ARY NUMAN — ‘Savage: Songs from a Broken World’
THE GOOD: British electronic pioneer Gary Numan gives us an epic 21st album.
THE BAD: “Broken World” is long. Across its second half, and the tempos slow down, moods get heavy, and the record drags.
THE NITTY GRITTY: This is a concept album. The Eastern and Western worlds have blurred together in a post-apocalyptic wasteland brought on by global warming. Imagine “Mad Max” with a beat.
On any GOOD concept album, the songs tell the story, but don’t rely upon it. You can pull the record apart (or even wholly ignore the storyline) and most of the tracks can stand on their own. That’s definitely the case with “Broken World.”
We get the usual buzzing and burning mid-tempo pieces drenched in sinister atmospherics and carried by Numan’s reserved singing. Songs such as “My Name Is Ruin” and “When the World Comes Apart” are fantastic examples of the man’s brand of heavy techno-pop. The guy just turned 60, but he hasn’t lost his touch.
BUY IT?: Yes.

THE GOOD: British synth-pop legends OMD return with their 13th.
THE BAD: Nope.
THE NITTY GRITTY: Ever since founding members Paul Humphreys and Andy McCluskey reunited about a decade ago, this pioneering band has been on a roll. “The Punishment of Luxury” is their third triumph in a row, following 2010’s “History of Modern” and 2013’s “English Electric.” Regaining relevance is not easy, but OMD have accomplished just that.
They continue to build upon their early, stripped-down, industrial-leaning work, icy albums such as “Architecture & Morality” (1981) and “Dazzle Ships” (1983). All the while, the guys look forward and create something equally retro and futuristic, music that transcends any particular era.
“Luxury” is a comment on our disposable culture, boasting tracks both pulsating and calculated (“Isotype”) and more delicate and introspective (“What Have We Done”). As usual, OMD finds the perfect balance of cold electronics and graceful melodies, bridging a gap between two disparate sensibilities and doing it WITHOUT pretentiousness.
BUY IT?: Definitely.

TRICKY — ‘Ununiform’
THE GOOD: British trip-hop pioneer Tricky churns out his 13th.
THE BAD: Like most post-2000 Tricky records, “Ununiform” is a work of highs and lows. Some of the tracks are stunning; others feel incomplete.
THE NITTY GRITTY: Conceived in Russia and recorded in Germany, the new album uses the usual sounds — the man’s guttural, emotional lead vocals; beats either abrasive or reserved (depending upon the situation); atmospheric, haunting keyboards; and metallic guitars. The set also boasts a bevy of female guest vocalists such as Asia Argento, Terra Lopez and long-time collaborator Martina Topley-Bird.
Most of it works. Tracks such as the sneaky, seamless “New Stole” and the popping, swirly “Armor” immediately click. Yet even when everything falls into place, we’re reminded that Tricky is not the innovator he once was. Though they’re good, these late-career albums aren’t breaking a hell of a lot of new ground. And there are some huge misfires. I recommend skipping over the smoky and wholly unnecessary retooling of Hole’s “Doll Parts.”
BUY IT?: Your choice.