One record at a time: 73. Depeche Mode - Songs of Faith and Devoition

Whilst I don't blame Depeche Mode for wanting move on from their previous album, I can't pretend that the follow up to "Violator" was anything other than a disappointment to me.

Lead single "I Feel You" came as a shock to those of us who where anticipating "Violator 2". Personally I don't like the track much and it feels like it was just a concession to Dave wanting to be in a rock band. I was accustomed to hearing guitars on Depeche Mode tracks by the time this was released, but this was a step too far for me.

We now know that tensions in the band made this a very difficult album to produce. This may be the reason why some of the tracks don't achieve their potential. "Mercy In You" and "Higher Love" seem to be lacking that vital spark and I can't warm to them much. Whilst "Condemnation" does have clear purpose, the execution fails to engage me and makes me lament on what could have been if these songs had been handled differently.

On the metaphorical flip side "Walking In My Shoes", "In Your Room" and "Judas" see the band hitting the same highs they achieved on "Violator. "One Caress" is a particular highlight that would grace any album regardless of genre or vintage; it is simply amazing as a composition and is executed perfectly.

"Violator" succeeded because it tapped into the contemporary zeitgeist of dance music and was consistent in quality. This record definitely leaned towards the emergent grunge sound, but it lacked that vital element of consistency. There are enough great tacks on this album to consider it a success, but things would never be the same again. 4/5

One record at a time: 72. Depeche Mode - Violator

There are three albums which vie for the title of "My favourite album" and "Violator" by Depeche Mode is definitely one of them.

"Personal Jesus" came out in the summer of 1989 and it accompanied me on that year's family holiday thanks to my brother who played it incessantly. Not only was this a great song but it also had a stunning b-side that made the package their best by far. "Personal Jesus" brought many new fans to the table and whetted the appetite of existing followers for what promised to be a great album.

Another single "Enjoy The Silence" came along next and blew everything else away. It felt like there was a new import, 3" CD single or remix 12" appearing in the shops every week. This song was everywhere and excitement for the album was at fever pitch by the time March finally rolled around and we could purchase our shiny new CD. 

And what a CD it was. I do still pull out the original CD to reminisce occasionally, but here I am playing the 2007 remastered vinyl. This record sounds very good with some solid bass dynamics that more than make up for any inadequacies in other areas.

It is no exaggeration to say every track on this album could have been a single. "World In My Eyes" and "Policy of Truth" rank amongst the best the band have ever produced, but it is impossible to consider songs like "Halo" or "Clean" as inferior. The only track I mark down is "Sweetest Perfection" which gets a paltry nine and a half out of ten. 5/5

One record at a time: 71. Depeche Mode - 101

"101" is a live album from 1989 and here I am playing the 2016 re-pressing. This album and the accompanying film received a lot of play during my youth and I have very fond memories of it.

One of the joys of this album is that it faithfully captures the atmosphere and excitement of the last concert on their world tour of 1988. As the instrumental "Pimpf" dies away, the band launch into a spirited rendition of "Behind The Wheel" that comes close to surpassing the original. The crowd roars as the opening bars of "Strangelove" creep through the ether and they only seem to stop screaming when Dave implores them to sing along.

Inevitably the instrumentation on some tracks falls a little short of the studio equivalent, but Dave's energy lifts the songs and enthuses the crowd. "Something To Do", "Stripped" and "Blasphemous Rumours" are almost raucous in their delivery and you sense the band are having a good time on stage. Martin provides vocals on "Somebody" and an excellent rendition of "Things You Said". In fact, this version of "Things You Said" is so good I prefer it to the album version. 

The second disc delivers a very slightly off key rendition of "Shake The Disease" and a series of album tracks from "Music For The Masses" before we are treated to an updated version of "People Are People". The joy of some of these tracks is hearing older songs with slightly more contemporary drum sounds and different arrangements. Perennial live favourite "Never Let Me Down Again" is presented in an extended version that utilises the analogue synth bassline from the "Split Mix" to great effect. There's a surprisingly entertaining rendition of "Just Can't Get Enough" before the single from the album "Everything Counts" rounds things out. 4/5

One record at a time: 70. Depeche Mode - Music For The Masses

With "Black Celebration" the band had perfected a  brooding aesthetic that was a perfect fit for Martin's increasingly dark compositions. For the following album the band had loftier ambitions and they felt a change of direction was needed.

When interviewed for the DVD that accompanies the collectors edition of this album, the band seem slightly vague about the choice of producer for "Music For The Masses". If you cut through the fog, it's possible to discern that Daniel Miller needed a break and David Bascombe had just had a massive hit as engineer on "Songs from the Big Chair" by Tears for Fears. Bascombe proved to be an excellent choice, and the resulting album raised the bar with its epic and ostentatious sound.

