men" visits him in a house, not a stable, with only "his mother" mentioned as present. The New Revised Standard Version of Matthew 2:1–12 describes the visit of the Magi in this manner: In the time of King Herod, after Jesus was born in Bethlehem of Judea, wise men from the East came to Jerusalem, asking, "Where is the child, born king of the Jews? For we observed his star at its rising, have come to pay him homage." When King Herod heard this, he was frightened and all Jerusalem with him. They told him, "In Bethlehem of Judea. Herod secretly called for the wise men and learned from them the exact time when the star had appeared, he sent them to Bethlehem, saying, "Go and search diligently for the child. When they had heard the king, they set out; when they saw that the star had stopped, they were overwhelmed with joy. On entering the house, they saw the child with Mary his mother.
Opening their treasure chests, they offered him gifts of gold and myrrh. And having been warned in a dream not to return to Herod, they left for their own country by another path; the text specifies no interval between the birth and the visit, artistic depictions and the closeness of the traditional dates of December 25 and January 6 encourage the popular assumption that the visit took place the same winter as the birth, but traditions varied, with the visit taken as occurring up to two winters later. This maximum interval explained Herod's command at Matthew 2:16–18 that the Massacre of the Innocents included boys up to two years old. More recent commentators, not tied to the traditional feast days, may suggest a variety of intervals; the wise men are mentioned twice shortly thereafter in verse 16, in reference to their avoidance of Herod after seeing Jesus, what Herod had learned from their earlier meeting. The star which they followed has traditionally become known as the Star of Bethlehem.
The Magi are popularly referred to as wise kings. The word magi is the plural of Latin magus, borrowed from Greek μάγος, as used in the original Greek text of the Gospel of Matthew. Greek magos itself is derived from Old Persian maguŝ from the Avestan magâunô, i.e. the religious caste into which Zoroaster was born. The term refers to the Persian priestly caste of Zoroastrianism; as part of their religion, these priests paid particular attention to the stars and gained an international reputation for astrology, at that time regarded as a science. Their religious practices and use of astrology caused derivatives of the term Magi to be applied to the occult in general and led to the English term magic, although Zoroastrianism was in fact opposed to sorcery; the King James Version translates the term as wise men. The same word is given as sorcerer and sorcery when describing "Elymas the sorcerer" in Acts 13:6–11, Simon Magus, considered a heretic by the early Church, in Acts 8:9–13. Several translations refer to the men outright as astrologers at Matthew Chapter 2, including New English Bible.
Although the Magi are referred to as "kings," there is nothing in the account from the Gospel of Matthew that implies that they were rulers of any kind. The identification of the Magi as kings is linked to Old Testament prophecies that describe the Messiah being worshipped by
Gothic rock is a style of post-punk that emerged from post-punk in the late 1970s. The first post-punk bands which shifted towards dark music with gothic overtones include Siouxsie and the Banshees, Joy Division and the Cure; the genre itself was defined as a separate movement from post-punk due to its darker music accompanied by introspective and romantic lyrics. Gothic rock gave rise to a broader subculture that included clubs and publications in the 1980s. According to music journalist Simon Reynolds, standard musical fixtures of gothic rock include "scything guitar patterns, high-pitched basslines that usurped the melodic role beats that were either hypnotically dirgelike or tom-tom heavy and'tribal'". Reynolds described the vocal style as consisting of "deep, droning alloys of Jim Morrison and Leonard Cohen". Several acts used drum machines downplaying the rhythm's backbeat. Gothic rock deals with dark themes addressed through lyrics and the music's atmosphere; the poetic sensibilities of the genre led gothic rock lyrics to exhibit literary romanticism, existentialism, religious symbolism or supernatural mysticism.
