Whether or not due to these inherent limitations or just his personal inclinations, Palmer didn’t discover the outer limits of synth-rock on Clues. As an alternative, he developed a hybrid of contemporary rock, blue-eyed soul, and future pop, honing his hooks so the music feels instant even when it flirts with the esoteric. Palmer was considering aesthetics, not the avant-garde; all of the electronics give the music form and texture. The elevated aural definition accentuates Palmer’s sharpened melodies whereas additionally shrouding the file in a modern facade that pushed Clues barely to the left of the mainstream’s middle in 1980.
Contemplating the intentional chill that Clues exudes, it’s simple to overestimate the affect Numan had on the file, positioning him because the Brian Eno to Palmer’s David Bowie. The synth-rocker solely seems on one reduce on Clues, a canopy of Numan’s dystopian ballad “I Dream of Wires,” and co-wrote one different tune, “Discovered You Now,” an train in Moroccan funk. Numan handed by Compass Level on his approach to Japan, and his presence on Clues additionally feels oddly transient; he’s accountable for colourful accents, not the underlying construction.
It’s attainable Numan’s synths drove Palmer to create “Johnny & Mary,” the album’s exquisitely eerie first single. The tune seems to rise from the digital ether, a story of a romance that’s withered right into a cycle of codependency, set to a round minor-key melody. Loads of the story is left unsaid and, appropriately, components of the association appear lacking, with its nocturnal pulse accentuated by smears of synth and shards of guitar. It’s so spare, it may nonetheless appear startling, capturing the sensation when the promise of the longer term begins to fade.
“Johnny & Mary” finds a companion in “In search of Clues,” a jittery piece of funk whose modernism is knowledgeable by Speaking Heads. Certainly, Heads drummer Chris Frantz, a pal and Nassau neighbor of Palmer’s, performs percussion on the monitor; Palmer returned the favor on Speaking Heads’ Stay in Gentle, launched just a few months after Clues. Frantz famous in his memoir that “Robert appreciated the worth of an excellent rhythm part,” which is a mirrored image of Palmer’s uncommon compositional course of. Palmer advised Fricke in 1979, “I put a groove down on the drums and take a look at to think about a melody to sing.” His rendition of “Not a Second Time,” a tune plucked from With the Beatles, was additionally the results of his rhythm-first method—as soon as he had the beat in place, he realized the Beatles’ deep reduce was an excellent melodic match—but “Not a Second Time” can be indicative of the truth that Clues doesn’t strictly adhere to synth rock. When Palmer was overlaying Numan in live performance, he additionally was performing a model of “Child” by the Pretenders, an indication that he was tapped into the extra tuneful facet of recent wave.
