The Magnum Opus of Shadow Coincidence

Released in 1983, "Synchronicity" is and will most likely remain the last studio album of original material by The Police.  Comprised of Gordon Sumner (aka "Sting"), Stewart Copeland and Andy Summers, the band went out quite literally as probably the most popular group in the world at that time with this dark masterpiece. A frantic but also brooding, shadow filled and haunting rock album which not only defined a moment in time, it forever guaranteed the band's artistic history, further sealed by their induction into the Rock and Roll Hall of Fame back in March of 2003. Their discography and career is an interesting study in artistic progression, but this review will focus on the album that would trade positions in the #1 spot in the charts back in 1983 with none other than Michael Jackson's "Thriller" album throughout the summer and fall of that year.

The album "Synchronicity " was written and recorded while Sting was heavily influenced by the works of Aurthur Koestler, specifically his book titled "The Roots of Coincidence" as well as Carl Jung's Synchronicity Theory. The album artwork features an incredibly interesting, mysterious and perhaps unsettling black and white collage of pictures of the three band members surrounded by or posing with various objects, all paint brushed with what would become the band's color scheme beyond, a simple but striking red, yellow and blue tone theme applied to each member area selectively. Various versions of the LP exist with different photographs, many which include Sting posing with a skeleton, Stewart beside a goat and also surrounded by creepy manikins, and Andy beside a topless female with a melon in the foreground and a knife stabbed into the fruit. A common version of the vinyl LP is a record that appears by all accounts to be standard black disc, only when held near bright light that it's true  brilliant deep violent hue is revealed. This is certainly not the only hidden feature of this album, as every actual song itself is deeply simmering over in the under layer with a darkness that is hard to classify, but impossible to avoid.

The first track, bearing the same title as the album, labeled as part one of what would be a two song duo, starts the record with a heavily, (are you ready?) 'synchronized' rhythmic fast moving tempo that brings an sudden sense of urgency to the entire work. "...With one breath, with one flow You will know Synchronicity A sleep trance, a dream dance A shared romance Synchronicity..." The song is strong on keyboard sequence, but despite that, to this day I find the overal mix of the song to be slightly compressed and perhaps a slight bit sludgy. It makes perfect sense in context of the album, a fitting paranoia to what later opens into a more lush expansive trip.
Stings lyrics hold a commanding, almost apocalyptic presence above Stewart's percussive onslaught. At no point does the drum set get a break in the driving birth of this supreme journey.

The second song "Walking in Your Footsteps", begins as an opposite progression from the manic first track, as a primitive wood flute ushers in a slow, spooky jungle steel drum tinged percussive groove. Andy's trademark echo effect guitar mimics the crying sounds of wild animals in the background, pushing the listener into a ancient time when dinosaurs roamed the earth. Andy places a perfect variety of  drum hits to compliment the non-stop tempo. Sting's vocal delivery begins as a solemn statement, addressing the extinct beasts, quoting scripture and ultimately comparing and predicting the demise of the human race to be that of the dinosaurs. Addressing the current nuclear tensions between the United States and The USSR at the time, the song sounds prophetically perfect for today's current radiological fears, both from terroristic and natural disaster causes. The ultimate message is that we as the human race are destined to cause our own extinction.

Two songs into this album, and we have not heard a traditional breakdown, dramatic musical pause, bridge, or guitar solo. This is no typical rock album my friend.

Track three is titled "Oh My God". The mid tempo and somewhat more traditional three piece rock sound is here, but again Andy's unsettling ghostly guitar licks surround the inner channel like spirits soaring around the Ark of the Covenant. (subtle movie reference there). The main message seems to address the isolation and emptiness of mankind, the severed gap between us all and divine perfection. "...take the space between us, fill it up!..." Sting's flowing bass line would not be out of place on a funk album here at times, and Stewart's drumming is heavy on the snare. A sad saxophone closes this desperate track, as the music fades leaving but the mournful woodwind lost and alone. The end of this has always reminded me of the sax opening to "The Working Hour" by Tears For Fears. Perhaps one day I will sync them together in a playlist. As I think of it, two songs share a common theme. Coincidence?

"Mother!" Track 4 is where many people jump off the cruise here. Sudden, harsh, somewhat middle eastern inspired grating soundscape while Andy Summers yells lyrics. He absolutely sounds like someone who has lost their mind. He is not at the end of his rope my friends... the rope has snapped and he is on a full, unstoppable psychotic  rampage. Screaming about his mother, complete paranoid breakdown comparing "...every girl I go out with, becomes my mother in the end..."
Many years ago in my musical infancy, I would skip this song. Now I cherish it, as it solidifies this album as unpredictable in the way it analyzes the complete chaos of relationships.

Track 5 is a Stewart Copeland composed song titled "Miss Gradenko". A bouncing tempo and slightly innocent sounding number at first, until it becomes evident that "Miss G" could perhaps know a little too much about something. "...Are you safe?...Your uniform doesn't seem to fit-your much too alive in it..."