Musicians who shaped the aesthetics and musical conventions of gothic rock include Marc Bolan, the Velvet Underground, the Doors, David Bowie, Brian Eno, Iggy Pop and the Sex Pistols. Journalist Kurt Loder would write that the song "All Tomorrow's Parties" by the Velvet Underground is a "mesmerizing gothic-rock masterpiece". However, Reynolds considers Alice Cooper as "the true ungodly godfather of goth" due to his "theatrics and black humor". Nico's 1969 album The Marble Index is sometimes described as "the first Goth album". With its stark sound, somber lyrics, Nico's deliberate change in her look, the album became a crucial music and visual prototype for the gothic rock movement. Gothic rock creates a dark atmosphere by drawing influence from the drones used by protopunk group the Velvet Underground, many goth singers are influenced by the "deep and dramatic" vocal timbre of David Bowie, albeit singing at lower pitches. J. G. Ballard was a strong lyrical influence for many of the early gothic rock groups.
In 1976, Interview with the Vampire by Anne Rice was published. The main character, although dark, wanted love; the book, according to music journalist Dave Thompson created an audience for gothic rock by word of mouth. The same year saw the punk rock band the Damned debut; the group's vocalist, Dave Vanian, was a former gravedigger. Brian James, a guitarist for the group, noted, "Other groups had safety pins and the spitting and bondage trousers, but you went to a Damned show, half the local cemetery would be propped up against the stage". Critic John Stickney used the term "gothic rock" to describe the music of the Doors in October 1967, in a review published in The Williams Record. Stickney wrote that the band met the journalists "in the gloomy vaulted wine cellar of the Delmonico hotel, the perfect room to honor the gothic rock of the Doors"; the author noted that contrary to the "pleasant, amusing hippies", there was "violence" in their music and a dark atmosphere on stage during their concerts.
In the late 1970s, the word "gothic" was used to describe the atmosphere of post-punk bands like Siouxsie and the Banshees and Joy Division. In a live review about a Siouxsie and the Banshees' concert in July 1978, critic Nick Kent wrote that concerning their performance, "parallels and comparisons can now be drawn with gothic rock architects like the Doors and early Velvet Underground". In March 1979, Kent used the gothic adjective in his review of Magazine's second album, Secondhand Daylight. Kent noted that there was "a new austere sense of authority" to their music, with a "dank neo-Gothic sound". In September, Joy Division's manager Tony Wilson described their music as "gothic" on the television show Something Else, their producer Martin Hannett described their style as "dancing music with gothic overtones" In 1980, Melody Maker wrote that "Joy Division are masters of this gothic gloom"; when their final album Closer came out a couple of months after the death of their singer, Sounds noted in its review that there were "dark strokes of gothic rock".
Not long after, this appellation "became a critical term of abuse" for a band like Bauhaus, who had arrived on the music scene in 1979. At the time, NME considered that "Siouxsie and the Banshees and the Ants and by Joy Division" opened up "a massive market" for newcomers like Bauhaus and Killing Joke: however, critic Andy Gill separated these two groups of bands, pointing out that there was a difference "between art and artifice"; the second Siouxsie and the Banshees album, released in 1979, was a precursor in several aspects. For journalist Alexis Petridis of The Guardian, "A lot of musical signifiers – scything, effects-laden guitar, pounding tribal drums – are audible, on Join Hands". However, Bauhaus's debut single, "Bela Lugosi's Dead", released in late 1979, was retrospectively considered to be the beginning of the gothic rock genre. According to Peter Murphy, the song was written to be tongue-in-cheek, but since the group performed it with "naive seriousness", how the audience understood it.
In the early 1980s, post-punk bands such as Siouxsie and the Banshees and the Cure included more gothic characteristics in their music. According to Reynolds, with their fourth album, 1981's Juju, the Banshees introduced several gothic qualities and sonically, whereas according to The Guardian, Juju was art rock on certain album tracks and pop on the singles, their bassist, Steven Severin, attributed the aesthetic u
Tubeway Army (album)
Tubeway Army is the debut album by Tubeway Army, released in 1978. Its initial limited-edition run of 5,000 did not chart; when reissued in mid-1979, following the success of the follow-up Replicas, the more known cover art featuring a stylised portrait of Gary Numan was introduced. This release made No. 14 in the UK album charts. Despite being the band's debut, Tubeway Army was seen as a transitional record, linking the punk flavour of early singles "That's Too Bad" and "Bombers" with the electronic music and science fiction imagery of Replicas; the first track, "Listen to the Sirens", borrowed its opening line from the Philip K. Dick novel Flow My Tears, The Policeman Said, while "Steel and You" contained references to androids; these and a number of other tracks featured primitive synthesizer effects, the legacy of Numan chancing upon a Minimoog in the recording studio one day. Elsewhere, the album’s lyrics inhabited a seedy world, compared to William Burroughs, an author whose influence Numan acknowledged.