Today, "Never Let Me Down Again" benefits from an association with seeing the band play live, yet the magic was most definitely there from day one. The pulsating analogue synths and massive beats compliment Martin's songwriting perfectly. The lyrics for these songs seem to explore increasingly mature themes that paint vivid pictures in one's mind.

For a band that has never chosen to conform, "Strangelove" is the perfect single: it isn't particularly commercial and it was never going to be radio friendly. Yet somehow this song proved to have wide appeal on both sides of the Atlantic. One of my personal favourites is "Things You Said" which is a sinister, yet beautiful song with a beguiling melody.

The original mix of the single "Behind the Wheel" opens up side two. I know Shep Pettibone was à la mode in 1987/8, but his remix for the single release was distinctly underwhelming when compared to the version presented here. Things take a slight dip with the accordion derived sound effects and female vocals for "I Want You Now". Whilst this song was designed to titivate, it just ends up sounding lewd and distracts from the music a little. "To Have and To Hold" is a competent but unremarkable album track that is followed by "Nothing" with its synth driven bassline and slightly clichéd "oooh oooh" refrain. To finish we are treated to the instrumental "Pimpf" which is the very definition of grandiose. An impressive collection of songs that continues to vie for the honour of being the band's second best album 5/5

One record at a time: 69. Depeche Mode - Black Cleberation

The documentary that accompanies the collector's edition of this album features footage of Dave Gahan saying something to the effect of: "We're a metal band that uses synthesisers." In saying this, I don't think Dave is suggesting they plough the same furrow as Ministry, DAF and Skinny Puppy. I think he is comparing them to musical behemoths like Metallica, Iron Maiden and Slayer. 

 

Around the time of "Black Celebration" Depeche Mode began portraying themselves as a guitar wielding, leather clad rock band and not a bunch of fey boys from Basildon singing about pretty boys. My feeling is that this 'rock' facade was employed to distance them from their previous pop orientated output and point to a new found credibility.

 

Yet, there's plenty of synth pop on this record and no matter how you hear it, there isn't a trace of metal sensibilities to be found. The title track is a good introduction to the new sound, but the real action starts with the pulsating darkwave of "Fly On The Windscreen". This song definitely deserved to be elevated above the status of a b-side and whilst I prefer some aspects of the original version, the "Final" mix presented here has an irresistible sheen. 

 

The sounds employed on these songs have moved away from the naive clattering 'found sound' ethos of earlier sample driven efforts and matured into a finely balanced sound palette. Whilst co-producer Gareth Jones flippantly commented that the assumption was that reverb equated to atmosphere, the mix on this album is superb. The only exception to this is ballad "Sometimes" which has a beautiful ambience which is then ruined by the delay on Martin's vocal. I can live with it, but I'd much prefer it wasn't there. My favourite track is "It Doesn't Matter Two" which marries a great song to some excellent electronic music. 

 

A sure sign of a strong album must be when the second side of the disc opens with two consecutive singles. Whilst "A Question of Time" is upbeat and darkly melodic, "Stripped" is a ponderous and menacing song based around a sample of a motorbike engine. It may not sound like a single with any commercial appeal from that description - but it is an effective track. The remaining tracks are all entertaining with "New Dress" being a standout. I'm so used to the CD of this album that I still expect to hear bonus track "Breathing in Fumes" starting as the final track plays out and the needle hits the label. Not a flawless album, but definitely one that suits my tastes. 5/5

One record at a time: 68. Depeche Mode - Some Great Reward

"Some Great Reward" was originally released in 1984 and this is the remastered heavy weight vinyl from 2007. This album is another significant milestone in the band's transition from producing sugary synth-pop to the rock pastiche they peddle today. At the time this album was created, the band had perfected their new sampler based production techniques and begun to craft darkly melodic synth-pop that could still garner commercial interest.

The first thing that strikes me about this album is the maturity of the vocals when compared to previous efforts. Both Dave and Martin seem to be able to deliver the lyrics with a mixture of cynicism and confidence that suggests they have more life experience to draw on this time around. Things begin with "Something to do" which is a mechanical, almost industrial track, with a good dose of catchy melody thrown in. The lyrics on "Lie to me" swing between the laughable and the sublime, but somehow it works. Elements of both songs hark back to the production of the previous album, but there is a new complexity in the backing track that elevates them above previous efforts.

