Sounds Of The Universe - Depeche Mode

...and slightly breathy number almost sounds like a duet with Dave doing the lead vocals and Martin’s recognisable, higher-pitched tremolo harmonising very much in the background. It’s a lazy track that meanders through its duration with seemingly little urgency and no particular destination in mind. One of those that almost sounds like its being played at the wrong speed on a record player. Somewhere in the middle, Martin seems to take more of a lead, ...
...ends.” Finally, a track that sounds positive, intends to be positive and has a little feel good factor. I knew they could manage at least one! One of my clear favourites on the album.


_Peace_


Driving beat and rising, waterfalling scales greet the opening gambit “Peace will come to me” before David tells us that “I’m leaving bitterness behind this time…” Hmm. Heard that one before, but it looks like this time ... more

MUSINGS FOR THE MASSES

First of all a confession. I am a dyed in the wool Depeche Mode (DM) fan, and have been since I first listened to Some Great Reward in 1984 - the album that featured the hit international single “People Are People” and announced DM’s arrival to the wider public. I could probably string together entire conversations consisting of DM lyrics, and am sad enough to admit that me, and my cousin – a fellow devotee, have done so on one or two less than sober occasions. At least three DM albums would make my top ten desert island discs. As such, this review must come with a word of warning. I will try my very best to be as non-biased as possible, but as one of the masses who treats each DM album release as a quasi-religious event, I know in my bones I am fighting a valiant, but ultimate losing battle for objectivity. Caveat Emptor.

BACKGROUND

DM are one of those seminal and influential bands that have endured despite the rise (and fall) of many imitators, music trends and one hit wonders. In fact, they (David Gahan, Martin Gore and Andrew Fletcher) have been around for most of my adult life (November 2011 will see the thirtieth anniversary of their debut album – Speak and Spell – released in 1981) and have been the virtual soundtrack to my life.

For me, lyrical depth and meaning are as important as melody, and in my personal experience, DM have spoken to me and my life circumstances more than any other band - not literally it should be said – as unlike David Gahan (the front man) and Martin Gore (the main songwriter until recently) I haven’t dallied with drugs or alcohol, nor have I lived the rock n’ roll lifestyle (nor would I care to) – it’s the wider appeal of their lyrics and compositions that, in my view, makes them so accessible. Their enduring appeal and timeless lyrics (they sang, in 1983 “The grabbing hands, grab all they can, everything counts in large amounts” in reference to corporate greed – eerily relevant in today’s austere climate) have ensured a massive following in America, Scandinavia, Europe and the Far East.

It’s a quirk of their universal, global appeal that they have always done better outside the UK than within it, and as such, here in England, they are still to achieve the respect and recognition they have enjoyed abroad. In stark contrast to their “arena” band status here in England, in many parts of the world these guys still sell out whole stadia. At the height of their not inconsiderable powers, they packed out the 80,000 capacity Pasadena Rose Bowl in California in the Summer of 1989 during their Music for the Masses tour (the result of which was their excellent live album and documentary film called “101” - the performance was their final – and 101st - on the tour).

SOUNDS OF THE UNIVERSE (SOTU) – Overview of the Album

The new offering, their twelfth studio album following 2005’s “Playing the Angel” was released digitally via various on-line sources in February, ahead of its physical release on CD on 6th April 2009. It comes in a variety of physical formats: (a) a standard CD version with the 13 album tracks; (b) a more expensive CD + DVD version which includes a bonus disc in DVD format with a short film (Sounds of the Universe), the video for “Wrong”, and various remixes of the album tracks; and (c) an ultra-deluxe boxed set edition (four discs, badges, poster and two books) retailing for a whopping £60. I love these guys – but not THAT much. The whole album is also available on-line from various outlets (for example, Amazon currently (28/04/09) has it for download at £7.99), but this review deals with the physical CD version, and specifically the first version mentioned above – the standard release. The standard CD comes in a full size jewel case with a glossy, 12 page pull-out insert, made of substantial-looking glossy card and containing song lyrics, production information, the usual interminable “thank you’s” and a couple of posey photographs of the band (they are born of the 80’s after all).