"Friends" concerned male prostitution. "Every Day I Die" was about teenage masturbation. "Jo the Waiter" referenced drug addiction. "The Life Machine" was told from the perspective of a comatose man on life support who can only "watch from somewhere as the loved ones come and go". Sonically, the album ranged from hard rock with punk overtones, such as "My Shadow in Vain", "Friends" and "Are You Real?", through the post-punk of "Listen to the Sirens" and "The Dream Police", to the predominantly acoustic "Every Day I Die" and "Jo the Waiter". Major influences cited for this album's overall sound included David Bowie, early Roxy Music and Brian Eno, Lou Reed and The Velvet Underground, early Ultravox. Numan has performed tracks from this album since his early solo career, including "My Shadow in Vain", "Something's in the House", "Every Day I Die" and "The Dream Police". Others that appeared in his live repertoire included "Listen to the Sirens", "Friends" and "Jo the Waiter"; the 1998 CD reissue of Tubeway Army included a live concert a bootleg called Live at the Roxy, retitled as Living Ornaments'78 - a retrospective reference to Numan's official live albums Living Ornaments'79,'80 and'81.
It included early versions of "My Shadow In Vain" and "Friends" as well as a cover of The Velvet Underground's "White Light/White Heat". Crust punk/death metal band Deviated Instinct covered "Listen to the Sirens" on their 1990 EP Nailed; the 1997 Numan tribute album Random featured covers of Tubeway Army songs by Pop Will Eat Itself, The Orb and Dubstar. Terre Thaemlitz recorded a piano version of "Friends", released in 1999 on the Numan tribute album Replicas Rubato. All songs written by Gary Numan except "White Light/White Heat" "Listen to the Sirens" – 3:06 "My Shadow in Vain" – 2:59 "The Life Machine" – 2:45 "Friends" – 2:30 "Something's in the House" – 4:14 "Everyday I Die" – 2:24 "Steel and You" – 4:44 "My Love Is a Liquid" – 3:33 "Are You Real?" – 3:25 "The Dream Police" – 3:38 "Jo the Waiter" – 2:41 "Zero Bars" – 3:12CD bonus tracks "Positive Thinking" – 2:56 "Boys" – 2:13 "Blue Eyes" – 2:03 "You Don't Know Me" – 2:28 "My Shadow in Vain" – 4:13 "Me My Head" – 4:10 "That's Too Bad" – 3:26 "Basic J" – 3:03 "Do Your Best" – 2:40 "Oh!
Didn't I Say" – 2:31 "I'm a Poseur" – 2:30 "White Light/White Heat" – 2:49 "Kill St. Joy" – 3:46 Gary Numan – guitars, lead vocals, keyboards Paul Gardiner – bass guitar, backing vocals Jess Lidyard – drums Gary Numan – producer Mike Kemp – engineer, mixer John Dent – digital remastering numanme.co.uk 1998 CD reissue liner notes
Metal Rhythm is the ninth solo studio album by English musician Gary Numan released in September 1988 by I. R. S. Records. Gary Numan's previous three studio albums had been released on Numa Records. However, the disappointing sales of those albums led to Numan closing down the label and signing to I. R. S. Records. Most of the album had, in fact, been recorded before Numan signed with the record label. I. R. S; therefore had little opportunity to make changes to the recorded material, but the label was still able to exert influence on the album's release. Numan wanted to call the album Cold Metal Rhythm after its song of the same name, but I. R. S. Believed that the shortened title sounded less negative and more commercial. Musically, Metal Rhythm represented a move by Numan into a more commercial sound, although it preserved continuity with Numan's previous albums. Metal Rhythm made liberal use of female backing vocals, which Numan had incorporated into his four previous albums; the album's sense of aggression is present lyrically as well as musically.