Synchronicity II  comes next,  initialized by chilling guitar effects,  a wasteland droning bass, and Stings moving story of  unrelated situations of coincidence, that are in the end connected by some dark force. I personally consider this to be the perfect rock song. Not your run of the mill "let's party" affair, but rather an intelligent blend of lyric and sonic force. Comparing a working  family man's frustration, desperation and path to insanity with that of the Loch Ness monster rising from the murky depths to invade a structure.  "...Many miles away, there's a shadow on the door, of a cottage on the shore, of a dark Scottish lake, many miles away."  Chilling, rock blister madness with a melodic structure. Many years ago as a lad, in the midst of a religious upbring, I was taught that rock music was inspired by Satan himself, and in the middle of this song I used to think the sound effects were truly that of a demon rising from Hades to prey on the innocent. Not until I read Andy Summer's book "One Train Later", his excellent book about the band, did I find out what that noise really was, and the source of it is in fact quite humorous.

The Hit. The huge song that propelled this album into the spotlight comes next. "Every Breath You Take" was a landmark monster of a single that you would be hard pressed to locate a person alive today who has never heard it. Played at countless weddings, and totally, totally...misunderstood. Sting has commented many times about the true sinister nature of this song, as it was never about undying love but rather the heartbreak and subsequent evil stalking of the lost partner. The word "love" is never even used once in this song, instead we have "...you belong to me...I'll be watching you...". Somewhere, right now someone is listening to this song in an office at work, humming along and has no clue. Stewarts desicive druming, Andy's creamy guitar licks and Sting's tortured vocals combine here to create something that equal far more than the sum of its parts. There is a definite reason this song was so huge.

"King of Pain" is the next song on the album, starting with the depressing lyrics "...there's a little black spot on the sun today..." surrounded by slow simple piano, xylophone, and what sounds like a droning siren in the background. Lyrically, Sting again brings back many contradictory coincidental situations while wallowing in his self lament and despair. Possibly a companion song to the previous one,the song possesses a tight echo snare and a oddly triumphant chorus. "...its my destiny to be the king of pain". Again, the theme of losing control, accepting the darkness and living inside of it is presented amidst the  ongoing themes of synchronicity. Around 3:48 into the song, the music dies, and when listening to this song on FM radio many years ago on headphones, you could actually hear some background bleed over from neighboring radio stations, which somehow added even more to the disturbing but intriguing, fleeting moment. Yes, a second of dead air space. How appropriate for the self crowned king of pain.

The next song is titled "Wrapped Around Your Finger", and amazing epic lush lurking ballad about sin, obsession and control. A spooky bell effect is occasionally present inside of deep plodding bass, spare guitar and straight snare with peppered percussion.  The ultimate proposition to break a vow with the promise of complete self denial and commitment, only to be suddenly broken by the the devious true intent to control and command. When Sting sings "...Devil and the deep blue sea behind me..." one not only realizes the power of stellar vocal delivery, it is also as if the game is up, the victim has been deceived and there is no turning back, as he rises above the ocean as a specter  with the whole underworld at his command. A chilling theme that he would later revisit on a more vampire side in solo works such as "Moon Over Bourbon Street".

The closing track for the US versions of this album is titled "Tea in the Sahara". An unconventional bass line that at first sounds undeveloped becomes a solid anchor to a beautifully haunting song about broken promises. The seemingly whimsical desire for two sisters to have a cup of tea in a dangerous place with an unnamed man turns into a serious study on desire, consequence and loss. The initial essence of urgency of the first song on the album has now closed into this last experience of despair, sexual tension and demise. He is probably still out there somewhere, but the girls were left alone to perish.

Other versions of this album included the track " Murder By Numbers", a song that starts with a simple beat and slow jazz guitar that initially would fit into a chilled out late night playlist. Sting starts to sing, and it is suddenly evident that the song not only encourages the listener to kill people, it even gives some suggestions for how to carry out the ghastly act. " It's as easy to learn as your A,B,C's, One, Two Three..." The song title becomes an evident play on the old coloring books "color by numbers", where numbers were placed in certain areas of a template with a corresponding color to aid the child in producing a quality picture.

Still want to play "Every Breath You Take" at your wedding now?


In closing, I will say that part of what makes this album so great, is that throughout they give you just enough to come back. That is, listen to Copeland's percussive strikes around 1:38 into "King of Pain" and a mere twenty-five seconds into "Tea in the Sahara". Magnificent placement that could have reoccurred more but did not, or did but was never over done. Genius.


In my extensive music collection that ranges from Mozart to Slayer, I have listened to many "dark" artists such as Slipknot, Marylin Manson, Type O Negative and others. I have found that many death metal or "shock rock" bands wear their unsettling purpose too far up front, almost like the haunted house where the zombie jumps out at you when you first enter the door. "Synchronicity" allows you get deep inside the house, leave the premises and get halfway home before you realize the utter danger you were in. And then haunts you nights later, bringing you back again. And to hear an album  today from an English three man band released in 1983, it is to me...the ultimate coincidence. Or perhaps it is indeed Synchronicity.