CD: Gary Numan - Splinter (Songs from a Broken Mind)

The struggle to make sense of the new wave master's new material

share this article

'Splinter' deals with Numan's recent struggles with depression

Over the decade and a half that I’ve been writing about music, it has been my goal to distinguish between music that I just don’t like and music that is, in a more objective sense, terrible. Sometimes the line is a fine one, and - as many a Leona Lewis fan reading this site will attest - I don’t always end up on the side of it I think I am on. But even bearing that in mind, the new album from Gary Numan is a genuine puzzler: I can’t decide if it’s a sluggish, noisy, unlistenable record, packed with laughably nihilistic lyrics; or if it’s just me.

To give a bit of context I should note that new wave, of which Numan was an unquestionable pioneer, was dying out as I was in babyhood and his two biggest hits were released three years before I was even born. It may be that those who have been waiting for Numan’s first new material since 2006 are anticipating discordant whistles, industrial bass and a voice that sounds like a replicant having a slow nervous breakdown. But my frame of reference was “Cars” and the sample off the start of Sugababes’ last truly great single; yet by the time I hit the clashing chords and hissily whispered verses of “Here in the Black”, the second track on Splinter, I was thinking more along the lines of the time I bought a Marilyn Manson single in an attempt to find a subculture to identify with in my late teens.

“Black” is one of several songs on the album to address Numan’s recent struggle with depression, and in that context the elements of the album make sense: the bleak hamminess to the lyrics of “Everything Comes Down”; the fact that “The Calling”, despite its intricacies and lush orchestration, is a cold and merciless four and a half minutes; the claustrophobia of the title track and “Love Hurt Bleed”. Only “Lost”, a comparatively simple heartbreak ballad for voice and piano, provides much respite, and is the most affecting track on the album for it. I’d argue that Splinter is more challenging than anything that, say, David Bowie has released in recent years - but that doesn’t mean I have to like it.

Hear opening track "I Am Dust" overleaf

 

Add comment

The content of this field is kept private and will not be shown publicly.

Plain text

  • No HTML tags allowed.
  • Lines and paragraphs break automatically.
  • Web page addresses and email addresses turn into links automatically.
'The Calling', despite its intricacies and lush orchestration, is a cold and merciless four and a half minutes

rating

2

explore topics

share this article

the future of arts journalism

You can stop theartsdesk.com closing! 

We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d

And if you can forward this information to anyone who might assist, we’d be grateful.

more new music

With a line-up that includes Exodus and Carcass, a top-notch night of the heaviest metal
Leading Kurdish vocalist takes tradition on an adventure
Scottish jazz rarity resurfaces
A well-crafted sound that plays it a little too safe
Damon Albarn's animated outfit featured dazzling visuals and constant guests
A meaningful reiteration and next step of their sonic journey
While some synth pop queens fade, the Swede seems to burn ever brighter
Raye’s moment has definitely arrived, and this is an inspirational album
Red Hot Chilli Pepper’s solo album is a great success that strays far from the day job
The youthful grandaddies of K-pop are as cyborg-slick as ever