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The Wicked Truth About Loving a Man

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Album Review

The back story indicates that Wolfgang is apparently some sort of robot from the future sent to, indeed, love a man — or something similar, at least. That said, the fetishism on this album is of a different sort, being the kind of thing that is simultaneously an early-'80s proto-synth pop vocoder-voiced confection and a 1950s sci-fi art-designed effort, said art-designed effort as seen through 1980s eyes, the whole released in the 21st century for yet a newer generation...well, one could go on. (Then there are the song titles — "Binary Code" and "Battery" are just two examples.) For all the overarching sense that this could be part of somebody's pitch for a multimedia project somewhere, The Wicked Truth About Loving a Man is a sweet enough tribute to a time and place, and if it's close to a one-note effort, it's a fun little note. If anything, the vocal treatments most recall Neil Young's own exploration into the world of fragile keyboards and electronically distanced singing on Trans, which is not a bad role model in general. The music's pleasant, rough, and simple, and if it's less stick-in-the-memory than much of what was released in the same vein the first time around, it's no bad thing overall.


Genre: Rock

Years Active: '00s

With an image as enigmatic as the Residents or Gorillaz, the "story" of electro robo-love creation Wolfgang originated in the early '80s when a robot was built by a video game mastermind named William Jennings Wellworth. The plan was for Wolfgang the robot to write pop music after acquiring an input of the Human League, Soft Cell, Thomas Dolby, Heaven 17, and other '80s new wave artists. The idea failed and Wellworth gave up on the robot. It eventually was found years later in a dumpster in Brooklyn...
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The Wicked Truth About Loving a Man, Wolfgang
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