In the songs "This is Emotion", "New Anger" and "Devious", Numan lashes out at the emotional desolation and manipulative personalities he had encountered throughout his career, "Respect" is rumoured to be about Numan's falling out with Hohokam, a band signed to Numa Records and Numan's support act during the 1984 Berserker tour. Numan himself remarked: Metal Rhythm was released in September 1988 and although its edgy, industrial-funk sound met with favour from fans and some positive reviews in the UK music press, it sold poorly; the album charted at No. 48, while its singles, "New Anger" and "America", charted at No. 49 respectively. Numan recalled: For its American release, against Numan's wishes, the record label changed the album's title to New Anger, changed the artwork colour shade from black to blue, remixed several of its tracks and replaced two tracks with tracks recorded for Numan's 1984 album Berserker. Numan would only release two more albums with I. R. S. – The Skin Mechanic, a live album from the Metal Rhythm tour, the studio album Outland – before quitting the label and reactivating Numa Records.
Numan supported Metal Rhythm with an 18-date UK live tour from which the live album The Skin Mechanic was released in 1989. Culled from two shows at the Dominion Theatre, London in September 1988, The Skin Mechanic charted at UK No. 55, was followed by a 1990 video release of the tour. All tracks written by Gary Numan. All timings are approximate and will vary with different equipment. "This Is Emotion" – 4:05 "Hunger" – 4:30 "New Anger" – 3:22 "Devious" – 4:19 "America" – 3:32 "Voix" – 5:00 "Respect" – 4:10 "Young Heart" – 5:04 "Cold Metal Rhythm" – 4:28 "Don't Call My Name" – 3:42 "This Is Emotion" – 4:05 "Hunger" – 4:30 "New Anger" – 3:22 "Devious" – 4:19 "America" – 3:32 "Voix" – 5:00 "Respect" – 4:10 "Young Heart" – 5:04 "Cold Metal Rhythm" – 4:28 "Don't Call My Name" – 3:42 "I Don't Believe" – 3:22 "Children" – 3:10 "My Dying Machine" – 6:33 "Devious" – 3:37 "America" – 2:50 "Devious" – 3:37 "America" – 3:32 "Cold Metal Rhythm" – 4:28 "This Is Emotion" – 4:05 "Don't Call My Name" – 3:42 "Voix" – 5:00 "Respect" – 4:10 "New Anger" – 3:22 "My Dying Machine" – 6:33 "A Child with the Ghost" – 4:04"A Child with the Ghost" was released on Gary Numan's 1984 Berserker album, as was the original version of "My Dying Machine" "America" was released as a single on both vinyl and CD.
The CD version contains three bonus live tracks – "Respect" and "New Anger" being recorded on the Metal Rhythm tour at the Dominion Theatre, London on 28 September 1988 and "Call Out the Dogs" recorded on the Exhibition tour at the Hammersmith Odeon in London on 25 September 1987. Adapted from the Metal Rhythm liner notes. Gary Numan – vocals.
Down in the Park
"Down in the Park" is a 1979 song by the English band Tubeway Army, featuring lead vocals by Gary Numan. It was released as the first single from the band's second album Replicas; the song was written and produced by the band's frontman Gary Numan, despite its lack of commercial success, has been performed by Numan in his live shows throughout the years. Like the Replicas album as a whole, "Down in the Park" marked a major shift from Tubeway Army's previous output; the band's early releases, the 1978 singles "That's Too Bad" and "Bombers" plus the self-titled debut album, contained elements of punk, hard rock, heavy metal and new wave but were guitar driven with only occasional use of primitive synthesizer effects. "Down in the Park", on the other hand, was Numan's first composition on keyboards and his first release to feature the predominantly electronic sound that became his trademark. Musically, it pared down still further the guitar power chord and bass root note style arrangements he had used reducing the harmony to bare unisons of layered bass guitar, Fender Rhodes electric piano, Polymoog synthesizer.