When I listen closely the sound palette employed on "People are People" I can't help but think it resembles that used by contemporaries Front 242. Yet, the catchy melody and lyrics transform this track into a radio friendly hit that the Belgian electronic body music innovators never aspired to. The FM generated synthesiser tones on  "It Doesn't Matter" mean it sounds rather one dimensional and dated, but it remains enjoyable. Also dated is "Stories of Old" which sounds out of place and like it belongs on the previous album. 

Ballad "Somebody" sees Alan sitting at the piano whilst Martin gets naked and Daniel Miller overdubs some street noise. Whilst this is a good song, I prefer the single version which takes out the background noise. The pounding industrial noise returns with the kinky "Master and Servant" with lyrics that seem to affirm my suggestion that the band are able to draw on much greater life experience than when they released "See You". 

As I remember "If You Want" was the last time Alan wrote for the group. This is a real shame as this effort suggests his skills were just beginning to flower. Who knows what could have been if the rest have the band had displayed any enthusiasm for his efforts? 

The album's zenith is the final track "Blasphemous Rumours" which was probably the darkest track the band had made to this point. I'll be honest, I almost laughed out loud the first time I heard the lyrics 'back in the day', but things sound much less contrived with over 30 years of familiarity. The melody in this composition pulls it along nicely and the production makes it irresistible. Whilst this album sounds OK from vinyl, I do like to crank up the 2006 Collectors Edition CD with its punchy bass and clear dynamics. 4/5

One record at a time: 67. Depeche Mode - Construction Time Again

"Construction Time Again" is Depeche Mode's third album and is presented here as the 2007 remastered vinyl.

Having proven they didn't need Vince with "A Broken Frame", Depeche Mode began to cultivate their own sound with the follow up in 1983. It is at this juncture that the EMU Emulator and Drumulator drum machine take over as the principal sound sources and the band begin to experiment with sampling. This new approach also coincides with the introduction of Alan Wilder who brings a higher degree of musicianship and contributes to the songwriting duties. 

Despite the changes at the time of recording, the songs on this album remain relatively naive when compared to what was about to follow. Alan's contribution "The Landscape Is Changing"  tackles the subject of acid rain with lyrics so contrived as to make "Pretty Boy" sound cultured. "Two Minute Warning" is a good song but sounds like very little time was committed to recording it. It's almost as if the rest of the band were ambivalent towards Alan's contributions. Which they were.

The only songs of Martin's that begin to demonstrate his undoubted talent are "Told You So" and the brilliant "Everything Counts". Everything else on this record is middling material that I can leave or take. Having said that I don't like "Pipeline". I can imagine they were very proud of constructing a song from found sounds and manipulating them in the sampler, but God is it dull. Not only is it dull but it lasts for nearly six minutes. This is definitely a "transition album" that falls between two camps. Better is to follow. 3/5

One record at a time: 66. Depeche Mode - A Broken Frame

My first experience of listening to Depeche Mode was the compilation album "The Singles 81-85". The album begins with catchy and original pop songs such as "Dreaming of Me", "New Life" and "Just Can't Get Enough". Despite Martin taking over as main songwriter in 1982, things continue in much the same vein with "See You" and "The Meaning of Love". 

Then we encounter a real watershed moment. "Leave In Silence" dispenses with the sugary pop and applies a much darker veil. As the opening track on second album "A Broken Frame", this song makes a strong statement: "Vince is gone, we can do it on our own terms and things are going to be different."

The changes come not only from the composition, but also from the production techniques used. "Speak and Spell" makes heavy use of new technology such as the PPG Wave, Simmons SDS-V and the TR-808. So whilst this record was put together by largely the same team, it sounds very different to its predecessor.

"My Secret Garden" and "Monument" have some very naive lyrics but the music is accomplished and expertly produced. Dave's vocals aren't delivered with much confidence on this record and tracks such as "A Photograph of You" and "Satellite" reveal their fragility. Yet when you consider how young and relatively inexperienced the band were in 1982 this can easily be forgiven. 

Instrumental "Nothing To Fear" is a grossly underrated composition that deserves better than being confined to this album. I fantasise about the day someone at Sony finds a master tape featuring an unused extended version and releases it. "The Sun and the Rainfall" remains a credible composition that forms the perfect ending. Yes this album is a bit twee and mawkish in places, but it doesn't deserve to be reviled and ignored by its creators. 3/5

One record at a time: 65. Depeche Mode - Speak and Spell

OK deep breath and stay strong people because we are about to be caught in the tangled web that is the Depeche Mode back catalogue. I have no doubt the next 15 posts will bring a fair share of highs and lows. There will be disagreements, disenchantment and more than a few tears. We will lament at what could have been and rejoice in what was. All human life is scattered amongst the detritus.