THE SONGS

In Chains

You’d be forgiven for thinking you’d bought a duff CD as all you get is a steady electronic noise and some weird electronica for the first minute of so. Then the noise stops, receding into a quiet hum, before David Gahan launches into this driving and multi-layered song, telling the object of his attentions that “the way you move, has got me yearning…” before announcing to us (with Martin Gore’s trademark backing harmonies) that he is “in chains”. Older DM fans will recognise this delayed intro technique from the seminal album – Black Celebration – which has a similar opening before the eponymous track. This is the type of track you listen to in a dark room with headphones – there is so much going on in the background that it takes several in-depth listens to catch all the nuances. A cracking start.

Hole to Feed

A thumping drum beat introduces us to the darker, rockier side of David Gahan’s vocals. You can almost imagine that he is singing with a Billy Idol type sneer “We are here, we can love, we share something – I’m sure that you mean the world to me.” It smells of a dark cynicism born of bitter experience – you’re not entirely sure he means what he is singing – it practically drips of sarcasm, and the moody, repetitive beat reinforces this impression.

Wrong

There’s no mistaking the name of this song, as the word must be used around 100 times during this three minute plus track. This is the first single, and on the face of it, probably the song with the most mainstream appeal. The first lines “I was born in the wrong sign, in the wrong house, in the wrong ascendancy” leaves little doubt that this is not going to be a particularly positive song. It rocks out pretty well though and demands the full volume treatment on the stereo (neighbours permitting – oh my – I AM showing my age).

Fragile Tension

An altogether more upbeat and positive number (about time) with the main driving force being the guitars in the background, rather than the drum driven first three tracks. Then you listen to the lyrics more closely and normal DM service resumes “there’s something magical in the air…something so tragic we have to care…”.

Little Soul

This softly softly, understated and slightly breathy number almost sounds like a duet with Dave doing the lead vocals and Martin’s recognisable, higher-pitched tremolo harmonising very much in the background. It’s a lazy track that meanders through its duration with seemingly little urgency and no particular destination in mind. One of those that almost sounds like its being played at the wrong speed on a record player. Somewhere in the middle, Martin seems to take more of a lead, telling us “this little voice is going to sing, I have no choice…”. The track ends with a slightly discordant guitar. lending it the finality it seemed to be searching for all along.

In Sympathy

We’re back to drums again, overlayed with synths and percussion instruments, and David in plaintive mood again. The chorus is a most unexpected surprise as we go from pleading to insistence, Martin again providing the depth of harmony that makes this work perfectly. “I’m watching your serenity, the way your soul transcends their tedious obscenities, your patience never ends.” Finally, a track that sounds positive, intends to be positive and has a little feel good factor. I knew they could manage at least one! One of my clear favourites on the album.

Peace

Driving beat and rising, waterfalling scales greet the opening gambit “Peace will come to me” before David tells us that “I’m leaving bitterness behind this time…” Hmm. Heard that one before, but it looks like this time he really means it, even going so far as to state “I’m leaving anger in the past” and “Giving all the positivity that I possess…” is this for real? Two positive tracks on a DM album? Maybe they’ve mellowed in their advancing years. Whatever the reason, this is a cracking track, and one that will challenge my top 10 favourites of all time.

Come Back

A crashing, cacophonous start leaves Peace well and truly behind, with the backing instrumentation doing its best to drown out the singer’s plea to “come back, come back to me…” Looks like the good times are well and truly over folks. "This time, I could use a little company – a little kindness can go a long way” - apparently. This is a pounding ode to something lost, tainted with the realisation that it is lost forever, hence the vain, repeated insistence for the object of loss to “come back”, the desperation enhanced by a change of key toward the conclusion of the song. “I could use a little restraint…” Yes David. I think so too.

