Artist: Depeche Mode
Album: Sounds Of The Universe
Year: 2009
Grade: 3.5 pretzels
Depeche Mode are the great survivors among synth-pop bands. Those of their peers who are lucky enough to still be standing after the 80s have been reduced to toothless, for-the-cash husks of their former selves (*cough* Duran Duran). Depeche Mode are the only ones who evolved with the times, adapting their signature sound to match. They officially left the 80s behind with 1997’s Ultra album, which transformed them into an industrial psycho-drama band. Now, over a decade later, when the influence of 80s synth music can be found all the way in hip-hop, it seems like it might be time for Depeche Mode to return to their roots. However, on Sounds Of The Universe, the band continues their recent trend of ominous, metallic atmospheres.
Sounds Of The Universe has the same problem as every other Depeche Mode album: it’s wildly inconsistent. Not unlike the Red Hot Chili Peppers, Depeche Mode are (and always will be) a singles band. The best way to listen to their music is to wait for a greatest hits compilation and let the brilliance wash over you. Sadly, with the possible exception of 1990’s Violator, they’ve never recorded a studio album that’s strong from end-to-end. Even with the three-year gap separating Sounds from their last album, there are too many songs here that could be classified as “filler.”
That isn’t to say there aren’t moments of transcendent music. The lead single “Wrong”, naturally, is perfect modern Depeche Mode. Single-minded and unsettling (and blessed with an incredible music video), it easily joins the ranks of the band’s best work. Possible second single “Come Back”, filling the requisite “uneasy ballad” slot on the album, is another standout. As always, Dave Gahan’s voice sells the songs perfectly, adding just the right amount of angst, pathos or rage that each individual song needs.
The weakest moments on Depeche Mode albums tend to be when Gahan takes a backseat, letting songwriter Martin Gore sing the lead vocal. This holds true on Sounds, as Gore’s “Jezebel” is remarkable only for how easy it is to forget. However, unlike other Depeche Mode albums, that’s the only song Gore sings here. The other misses on the album include the opening one-two misfire of “In Chains” and “Hole To Feed”, neither of which ever get off the ground. The album picks up steam after that, but opening with two of your weakest tracks is never a good plan.
Musically, there’s plenty of good stuff going on here. I find it ironic that, after they inspired bands like Nine Inch Nails with their 80s output, Depeche Mode have ended up sounding just like NIN twenty years later. The same insistent beats and seedy melody lines are all over Sounds. However, this kind of music does match Gore’s songs incredibly well. Gore’s subject matter has only gotten darker as time has gone by. I keep hoping that one day, everything will click and Depeche Mode will be able to record their long-overdue “perfect album.” I know they can do it. Unfortunately, although there are many strong moments on Sounds Of The Universe, it looks like I’ll have to keep waiting for now.
Sounds Of The Universe has the same problem as every other Depeche Mode album: it’s wildly inconsistent. Not unlike the Red Hot Chili Peppers, Depeche Mode are (and always will be) a singles band. The best way to listen to their music is to wait for a greatest hits compilation and let the brilliance wash over you. Sadly, with the possible exception of 1990’s Violator, they’ve never recorded a studio album that’s strong from end-to-end. Even with the three-year gap separating Sounds from their last album, there are too many songs here that could be classified as “filler.”
That isn’t to say there aren’t moments of transcendent music. The lead single “Wrong”, naturally, is perfect modern Depeche Mode. Single-minded and unsettling (and blessed with an incredible music video), it easily joins the ranks of the band’s best work. Possible second single “Come Back”, filling the requisite “uneasy ballad” slot on the album, is another standout. As always, Dave Gahan’s voice sells the songs perfectly, adding just the right amount of angst, pathos or rage that each individual song needs.
The weakest moments on Depeche Mode albums tend to be when Gahan takes a backseat, letting songwriter Martin Gore sing the lead vocal. This holds true on Sounds, as Gore’s “Jezebel” is remarkable only for how easy it is to forget. However, unlike other Depeche Mode albums, that’s the only song Gore sings here. The other misses on the album include the opening one-two misfire of “In Chains” and “Hole To Feed”, neither of which ever get off the ground. The album picks up steam after that, but opening with two of your weakest tracks is never a good plan.
Musically, there’s plenty of good stuff going on here. I find it ironic that, after they inspired bands like Nine Inch Nails with their 80s output, Depeche Mode have ended up sounding just like NIN twenty years later. The same insistent beats and seedy melody lines are all over Sounds. However, this kind of music does match Gore’s songs incredibly well. Gore’s subject matter has only gotten darker as time has gone by. I keep hoping that one day, everything will click and Depeche Mode will be able to record their long-overdue “perfect album.” I know they can do it. Unfortunately, although there are many strong moments on Sounds Of The Universe, it looks like I’ll have to keep waiting for now.
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