Ghost in the Machine feels unsettlingly crowded.

Which is as it should be, since that's what the album is about: overload, media explosion, the global village, the behavioral sink. The Police's platform, a spinoff from Marshall McLuhan, Alvin Toffler, et al., is hardly news …, yet it's strongly stated, consistent and compelling. The thrashing, denatured funk of "Too Much Information," the whirlpool riff that punctuates "Omegaman" and the oppressive, hymnlike aspects of "Invisible Sun" all bespeak claustrophobia and frustration, and the lyrics bear them out. The Police skillfully manipulate musical details to underscore their points. Sting brays "information" as if to demonstrate how words, when repeated often enough, can disassemble into meaninglessness. In "Rehumanize Yourself," the singsong circus-calliope mood of the music works as a taunt to the raw seriousness of the lyrics: "Billy joined the National Front / He always was a little runt / Got his hand in the air with the other cunts…."

They're still not the Clash—neither the National Front nor the situation in Belfast (broodingly addressed in "Invisible Sun") is an especially risky target—but the Police display more commitment, more real anger, on Ghost in the Machine than ever before. It's as if their roles as self-anointed pop ambassadors have shown them the difficulty of healing gestures. For example, the heart-rending joyousness with which "Every Little Thing She Does Is Magic" bursts from the grooves proves its discontinuity with all of the other songs. It's a moment of liberation, of tossed-off shackles, whereas the rest of the record (even, to some extent, the obsessive "Hungry for You") emphasizes constraints—if not those imposed by society, then those accepted as responsibility….

Even "One World—(Not Three)," a sort of reggae march that's the closest the LP comes to an anthem, is a kind of trial: by attacking the concept of such categorizations as the Third World, the tune turns inward to interrogate the Police themselves, implicitly questioning the attitudes involved in their rock-around-the-world crusades….

The Police's smarts have always been greatest when they didn't show—in making unorthodox career decisions or disguising the subtlety of their songwriting as simplicity. Now that the group has been rewarded with success, it's time to change, to challenge old assumptions. Having seen the world, these guys are starting to look more closely at themselves. (p. 83)