Dead Son Rising

Editorial Reviews

All Music Guide - Jon O'Brien
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...
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Editorial Reviews

All Music Guide - Jon O'Brien
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.
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Product Details

  • Release Date: 12/6/2011
  • Label: Mortal (Uk)
  • EAN: 5014249091120
  • Catalog Number: 10

Album Credits

Performance Credits
Gary Numan Primary Artist, Keyboards, Vocals
Ade Fenton Piano, Keyboards
Steve Harris Guitar
Nathan Boddy Keyboards
Tim Muddiman Acoustic Guitar, Bass, Guitar
Technical Credits
Gary Numan Composer, Lyricist
Ade Fenton Composer, Programming, Producer
Matt Colton Mastering
Paul Agar Layout
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Sort by: Showing 1 Customer Reviews
  • Posted December 14, 2011

    A Major Disappointment

    Unless you're a diehard Numan fan, this album is a big disappointment. As a diehard fan I too am disappointed. I listened to it twice and found it to be a mishmash of unfinished songs that never get off the ground. They start off OK(sometimes too slow) but seem to be over too soon before developing into full-bodied works.I can't recall any song that sticks in my memory. OK maybe one or two and I'd have to replay the album to find out which ones. 'DSR' left me bored & unrewarded and that bothers me. All these rave reviews from customers on other sites and in magazines baffle me. What am I missing here? I'm not a novice to Numan's work as I own every album of his, including rarities, compilations, concert DVDs, and his autobiography. If 'DSR' is supposed to be a link from 'Jagged' to the upcoming 'Splinter' as some suggest, Numan should have concentrated on finishing the latter instead of releasing filler to appease his eager fans waiting years for each new album. Anyone who is unfamiliar with his music and listened to 'DSR' would probably find it meandering and turn it off before the end. I hate to say it but I was tempted but in fairness I gave it two plays. I replayed 'Jagged' after hearing 'DSR' and noticed some similarities but not enough to recommend anyone buying 'DSR' which sounded like my least favorite parts of 'Jagged' or rejected demos. Sorry, my fellow Numan fans.

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