Spacewalker (Instrumental)

The obligatory little instrumental number that is often used as a vehicle by the band to mark an interlude in the album. It’s bugging me, because it definitely reminds me of something I can’t quite put my finger on. Almost a re-hash of ten different signature TV themes from the fifties. Nah, that’s not it. Whatever, I’ll just shut up and let go and let it wash over me. No need to complicate things any more than necessary.

Perfect

Slight distortion to David’s voice on this one at the start and throughout the verses, but then on the chorus its crystal clear, as he insists “everything was almost perfect”. A pleasing melody and twangy guitars make this a very pleasant listen, but the lyrics suggest a darker undercurrent as the listener realises that the little bit that isn’t perfect has become the object of the lyricist’s obsession, tearing what was almost perfect completely apart. “I heard the sound, I turned my head around, to watch our love shot down.” Oh dear.

Miles Away/The Truth Is

There’s something slightly Elvis about Dave Gahan’s voice on this track and it is reminiscent of Personal Jesus, the crackerjack send-up of American tele-evangelism from the 1990 album “Violator”. This my least favourite track on the album. It’s not bad, but I’ve listened to it a few times now, and I find it a bit one-paced and samey. Still, every album has its weak points – I really wanted this to work for me, but it’s just not happening.

Jezebel

Every DM album has at least one Martin Gore solo on it. His voice is so distinctive and easy to listen to. Some of my favourite DM tracks are Martin solo’s and this is no exception. It is a standout track that showcases his unique voice and I love it. It’s a pleading ode from a man who trying to convince and rationalise to himself that an obviously tainted woman – a Jezebel (“You’re morally unwell, they say you’ll never care”) - is misunderstood. What they fail to see “is that your games are the key”. A firm favourite already.

Corrupt

David Gahan at his devilish best. He leaves us in no doubt as to his intentions when he wickedly announces “I could corrupt you, in a heartbeat – you think you’re so special, think you’re so sweet”. This is one heck of a sleazy track, in an almost reptilian sort of way. You could almost imagine him dressed in a purple satin lounge suit, flicking ash of his monstrous cigar, while slicking back his hair and leering in a highly suggestive (and very inappropriate) manner. Wickedness personified – either that or a delusional middle-aged has been with wish-fulfilment issues. Take your pick. I think this one is a bit Marmite. You’ll either love it or hate it. I love Marmite.

Secret Track

The song is about five minutes long, but as I was playing it in my car I noticed the song time kept ticking over. Sure enough after about three minutes of silence (around 8:18 on the track) my patience was rewarded - there was a very short – no more than twenty second – instrumental added as a “secret” track. Not much of a track I grant you, but a track nonetheless.

OVERALL IMPRESSIONS

As a fan of many years standing, I had high hopes for this release, but my initial impressions were disappointing – bordering on ambivalent. However, this album seriously grows on you, and is a great reminder that listening to whole albums - rather than cherry-picking specific tracks – can be a very rewarding experience. The album tells a story from beginning to end, and the tracks all seem to hang together to make a greater part of the whole than the individual parts would initially suggest.

It’s a very mature effort and rewards repeated listens. Songs I had previously dismissed as filler (such as “Little Soul” and “Miles Away” emerge in similar style to an unfancied defensive midfielder in a football team – the one who does all of the mucky leg work and “water carrying” and is never really appreciated until he is absent from the team. My favourite tracks are “Peace” which has a driving rhythmic beat overlaid by vintage electronica and strong insistent vocals demanding your attention, and “In Sympathy” for providing a note of upbeat and positive clarity at the halfway point.

VERDICT

So where does SOTU sit in the pantheon of DM albums? That’s a tough one. DM have gone through so many successful and different styles over the 29 year tenure in the music industry that different albums appeal to different people in different ways. As for me, and my woefully objective view, I’d rank this somewhere in the top five. Thank you lads. Well done. Can’t wait to see them on the SOTU tour at he O2 Arena in London come December. My cousin and I should drunkenly be exchanging lyrics by then...

(c) Hishyeness 2009
 

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