Third appointment dedicated to The Police: today we talk about "Synchronicity".

 

Released in 1983, "Synchronicity" is the band's fifth studio album and, without a doubt, its most successful product. Universally considered the most mature work of the English trio, the album is a perfect blend of carefully structured and skillfully layered tracks. While previous albums had left room for moments of lesser impact, here the attention remains high throughout the duration of the album, giving us the impression that every sound, every note, is exactly in its place. On one hand, the trio partially sets aside the reggae influences of the early albums, while on the other hand, they embrace the philosophy of "less is more," trying as much as possible to avoid the overdubs that characterized the previous "Ghost In The Machine." Hugh Padgham once again takes care of the audio part, seeing the constant interaction with the band members as the driving force for creating a masterpiece. Dominating the tracks is the skillful use of synthesizers and sequencers, such as the Synclavier and the Oberheim (the latter personally programmed by Sting, who chooses to push it to its limits), on which Copeland refines his distinctive rhythms and Summers weaves the fabric of his arrangements. The album's title, as well as part of its content, is inspired by the book "The Roots of Coincidence" (1972) by Arthur Koestler, which revisits the concept of synchronicity described by Carl Jung. According to his theory, between two events that occur simultaneously, apparently randomly, there would be a connection on the level of meaning. The album opens precisely on this concept, with the explosion of "Synchronicity I," characterized by Copeland's polyrhythms, on which Summers' unpredictable arpeggios move. And here, in a tribal scenario reminiscent of world music, emerges the percussive beat of the sequencer in "Walking in Your Footsteps," where Sting humorously compares humans and dinosaurs on their fate. We find a similar atmosphere also in "Tea in the Sahara," inspired by the novel "The Sheltering Sky" by Paul Bowles, about the story of two sisters waiting for an Arab prince. After the sustained rhythm of "O My God," a bizarre and shocking parenthesis opens: Summers' anguished singing pours out all his frustration against oppressive mothers in "Mother," a track characterized by an odd rhythm and a suffocating atmosphere that leaves the listener bewildered. 
The song is written ironically and with a touch of madness by Summers, but it still raises controversies from critics, who largely consider it the worst track on the album at the time of its release. "Miss Gradenko" and "Synchronicity II" close the A-side of the album and make way for the quintessential classic of The Police: "Every Breath You Take." With its unforgettable guitar arpeggio, the track captivates from the first notes and remains immediately imprinted, giving us the feeling of having known it forever. The lyrics have been described by Sting himself as the love declaration of a stalker, obsessed with the woman he loves to the point of taking her breath away. Another memorable moment is given to us by "King of Pain," a dramatic track about loneliness and pain, written by Sting after his separation from his wife. Following its release, "Synchronicity" reached the number one position in both the UK and US charts, managing to surpass the previously unrivaled dominance of another historic album, Michael Jackson's "Thriller" (1982). In addition to the almost unanimous acclaim from critics for the effective blend of genres and sound experimentation, it won three awards at the 1984 Grammy Awards, including the coveted Album of the Year. With the Synchronicity Tour between 1983 and 1984, the band reached the peak of its fame, becoming the most popular band of the era. However, all this is not enough to remedy the tensions between the three musicians, which often erupted into physical and verbal clashes during the recording of the album. With the idea of each embarking on a solo path, Sting, Summers, and Copeland decided to part ways in March 1984 (they would make a brief return at the 2007 Grammy Awards before announcing their final breakup in 2008).

To conclude this journey, we can only leave you with the notes of the always extraordinary "Every Breath You Take." Enjoy listening!