Human League, The ‎– Reproduction

Please note that the original vinyl version of "The Path Of Least Resistance" is quite different to the version released on the remastered CDs. The vocals in the second verse are not distorted as on the remaster, but instead were originally treated with tape echo. The original starts with both the bass synth and lead synth in the intro and there was originally much more reverb in the general mix too. You can quietly hear someone in the studio just before the intro as well, though quite what he is saying I'm not sure.

'Reproduction' is a confusing affair of wanting to be strictly synthetic while on the other hand it is desperately grabbing for pop-stardom where there isn't any to reach out for - years later it turned out The Human League (and their split-camp colleagues Heaven 17) finally signed their capitulation to Rock.

The group's debut album is far more avant garde than pop to be sure, still it is a shame 'Empire State Human', 'Blind Youth', or 'The Path of Least Resistance' never charted properly - the history has it The Human League failed massive expectation on their innovation behalf and as such 'Reproduction' is a flop, described by Philip Oakey himself as 'a disaster'.

The album opens with quiet but intimidating clock-like ticking noise, finally to burst out synths at full pace - 'Almost Medieval' is a promising start for an album like this, continuing in similar, even more frightening vein of 'Circus of Death', where lyrics expose us to our very dark imagination of a brutal horror-scene. 'The Word Before Last' sound like a nice, soothing sequel to this song, except ending in uncertainty againg leaving us to our own devices.

Above-mentioned 'Path', 'Blind Youth' and 'Empire' offer more dancefloor-frendly grooves. Impressively ahead of the time, sadly a commercial failure for all of the reasons there might have been - one of them supposedly blaming The Human League signing a major record deal betraying their punk-ethics resulting in fans' refusal to buy the record.

The lyrics are quite confusing but as far as I could (or could not) understand, most of them are fictious on usual social topics - alienation, self-destruction, egomania...

The album's flipside is submerging even further into obscurity - the opening introduction of 'Morale' betrays another intention of matters emotional; albeit this is a nice attempt, Phil's voice affects it with great deal of pathetic lamentation - the track slides into a cover of The Righteous Brothers' 'You've Lost That Loving Feeling' - probably one of the weirdest covers in the world of synth-pop; not that it did them any particular favours - the song itself is an interesting affair of juxtaposing sentimental and demented parts but when it switches to a regular tune it is simply going nowhere. Ironically, this was one of the group's most favourable tracks in this early period. 'Austerity/Girl One (Medley)' is again confusing in lyrics but musically it is given back the dignity on the group's true synthetic territory. Experimental as it avoids to be, the 'medley' offers one of the truest 'techno' templates for years to come. The closing number 'Zero as a Limit' continues in mood-music fashion, less pretentious - sounds like an ideal start of the day, on your way to work, except you shouldn't follow the lyrics for they are not as optimistic. Its ending nerve-wrecking speeding up noise/beat just adds to the flavour, effectively creepy.

A finely crafted debut by a group widely regarded as an influence both by their contemporaries, and artists today alike.
Featuring the original line-up of Ian Craig-Marsh (Synthesisers) Martyn Ware(Synthesisers & Vocals) Phil Oakey(vocals) and Adrian Wright (Visuals-who's talents were somewhat lost on vinyl , no doubt).
This may be one of the first albums to feature "samples" within the music although you'll have to listen very carefully to hear some of them , but you will be well rewarded for your efforts.
From the jackin the box cacophony of sound which is "Almost Medieval" to the sublime yet delectible "Morale/Youve Lost That Loving Feeling" (which incidentally features the angelic backing vocals of Martyn Ware) to the Tour de force which is "Austerity/Girl One Medley" this provides a flavour of the potential that was at the heart of this grouping.
If more people had bought this album upon its original release it may have changed the course of electronic music sooner than it did. Having listened to this album for over twenty years I still dont tire of it. Lower the lights close the door, your eyes, put on your headphones and listen to this very loud, because you will hear something new , each and every time you play this. If you doubt my word please try it for yourself.

Back when I was about 13 I borrowed a copy of this LP from my local library.....and Ive never looked back. My boundless enthusiasm for electronic music, my desire to become a musician, my love of synthesisers, my open minded approach to music are all thanks to this record!!

The combination of surreal lyrics, sung in a baritone northern accent, together with purely electronic sounds (something the League used to pride themselves on) was a complete revelation...this really was the future of music. There were pop sensibilities at work here but hidden under an inhuman other worldly facade...they even manage to make "You've lost that loving feeling" sound like you have stumbled upon some strange radio transmission from another dimension. Even the more straightforward tracks such as "Empire state human" take on a slightly uncomfortable edge, with Oakeys bizzare lyrics and the creepiness of "Circus of death" still sends shivers down my spine 20 years later.
If your only exposure to The Human League has been from the "Dare" era onwards then I cannot urge you enough to grab a copy of this Album (and the follow up "Travelogue") without a doubt two of the most influential albums of all time. Together with Kraftwerk, The Human League showed that a "Band" did not have to consist of Drums, Guitar, Bass and opened the door for a whole new generation of electronic musicians.