Obviously we kick off with debut "Speak and Spell" which is presented here as the 2007 remastered 'deluxe heavy vinyl'. The sound is generally good with punchy bass and only the occasional attack of sibilance. There was no digital download with this record, but I don't remember that being commonplace back in 2007. It certainly doesn't concern me as I have several versions of the album on CD anyway (I also have an original pressing of the LP somewhere too).

No sooner has the needle hit the wax than the naive analogue beauty of "New Life" begins to emanate from the speakers. I can't tell you how exciting this music was to me when I first heard it circa 1988. Whilst I was a bit late to the Depeche Mode party, this record stood up against much more contemporary material because it was so damn good. The analogue synths on "I Sometime Wish I Was Dead" and "Puppets" are programmed to absolute perfection and the melodies are amazingly strong. Yes, the triumvirate of "Boys Say Go!", "Nodisco" and "What's Your Name?" may sound twee nowadays, but I'd rather listen to them than almost anything the band have produced since 2005.

The flip side of the record features some of the band's best early work including "Tora! Tora! Tora!", "Any Second Now (Voices)" and the grossly underrated "Big Muff". Quite how such wonderful sounds were coaxed from such rudimentary synthesisers remains a mystery to me. But when you consider the talents of John Fryer, Eric Radcliffe, Vince Clarke and Daniel Miller were at the controls, maybe it shouldn't be that surprising.  

Whilst this is an album the band have seemingly disowned (I doubt they refuse the royalty cheques however) it remains a credible and highly polished piece of synth pop. During live performances I hate the way Dave repeatedly introduces "Just Can't Enough" as being "for the fans". It's almost as if he's saying, "We think this song is s**t but we'll lower ourselves to play it for you." Yet, this is one of their biggest and most enduring hits. Nobody is singing "Heaven" or "Where's the Revolution" in karaoke bars or at football matches I can tell you that much.

We'll come back to this topic repeatedly I'm sure, but I hate the way Depeche Mode have morphed into some sort of a rock act. I haven't listened to this album for many years and hearing it now sparks a strong sense of nostalgia for a simpler time: a time when Depeche Mode were good. 4/5

One record at a time: 64. Daft Punk - Discovery

The realisation that I bought the CD of "Discovery" over twenty years ago is quite sobering. In 2001 Daft Punk were in their ascendancy and electronic music was vanquishing the Britpop monster that had plagued us for too long. The CD was king and it was as convenient and robust a format as we could ever need. Nobody seemed to know how best to harness the internet and my "Daft Club" online membership card which was included with initial copies of the album went unused.

Today, everything is gone. The band have packed up, "Daft Club" is defunct and CDs no longer sell. The internet and streaming have swallowed everything and only a few of us are left clinging onto the life raft of physical media. Still, we have the music and the memories.

This is by far my favourite Daft Punk album and the only one I own on vinyl. I bought this double album in 2014 for about twenty pounds from eBay and it seems to be repressed at fairly regular intervals.

There are only two possible scenarios if you haven't come across opening track "One More Time" before. Firstly you could be deaf (and apologies if you are as I am not being facetious) or secondly you have spent the last twenty years living in a vacuum which was under a rock located in a soundproof cave (here I really am being facetious). The second track "Aerodynamic" is simply a series of arpeggios that have no right to be as entertaining as they are. "Digital Love" and "Harder, Better, Faster, Stronger" are the archetypal French house grooves that are so catchy they are impossible to resist. The pacing on this album is great as by the time the Linn Drum and disco sample madness of "Crescendolls" has beaten us into submission we are ready to take a break with the laid back vibes of "Nightvision". 

The pounding house is resurrected with "Superheroes" which slices up a Barry Manilow song into an annoying mess. A similar mash up recipe is used on "High Life" but it is only perfected with standout "Face To Face". My favourite track is "Voyager" which is slightly less sample driven and sounds like the band actually had a hand in writing the music rather than manipulating an Akai sampler. Elsewhere there are flashbacks to old school house, eighties pop and seventies funk which are all coated in Daft Punk's secret formula. Not a perfect album, but it has been refreshing to go back to real electronic music after listening to so many rock orientated efforts of late. 4/5

One record at a time: 63. Coldplay - Everyday Life

I bought "Everyday Life" when it was released in 2019 in the form of this double silver vinyl that came with a pin badge. On receipt of my purchase I downloaded the digital files and listened to them precisely once. I haven't listened to album since and the vinyl remains mint and unplayed.

