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Alternative & Indie - Released October 30, 2015 | Beggars Banquet

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The Pleasure Principle was an important point of departure for Gary Numan, and a significant breakthrough moment in the context of his long and storied career. Released about six months after Replicas, it was an instant commercial success, quickly reaching the dizzy heights of number one in the UK Charts. On this record, his third solo effort (and first under his own name), Numan abandoned guitars completely, instead embracing a more synthetic style of production. The album heralded the purely electronic, distinctly robotic sound that this modern icon has become most famous for today. Numan employed a variety of Moog synthesizers to realise The Pleasure Principle, achieving his trademark sound largely by use of the distinctive ‘Vox Humana’ setting. Throw in a healthy dose of production trickery; including flanging, phasing, layers of reverb, and some solo violin, and you are the rest of the way there! Numan was influenced by the greatest pioneers of electronica - Kraftwerk’s epochal Autobahn ghosts the track ‘Cars’ (the very same synths were used!) – and, subsequently, he influenced a generation of new artists. Numan blazed a trail for Nine Inch Nails’s industrial rock, Afrika Bambaataa’s hip-hop explosion, and even early-2000s club bangers like Basement Jaxx’s immortal ‘Where’s Your Head At?’ A pleasure indeed.
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Rock - Released October 10, 2011 | Machine Music Ltd

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A reworked collection of songs previously discarded from several studio albums, Gary Numan's 20th effort, Dead Son Rising, suggests that the electro-pop pioneer should scrabble around for any more leftovers lurking in the vaults. For despite its pick and mix approach, the follow-up to 2006's Jagged (whose producer, Ade Fenton, also features again here) is arguably his most cohesive and consistent effort since his early-'80s heyday. Of course, it's difficult to ignore the huge Trent Reznor-sized shadow that looms over the majority of its 12 tracks, with the bombastic synths, crunching riffs, and menacing vocals on the likes of "When the Sky Bleeds, He Will Come" and "Big Noise Transmission" owing more than a nod to the industrial electro-metal of The Fragile. But neatly coming full circle, Nine Inch Nails' admittance of the influence Numan had on their career means the former Tubeway Army frontman has perhaps more right than anyone to borrow back a few ideas. Especially when they are as convincing as the likes of opening track "Resurrection," an unsettling and doom-laden ambient instrumental, which along with the brooding Depeche Mode-esque electro ballad "Dead Sun Rising" and the ghostly atmospherics of "We Are the Lost" would be perfectly suited to the end credits of a sci-fi horror movie. Elsewhere, "The Fall," an epic slice of sleazy '80s-tinged electro, shows the whole nu-synth movement how it's really done, while Numan reveals a rare vulnerability on the stark piano hooks and hushed whispered melodies of "Not the Love We Dream Of" and the solemn tale of obsession "For the Rest of My Life." It's a shame, then, that the album finishes with a whimper rather than a bang, as the stripped-back instrumental versions of the latter two take away the compelling elements of the originals, while the meandering "Into Battle" sounds like the half-finished demo that it might possibly have been. Nevertheless, it's impressive that over 30 years into his career, Numan isn't content to just trade on former glories, and while Dead Son Rising isn't likely to propel him back into the mainstream, it's an impressively bold affair that ensures his cult status will remain intact. © Jon O'Brien /TiVo
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Electronic/Dance - Released December 13, 2019 | BMG Rights Management (UK) Ltd

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Alternative & Indie - Released October 11, 2019 | Beggars Banquet

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Electronic/Dance - Released December 13, 2019 | BMG Rights Management (UK) Ltd

Performing alongside the Skaparis Orchestra at the Bridgewater Hall in Manchester, this 20-track live show sees Gary Numan play a selection of tracks from his 2017 album Savage (Songs from a Broken World) alongside some fan favorites from his back catalog. © TiVo
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Electronic/Dance - Released September 15, 2017 | BMG Rights Management (UK) Limited

