Almost swamped beneath the outrageous and frankly amazing antics of everyone involved — Holly Johnson’s barely coded (if coded at all) lyrics, Paul Morley’s astounding autohype for the ad campaigns, approximately eight million remixes and much more — is the fact that Welcome to the Pleasuredome is a ridiculous, great album. Trevor Horn’s near Olympian production isn’t so much synthpop as synth-bombast, making singles like the leering “Relax” and the frenetic “Two Tribes” huge smash singles, but the whole thing is a perfect monument to excess.