Stereotomy (1985)
Stereotomy is the 9th studio album by The Alan Parsons Project—and, regrettably, the one that breaks the band’s impressive No Skip Album (NSA) streak. That’s right: the unbroken run of sonic excellence comes to a halt here. While the record still wears the Parsons signature—lush orchestration, intricate arrangements, atmospheric flourishes—Stereotomy feels noticeably less cohesive and, at times, a bit lost in its own ambition.
Part of that might be due to the transitional phase the band was going through at the time. Key members left, new ones joined, and the resulting sound reflects that shift. You can hear the new voices trying to mesh with the old formula—and sometimes that friction works, but more often, it just sounds scattered.
That said, there are standout moments. The title track Stereotomy is a legitimate banger: pulsing synth riff, soaring guitar solo, and a punchy vocal delivery that earns its place as a rock highlight in their catalog. Limelight is another gem—spacious and moody, with an atmospheric soundscape that leans into the band’s dreamy side. And Where’s the Walrus?—a quirky instrumental with a chaotic charm—absolutely earns a spot in the upper tier of their instrumental offerings. It’s weird in all the right ways.
Unfortunately, the rest of the record just doesn’t quite stick the landing. In The Real World is basically Alan Parsons doing an impression of Asia, and it ends up feeling more generic than inspired. Beaujolais is upbeat and harmless, but not particularly memorable—it’s supposedly a metaphorical deep dive into the darker side of the wine industry, but it tastes more like watered-down grape juice.
Then there’s the final stretch: Chinese Whispers and Stereotomy Two. Technically “songs,” but really just interludes and reprises that add very little to the album. They’re filler, plain and simple—something the Project typically avoids but falls into here.
Lyrically, the album pokes at some interesting themes—technology, alienation, disconnection, the slow fade of human connection in an increasingly synthetic world—but unlike earlier albums, these ideas aren’t as front-and-center or fully realized. The concept feels more like a ghost in the machine than the engine driving the whole thing.
In the end, Stereotomy isn’t a failure—it just pales next to the records that came before it. There are bright spots, some impressive ambition, and enough classic Parsons polish to warrant a listen. But it’s also the first time in their discography where you might find yourself skipping a few tracks—and that makes it a notable turning point in the band’s near-flawless run.
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Highlight Songs:
Stereotomy
Where’s The Walrus?
Limelight
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Own it, Stream it, Forget about it?
I would suggest streaming it. This is the first Alan Parsons Project record that I’ve suggested to not own and it’s because you really only need the title track. Some other highlight songs are good, but aren’t necessarily great. Throw Stereotomy onto your rock playlist and call it a day.
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Overall Rating:
2.5 Stars