Long gone are the times when Gary Numan juggled with his Minimoog, Polymoog and other ARP Odyssey. Great guru of the synth pop at the end of the seventies and the start of the eighties, the expert in new wave keyboard orgies remains nonetheless a master of the all synth. As proof, this 21th studio recording of the Londoner, which is actually a concept album about the mix of Western and Eastern cultures in a post-apocalyptic world that has become a desert because of global warming. David Bowie’s influence (who has always followed him like a shadow) is of course there. But Numan remains a true director/sound producer able to set up a personal mood in only two measures. And this Savage is no exception to the rule. © CM/Qobuz
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Alternative & Indie - Released October 30, 2015 | Beggars Banquet

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Electronic/Dance - Released November 23, 2018 | BMG Rights Management (UK) Limited

Prominent synth pop/new Wave artist Gary Numan presents his latest live album, Savage: Live at Brixton Academy. Recorded during the first leg of his Savage tour, it contains plenty of Numan's classic tracks as well as several cuts from his latest album, Savage (Songs from a Broken World). © Liam Martin /TiVo
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Alternative & Indie - Released January 19, 2018 | Beggars Banquet

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Alternative & Indie - Released March 25, 1997 | Beggars Banquet

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Alternative & Indie - Released May 3, 1998 | Beggars Banquet

Gary Numan's follow-up to the flawless The Pleasure Principle was 1980's Telekon. Although it was another mega-hit back home in England (his third consecutive number one album), Numan could not follow up his massive new wave hit "Cars" in the United States, where he was unjustly slapped with the one-hit-wonder tag. Telekon would also turn out to be the last true classic Numan album, as monetary problems and an unfocused attempt to try different musical forms (as well as a short-lived retirement) would steer him away from his original vision. Although Telekon was indeed a strong album, it could have been even stronger if it included the U.K. Top Ten singles "I Die: You Die" and "We Are Glass" (both were recorded during the Telekon sessions). Numan experimented with funk for the first time in his career ("Remind Me to Smile"), but there were still plenty of chilling synth excursions to keep the Numan faithful satisfied -- "This Wreckage," "The Aircrash Bureau," "I'm an Agent," and "I Dream of Wires" are all choice cuts. The 1998 Beggars Banquet re-release eventually did include both the U.K. singles, as well as several other rarities, including a bare "piano version" of "Down in the Park." [Note: In addition to bonus tracks, all of the Gary Numan/Beggars Banquet re-releases contain classic photographs and informative liner notes by Numan biographer Steve Malins.] © Greg Prato /TiVo
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Alternative & Indie - Released March 1, 2019 | Beggars Banquet

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Alternative & Indie - Released June 22, 1998 | Beggars Banquet

The most popular of all the Gary Numan albums is undeniably 1979's The Pleasure Principle. The reasons are simple -- there is not a single weak moment on the disc, it contains his sole U.S. (number one worldwide) hit, "Cars," and new drummer Cedric Sharpley adds a whole new dimension with his powerful percussion work. The Pleasure Principle is also one of the first Gary Numan albums to feature true ensemble playing, especially heard within the airtight, killer groove of "Metal" (one of Numan's all-time best tracks). Starting things off with the atmospheric instrumental "Airlane," the quality of the songs gets stronger and stronger as the album progresses -- "Films," "M.E.," "Observer," "Conversation," the aforementioned "Cars," and the U.K. Top Ten hit "Complex" all show Numan in top form. If you had to own just one Gary Numan album, The Pleasure Principle would be it. © Greg Prato /TiVo
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Electronic/Dance - Released November 9, 2018 | BMG Rights Management (UK) Limited

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Alternative & Indie - Released January 1, 1989 | I.R.S. Records

Numan has mentioned that he had a terrible time with his deal with IRS, and this live album reflects that. Poorly produced and unenthusiastic, definitely the worst of Numan's various live albums. © Steven McDonald /TiVo

Electronic/Dance - Released November 9, 2018 | BMG Rights Management (UK) Limited

