A Review of "Telekon" by Phil Whalley
(who gave it 6 out of 10)
November 2nd 1996

Definitely Numan's equivalent of the "difficult second album" syndrome - the first post-fame release which articulates the less pleasant realities of stardom and (often) exposes the newly inflated ego. Telekon is a frustrating album, not for what it is but for what it could have been. The guitar was back and by now Numan had more time and resources to put towards the recording.

As a technical achievement, Telekon was undoubtedly a milestone. Partly recorded in late 1979, comparable recordings at this time of artists like The Human League (Travelogue) serve to illustrate how far ahead of the pack Gary was at this point. Even hostile reviewers had to admit that Numan was defining the sound of an era (see the Sounds review that conceded that, technologically, Telekon was "hotter than a toaster filament").

As a musical product though, Telekon suffers from an overwhelming darkness. Ced's boomy kit and muddy snare sound, the world-weary lyrics and deadpan delivery, and the predominance of unmelodic, lower-end synth lines. On occasion, the gloom is penetrated by rays of sparkling light: the beautiful synth breaks in 'The Aircrash Bureau' and the truly wonderful piano solo in the final break is the highlight of the album. In addition, the ironic self-awareness of 'Remind Me To Smile' and the finale of 'The Joy Curcuit' (the closest the album gets to a band sound) provides some light relief.

Unfortunately, these are exceptions to the norm. I can't help thinking that the vinyl version should have included at least 'We Are Glass' if not 'I Die: You Die' instead of lame tracks like 'Sleep By Windows' or 'Remember I Was Vapour', and why on earth was 'This Wreckage' the single? All in all, innovative but too introspective.

BEST TRACK - 'Remind Me To Smile', refreshingly upbeat and a classic chorus.