Released on 21st May 2021, Gary Numan’s 18th solo album Intruder is the fifth to emerge from the 15 year collaboration between Numan and producer, and PMC user, Ade Fenton.

From the new album 'Savage: Songs From A Broken World', Out Now. Limited edition formats available from the store: do. Mar 07, 2019 « Download Game Gta 4 Torrent Savage Gary Numan Download Torrent » Profile id:mcpdf. Antivirus Download Torrent The Pirate Bay. Start using Hatena Blog! From the new album 'Savage: Songs From A Broken World', Out Now. Limited edition formats available from the store: do.

Intruder follows the hugely successful (UK no.2) and critically acclaimed Savage: Songs From a Broken World album and is the third to be produced using PMC twotwo.8 monitors, which have been part of Ade Fenton’s studio set up since early 2013.

Fenton attributes the accuracy of the PMC monitors as having played a big part in the sound of the past three albums. For example, during the mixing of Splinter: Songs From a Broken Mind, in 2013 – the first album to be mixed using the twotwo.8s, he said, “They are hugely responsible for the high quality of sound we achieved when mixing the record.” Going on to add in 2021 during an interview about the making of Intruder that his studio set up includes “my beloved speakers, the PMC twotwo.8s.”

At the time of mixing the new album the world was, of course, in the midst of lockdown, forcing Fenton and Numan to work remotely, as Numan lives and works in LA and Fenton’s studio is in the southwest of the UK. The resulting mixes were taken to Metropolis Mastering for the final touches before release.

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Metropolis, located in Chiswick London, is one of the world’s leading mastering facilities. Established in 1993, it features the powerhouse BB5 XBD-A speakers and extensive PMC/Bryston amplification. The mastering rooms have been described as “the best audio environments in the world”, making them a fitting location for the mastering of works by the very best artists, such as Numan.

At the controls was three times winner of the Music Producers Guild Mastering Engineer of the Year award, Matt Colton. Matt, who has worked on records from the likes of Thom Yorke, Elbow, Coldplay and many more, was in charge of the final stages of the creative process that has resulted in the universally praised release of Intruder.

Commenting on the mastering process, Ade Fenton says, “To hear the tracks we produced on the PMC twotwo.8s played back through the huge BB5 XBD system was a revelation, but a very pleasant one. While the bass performance of the two 15” drivers is clearly greater, the clarity and detail the system presents leaves nothing masked and proves just what a fantastic speaker the twotwo.8 is to produce on. I was blown away by what I heard at Metropolis and am really pleased with the final product and what Gary and I have created with Intruder.”

Intruder is out now and available as a digital download, CD, cassette, vinyl, special edition gold vinyl and picture disc and from the major streaming platforms.

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About PMC
PMC is a UK-based, world-leading manufacturer of loudspeaker systems, the tools of choice in all ultra-critical professional monitoring applications, and also for the discerning audiophile at home, where they provide a transparent window into the recording artist’s original intentions. PMC products use the best available materials and design principles, including the company’s proprietary Advanced Transmission Line (ATL™) bass-loading technology, cutting-edge amplification and advanced DSP techniques to create loudspeakers that present sound and music exactly as it was when first created, with the highest possible resolution, and without coloration or distortion. For more information on our clients and products, see www.pmc-speakers.com.

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Before we address the content of Gary Numan’s new record, we need to deal with that cover art. I understand that this is a concept album set in a futuristic, post-apocalyptic version of the Middle-East, where eastern and western cultures have mixed and Numan himself is some sort of strange hybrid between Mad Max and John The Baptist. But, at the end of the day, it’s him dressed up in what looks suspiciously like a traditional Bedouin garb next to the word ‘Savage’ spelled out in faux-Arabic letters. Not only is this pretty offensive on a cultural level, it’s also pretty offensive aesthetically. If there was a musical equivalent of the Razzies (which there should be), this album would clean up in the design categories.

Thankfully, Savage’s music fares much better than its cover. Numan's appropriation of Arabic musical patterns, textures and instruments can make for mildly uncomfortable listening at first, but on repeated plays these are the moments that really stand out. His decision to directly incorporate these less familiar (to the western ear) musical mores into his already alien-sounding style pays off. Gary Numan has always had a talent for atypical songwriting that transcends the notional limitations of traditional western music. ‘Cars’ is the first song I can ever remember hearing, and even as a toddler I remember being bewitched by that utterly unique Moog coda that seems to quiver at the threshold of a whole universe of music we've barely begun to explore. Those basketball-court synths from The Pleasure Principle are back in far greater numbers than they were on Splinter, and hearing them squeak over these new microtonally shifting horns and Lisa Gerrard-esque desert chants is impossible not to enjoy.

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The album's overarching concept and vision of an environmental dystopia brought about by global warming feels pretty fucking real right now. There are some neat segments on 'And It All Began With You' and 'When The World Comes Apart' where our imagined descendants lament our generation's inability to combat climate change. But there's a strange dichotomy at the core of this album whereby it functions as both Numan's most political and engaged release to date while also being his most fantastical. There's a high camp to the album that sits at odds with its treatment of real world issues, a theatricality that undoes the seriousness of the setting. Numan's po-faced miserablism is sometimes pretty funny. When listening to the truly silly lyrics on 'The End Of Things' ('I see a darker shade of darkness, I hear a shadow hide in the light') or the OTT goth-disco of 'When The World',hard to gauge just how seriously this record and its prophesying should be taken.

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But, even if our future great-grandchildren find its content to be in as poor a taste as its artwork, this doesn't stop Savage being a undeniably fun right now. It's almost a shame Numan didn't keep rolling after shooting his video for 'My Name Is Ruin' to create a full-length accompanying film, or, better yet, a video game. The widescreen synth vistas of excellent closing track 'Broken' sound like they were recorded to soundtrack a great retro-futuristic RPG in which the future of humanity hangs in the balance. Having another visual accompaniment to the album would also help distract from the awful artwork, and from the crushing knowledge that the broken world Numan sings about is the very same one we're standing on.