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The 21st studio long-player from the British electronic music legend, Savage (Songs from a Broken World) is the follow-up to 2013's acclaimed Splinter (Songs from a Broken Mind), which saw Numan delivering his highest-charting album since 1983's Warriors. A willfully dark, narrative-driven concept album concerning the melding of Eastern and Western cultures in a post-apocalyptic world that's been decimated by the effects of climate change, Savage is awash in ambient horrorscapes, blast-furnace percussion, and electro-goth synth leads that suggest Depeche Mode by way of Nine Inch Nails. Numan made the shift from new wave robot bard to industrial soothsayer in the 2000s or so ago -- his adenoidal voice is as captivating as ever -- so longtime fans aren't expecting the next Tubeway Army or Pleasure Principle. That said, lurking beneath, between, and sometimes on top of each icy gale of factory-forged sonic dissonance are clarion melodies, and familiar ones at that. Numan's talent for crafting singular hooks -- they almost always resolve where you would least expect -- remains one of his most distinguishing features, and songs like "Ghost Nation," "And It All Began with You," "When the World Comes Apart," "Pray for the Pain You Serve," and "Bed of Thorns," the latter of which appeared on the Ghost in the Shell soundtrack, impress with both their sonic elasticity and deference to pop composition. That Numan can still juggle melodrama and musicality with such effortlessness is impressive, to say the least, but that he can make it so compelling is what sets him apart from his old guard new wave contemporaries. © James Christopher Monger /TiVo
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Alternative & Indie - Released December 10, 1997 | Beggars Banquet

One of the downsides of the new romantic movement is that its groups tended to be more exciting in a video or in the studio than they were in the live arena. One of the rare exceptions to this rule was Gary Numan, a performer whose canny blend of synthesizer textures and conventional rock band instrumentation allowed his music to translate itself to a live format with ease. As a result, he was a popular concert attraction in his native England and listeners can get a good idea of his live skills with Living Ornaments '79. This album, the full set from a September 1979 performance at the Hammersmith Odeon, finds Numan taking a generous selection of tunes from all his albums up to that point and delivering them with a carefully controlled mixture of style and power. Many of the songs are much more energetic than their studio counterparts: the muscular rhythm guitar riffs that propel "Something's in the House" take on a new power in the live arena, and "Me I Disconnect From You" runs twice as fast as its studio incarnation. Other songs on Living Ornaments '79 benefit from new arrangements; the most notable transformation in this area is "Bombers," which is transformed from the fast, guitar-based punk-pop of its studio version into an atmospheric, ballad-paced track where spacy synthesizers replace the guitar riffs. Numan also turns in a surprisingly effective cover of "On Broadway" that culminates in an unexpected, electic violin solo. The remainder of the tracks continue in the same vein as these highlights, effectively mixing live energy with the icy electronic affectations that make Numan's studio classics so interesting. In short, Living Ornaments '79 is a solid live document of Gary Numan in his hitmaking prime and a worthwhile supplement to his studio work for fans. © Donald A. Guarisco /TiVo

Alternative & Indie - Released September 21, 2009 | Beggars Banquet

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The most popular of all the Gary Numan albums is undeniably 1979's The Pleasure Principle. The reasons are simple -- there is not a single weak moment on the disc, it contains his sole U.S. (number one worldwide) hit, "Cars," and new drummer Cedric Sharpley adds a whole new dimension with his powerful percussion work. The Pleasure Principle is also one of the first Gary Numan albums to feature true ensemble playing, especially heard within the airtight, killer groove of "Metal" (one of Numan's all-time best tracks). Starting things off with the atmospheric instrumental "Airlane," the quality of the songs gets stronger and stronger as the album progresses -- "Films," "M.E.," "Observer," "Conversation," the aforementioned "Cars," and the U.K. Top Ten hit "Complex" all show Numan in top form. If you had to own just one Gary Numan album, The Pleasure Principle would be it. © Greg Prato /TiVo

Alternative & Indie - Released August 1, 2005 | Beggars Banquet

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Rock - Released February 19, 2016 | Machine Music Ltd