The semitone key changes and chromatic melodic riffs between the song's verses are somewhat unusual in the context of traditional Western music theory, although they are less unusual in rock music. Lyrically the song crystallized the dystopian science fiction concept, the basis of the Replicas album. Influenced by such writers as J. G. Ballard and Philip K. Dick, it tells the story of a futuristic park in which Machmen and machines rape and kill human beings to entertain spectators who, along with their numerically-named robotic "friends", view the carnage from a nearby club; the piece was typical of Numan's themes at the time, both fearing technology. In contrast to much contemporary post-punk music, his own earlier releases, Numan's vocals were deliberately underplayed, leaving the slow and stately synthesizer work to evoke the song's melancholy atmosphere. In what would become Numan's normal practice, the B-side was a non-album track, in this case "Do You Need the Service?". The 12" single included the same tracks as the 7" along with "I Nearly Married A Human", a different mix from the version on Replicas this time featuring drum machine throughout and Numan's recitation of the song's title, the only words heard.
"Down in the Park" has been covered by a number of artists, notably Marilyn Manson on the "Lunchbox" and "Sweet Dreams" singles, Foo Fighters on The X-Files Songs in the Key of X soundtrack album, DJ Hell, Christian Death, Girls Under Glass, Jimi Tenor on the Numan tribute album Random. Terre Thaemlitz recorded two instrumental versions of "Down in the Park" on the tribute album Replicas Rubato, one on piano and the other on synthesizer. Other tribute acts to have recorded the song include Bytet and Reload, on the albums Ghost of a White Face Clown and Tubeway Navy respectively. Bytet covered Cars on "Ghost of a White Face Clown" not Down in the Park. On various dates of the 2009 Nine Inch Nails Wave Goodbye Tour, Trent Reznor and his band performed a version featuring Gary Numan on vocals and David Bowie collaborator, Mike Garson, on grand piano. "Down in the Park" has been a mainstay of Numan's concerts since his 1979 tour, appears on all of his live albums. An arrangement with solo piano introduction appeared on the Living Ornaments'80 LP, in the movie Urgh!
A Music War, in the Micromusic video concert from Wembley Arena. A version for piano alone was the flip side of Numan's single "I Die: You Die" in 1980; the original song was remixed twice for the 2003 collection Hybrid, a demo version of the song was included on the soundtrack of the movie Times Square. 7" version: "Down in the Park" - 4:22 "Do You Need the Service?" - 3:3912" version: "Down in the Park" - 4:22 "Do You Need the Service?" - 3:39 "I Nearly Married a Human" - 6:38 Gary Numan - Minimoog synthesizer, Polymoog synthesizer, Fender Rhodes electric piano, production Paul Gardiner - Bass guitar Jess Lidyard - Drums Paul Goodwin. Electric Pioneer: An Armchair Guide to Gary Numan. Lyrics of this song at MetroLyrics
Pure (Gary Numan album)
Pure is the fourteenth solo studio album by English musician Gary Numan, released in November 2000 by Eagle Records. Lyrically, Pure was seen as continuing the composer’s attacks on Christian dogma but in a somewhat more personal fashion than on Exile; the recording featured an expanded group of collaborators after the one-man efforts of Sacrifice and Exile. The Sulpher team of Rob Holliday and Monti contributed guitar and drums as well as keyboards and additional production; the opening/title song was typical of most tracks on the album, beginning with ethereal strings and piano effects that gave way to an industrial metal guitar riff before breaking into a thunderous chorus. It was described by Numan as an attempt to explore the mind of a murderer. "Walking With Shadows" started with a scenario similar to the early Tubeway Army song "The Life Machine", that of a man in a coma, but one who, rather than wishing to return to his loved ones, wanted his loved ones to join him. "My Jesus", "Listen to My Voice" and "Rip" expanded upon the atheistic/heretical themes that were introduced on Sacrifice and which dominated Exile.
