Pet Shop Boys
Fundamental

THE REVIEW

Incredible but true, perhaps this "fundamental" is the most beautiful album ever made by the English duo.

In a period where the 80s have returned to dominate not only in revivals, but also in new productions, the Pet Shop Boys release the most 80s album of all (neither Depeche Mode nor Madonna can compare). Who would have thought?

An outstanding album, featuring fast tracks filled with groove and loops, even 3 or 4 per track, and slow tracks with such sophisticated melodies and arrangements that even the greatest vocalists (specializing in ballads) could not have done better. Despite the sounds that connect to 20 years ago, it must be said that the work sounds pleasantly fresh and not like something pulled out of the closet. "I'm with stupid" (the first single) is relegated to eighth position in the track list, which says a lot about the quality of the offering, considering that the best tracks are usually saved for the beginning of an album to impress the listener.
The single grows on you with each listen, because while the freshness of the piece is immediately apparent, with a more attentive ear, the meticulous arrangement and the famous loops mentioned above can be detected.

Even better among the fast tracks is "Minimal" (probably the best track and hopefully a new single). The enveloping bass groove and Cris Lowe's keyboards take the lead. The track is immersive and changes when you least expect it, even lending itself to orchestral arrangement at the end. The bass also dominates "Twentieth century" (track 10) which manages to feel intimate despite its driving rhythm. Also well done is "Integral" (last track), choral and warm, and "Psycological" (the first), an 80s club piece.
Perhaps less successful among the fast songs is "the Sodom and Gomorrah show" where the Pets give in to the more flamboyant composition of the production. But all in all, the track is pleasant and goes by enjoyably despite lasting five and a half minutes. The slow tracks are exquisite and this is not always the case with the duo. "Numb" at the top (number 5) is a melancholic track that succeeds in conveying exactly this. "Tennant" has the right grace in interpreting it (it is the only piece not composed by the PSB). "Luna Park" (track 7) has been defined by "musica e dischi", an authoritative magazine for professionals, as beautiful and icy, and I must sincerely agree with the magazine. "I made my excuses and left" is also decidedly good, with an evocative musical introduction of almost 2 minutes, only to be transformed in the melody of the piece itself, which is a little pearl of delicacy. Minor are "Casanova in hell" and "indefinite leave to remain" which leave no mark.

In short, an album that innovates, reviving the sounds of the past, for a group that dares to mock current sounds without falling into the ridiculous, proving themselves in shape despite being in their 50s.