Amazon.co.uk Review
Part two of the Berlin trilogy that started with
Low and ended with
Lodger,
Heroes saw Bowie trying to kick his assorted drug addictions while simultaneously attempting to create the music of the future. And so, on the one hand, "Beauty and The Beast"--which spawned the Human League's "Love Action" and not a whole load else, really. And on the other, the title-track--one of mankind's greatest achievements, a song so incredible it's permissible to know a technical fact pertaining to its recording, i.e., Bowie had eight microphones set up for the vocals, all at staggered distances along a hallway. That's why he sounds like he's bouncing his voice off mountains on the moon. Like
Low,
Heroes is an album of two halves--the second side being taken up with the brooding instrumentals he and producer
Brian Eno cooked up while the engineers were busy wiring up eight microphones in the hallway. It's not your essential Bowie. But it's pre-Tin Machine Bowie, and that's more than enough.
--Caitlin Moran
CD Description
The Germanic feel of this album is not surprising, as DavidBowie recorded it in Berlin during his period of infatuation with the city. HEROES is a much more lively affair than LOW and has the benefit of a title track that remains one of Bowie's finest songs, in addition to excellent contributions from Robert Fripp and Brian Eno.
The thick, mysterious textures of "Beauty and the Beast" set the tone for the rest of the album. The Eno-influenced "Sense of Doubt" is the flipside to the majestic "Heroes"--dark and moody, as is "Neukoln". But, despite (or perhaps because of) the charged atmosphere of doom and gloom, this is a seminal Bowie album.