"I Can’t Breathe" inhabited a world similar to Sacrifice’s "Deadliner", that of a waking nightmare. "Fallen" was the composer's first instrumental in a number of full of distorted effects. "A Prayer for the Unborn" and "Little Invitro" were gentler numbers inspired by personal tragedy the recent miscarriages suffered by Numan's wife Gemma and the couple's many unsuccessful IVF attempts up until that time. Pure's style was compared to that of other industrial rock acts, such as Nine Inch Nails and Marilyn Manson, who had themselves acknowledged Numan's earlier influence on their own music. Whilst some critics and fans professed themselves weary of a third record obsessed with religious themes, others such as The Sunday Times described Pure as Numan’s best album since his classic 1979/80 period. Numan toured extensively in support of the new album, captured in the Scarred live recording issued in 2003. A number of the tracks were remixed for the Hybrid collection, released the same year. Unlike the three previous albums, no'Extended' version of Pure was officially made available, though a bootleg of dubious authenticity exists.
However, a 2CD numbered limited edition'Tour Edition' was released in 2001, containing a poster and a bonus CD with screensaver, live tracks and two remixes. The album artwork was extensively re-worked; the only single, "Rip", was released 18 months after the album. In the United States, "Listen to my Voice" was a radio hit, reaching No.13 on the R&R Alternative Charts. Pure received mixed to positive reviews. Writing in NME in October 2000, music journalist Noel Gardner described the album as "Pure... ends up a mere testament to Numan's bloated vanity. Darryl Sterdan, when reviewing the album for Canoe.ca, described Numan's vocal and lyrical approach as "whispering like Manson and yelping like Reznor about pain and sacrifice". Sterdan went on to say, "Numan admits these brooding electro-goth pouts were influenced by U. S. electro-metal. He gets one point for honesty, but none for originality or timeliness -- Rip and Fallen sound like the cliche dreck Trentoids were churning out en masse in'96.
It didn't work and it doesn't work now. For a guy like Numan who can do so much better." The album was more positively assessed in Kerrang:"This veteran artist has released a superbly dark and dysfunctional industrial album that will electrocute you. My Jesus and Rip are just two of many tracks that spiral with synth-based dementia before immersing you in elegant waves of distortion. If you like your melancholia dense and dynamic, you won't want Pure to end, and no way will you believe it's a Gary Numan album. Venturing into darker pastures than Depeche Mode dared, Pure lives out a post-modern nightmare of Blade Runner fashioned alienation, it would be selling Numan short to call Pure pregnant with menace". Writing in The Guardian, Maddy Costa described Numan as sounding like Manson and Reznor, but noted that "nobody quite emulates him". Liana Jonas, reviewing the album for Allmusic, says, "Pure is good, dark mood music, seasoned with menacing basslines, electronic crashes and spikes, slow-grinding guitars.
It's an effective pairing -- ghostly voice coupled with industrialized music. PopMatters review of the album written by Wilson Neate said, "Pure is Gary Numan's richest, most powerful and most aggressive work in years."Pure made a limited impression on the UK Albums Chart where it reached number 58, staying on the charts for one week. In 2013, Pure was reappraised by Jamie Halliday of Audio Antihero Records in a "Paint It Back" retrospective article for the GoldFlakePaint music site, praising the album and calling it Numan's "21st century masterpiece." All songs written except where noted. All timings are approximate and will vary with different equipment. "Pure" – 5:08 "Walking With Shadows" – 5:52 "Rip" – 5:06 "One Perfect Lie" – 4:35 "My Jesus" – 5:45 "Fallen" – 2:31 "Listen to My Voice" – 5:12 "A Prayer for the Unborn" – 5:43 "Torn" – 5:10 "Little Invitro" – 4:28 "I Can't Breathe" – 5:45 CD One Same track listing as original release. CD Two "Pure" - 6:43 "My Jesus" - 5:52 "Rip" - 5:09 "Cars" - 3:22 "Replicas" - 5:13 "A Prayer For The Unborn" - 8:35 "Listen To My Voice" - 8:01 The live tracks appeared on the'Sca