"Heroes"
- NME Album of the Year — Winner (1977)
- Melody Maker Album of the Year — Winner (1977)
The review
"Heroes" is David Bowie's second album recorded in Berlin with Brian Eno and Tony Visconti, and the centerpiece of what became his Berlin Trilogy. Recorded at Hansa studios in the shadow of the Berlin Wall, it finds Bowie in confident, focused form: the songs are warmer and fuller than its predecessor's, with Robert Fripp's jagged guitar giving the electronic textures a muscular, human foundation. The title track — a slow-building anthem of defiant love under political oppression — is routinely described in the highest terms, and its famous climax, with Bowie's voice straining toward a desperate, near-shattering scream, is widely regarded as one of the great recorded vocal performances in rock. Critics were nearly unanimous that this was Bowie's strongest work of the era, and multiple music publications named it album of the year on release.
The album follows its predecessor's structure: a side of relatively conventional rock songs, then a mostly instrumental side of ambient mood pieces evoking the city's cold, divided atmosphere. That second half is where opinion diverges. Some find the ambient stretches essential to the album's texture — a meditative descent into the anxiety beneath the anthems — while others find them less absorbing, the record's one stretch where the momentum flags. Even admirers occasionally concede that "Heroes" is a touch more theatrical and less spontaneous than its predecessor, an album to admire for its craft as much as to love for its inspiration.
What no one disputes is the title track's stature, and its long shadow has only grown over the decades: repeatedly cited among the greatest songs ever recorded, it turned the album's influence on the generations of musicians after it — from post-punk to electronic rock — into a commonplace of music history. The disagreements among critics concern the album's edges: whether the instrumental side coheres or wanders, whether this or the preceding album is the stronger work. These are arguments between devotees of two masterpieces, not quarrels about a flawed record.
Who it's for
A strong choice for listeners who love ambitious, experimental rock and Bowie's late-1970s transformation. The album rewards fans of art rock, krautrock, ambient, and electronic music — people who value atmosphere, texture, and artistic risk over immediate hooks will find it endlessly rich. It also suits listeners who want a single album that pairs soaring, passionate anthems with quiet, meditative instrumentals, and anyone curious about the wellspring of post-punk.
Who it's not for
Listeners expecting the glam-rock spectacle of Ziggy Stardust or straightforward pop singles will likely bounce off. Fans who want every track to be accessible and radio-friendly may find the ambient second half slow going; anyone impatient with instrumental, mood-driven music, or with cold, anxious Cold War atmospherics, should probably start with Bowie's more immediate work. It's a demanding album that rewards patience rather than instant gratification. — heavy/bleak themes
Birds of a feather...
- MusicRevolver (1966)






Both albums treat the recording studio as an experimental instrument, layering tape effects and unconventional arrangements to evoke alienation and interiority. They share a restless, fragmented structure and a willingness to favor sonic innovation over radio-friendly hooks.
85% - MusicSgt. Pepper's Lonely Hearts Club Band (1967)






Like 'Heroes', Sgt. Pepper is a persona-driven album that uses studio craft to create a cohesive emotional world. Both records blur the line between anthemic rock and psychedelic atmosphere, defined by artistic reinvention and a break with pop formula.
80% - MusicPet Sounds (1966)





Both albums make the studio itself the primary instrument, layering orchestral textures and intricate harmonies to express vulnerability and longing. Where 'Heroes' uses space and coldness for political alienation, Pet Sounds uses warmth and density for personal ache — both prioritize mood and production depth over singles.
75% - MusicKiss All the Time. Disco, Occasionally. (2026)






This record shares 'Heroes' Berlin, its late-night introspective electronic mood, and its commitment to atmosphere over immediate gratification. The restraint and production subtlety echo the motorik and ambient textures of Bowie's Berlin trilogy.
60%