Whilst reviewing Coldplay's previous album I had no idea what one of the tracks was supposed to be. Well, this is an album full of tracks that I have no idea what they are supposed to be.

I have listened to the digital files again for this post but I can find nothing worthy of comment and see no reason to ever open the vinyl. Absolutely nothing happens on this record and it is devoid of any interest for lovers of electronic music. You'll be unsurprised to hear I didn't buy follow up "Music of the Spheres". No more Coldplay for me. 0/5

One record at a time: 62. Coldplay - A Head Full of Dreams

Having quite enjoyed "Ghost Stories" I was left susceptible to the relentless promotion for the follow up album "A Head Full of Dreams" a year later.  As a result, I purchased this double, coloured, limited edition vinyl when it was released in 2015.

The title track is the opening cut and it is the usual high quality, uplifting anthem we have come to expect from Coldplay. They must have written this and sat back knowing they had an instant hit. "Birds" always sounds like its about to segue into "Don't Get Me Wrong" by The Pretenders and unfortunately I'm not a fan of either song. Beyoncé guests on the catchy "Hymn for the Weekend" which closes the first side of the record.

"Everglow" is one of those reflective and maudlin songs that doesn't have enough to interest me despite some electronic drums. Chris's ex-wife features on backing vocals for this track leading me to understand why some people criticise Coldplay as "bringing baggage" that distracts from the music.

Things kick up a gear with "Adventure of a Lifetime" which feels like a track where producers StarGate finally got to flex their muscles. "Fun" is an interesting track but I have no idea what "Kaleidoscope" is meant to be. "Army of One" sounds like StarGate were left alone with ProTools whilst the band went down to the pub - and that isn't necessarily a bad thing. The only other track of note is "Up&Up" which supposedly features Noel Gallagher on guitar. What Noel was able to contribute that Jon or a session musician couldn't muster I'm not sure. The annoying guitar solo at the end certainly sounds as irritating as Oasis, so maybe it was that. Three good songs do not an album make. 2/5

One record at a time: 61. Coldplay - Ghost Stories

Love them or loathe them, you can't ignore Coldplay. As I remember this album got quite a slating in the press when it was released. The review in The Quietus was so childish and scolding that I deleted their URL from my bookmarks and have never returned. This is not to say I am a massive Coldplay fan, but I won't dismiss an entire album just because some of the lyrics reference the breakdown of the singer's relationship.

This is the standard European 180g vinyl and, as an Optimal Media pressing, it sounds very good indeed. This is another purchase that stems from the beginning of an era when I stopped buying CDs in preference to vinyl. I have even resisted the temptation top buy a second hand CD of this album in a charity shop for £1 recently.

The first track "Always In My Head" is a nice atmospheric opening that sets the tone for the rest of the album. Whilst standout track "Magic" may have a driving electronic beat, it retains the dream pop feeling and is simply a great tune. "Ink" is a bit more disappointing and sounds like a reject from a Sting album. The next track features beats by Timbaland and an interval that I've heard elsewhere; but I quite can't place it. Still its better than appropriating a Kraftwerk melody. Side one finishes with "Midnight" which is quite a haunting track that slowly emerges from its crystallise into a beautiful piece of electronic music.

I regard the b-side of this album as a bit of a disappointment. "Another's Arms" has the first lyric that made me cringe a little and "Oceans" is an acoustic guitar driven song that, despite a sprinkling of electronica, doesn't ever really get started. The only real highlight on the flip side is the ubiquitous "A Sky Full of Stars". This songs has an anthemic chorus and despite being produced by Avici, it retains enough rock stylings to keep the mainstream happy. The last track is labelled as "O" on the sleeve and seems to be two songs, "Fly On" and "O" with two minutes of silence inserted between them. Despite a promising start, I always feel a little let down at the end of this album. If the second side was as good as the first, this would have been an amazing collection of songs. 3/5

One record at a time: 60. Cocteau Twins: Heaven Or Las Vegas

We move from one Scottish band to another. Whilst I have heard all of the Cocteau Twins' albums, this is the only one I consider worthy of purchase. 

Sometime back in the early 90's I was given a cassette of this album and I enjoyed it very much. My gift was an original copy and not just a blank C90 with the album recorded onto it (I would never condone home taping obviously *cough*), but unfortunately I lost it.

It's rather curious that I have no recollection of the exact circumstances under which I was given the tape and I have no idea how it fell out of my possession either. It is as if it came into my life, delivered its message and moved on. I like to think that cassette is now treasured by someone else; but I suspect it met a less satisfactory end.

In 2020 I had tired of only owning digital files of this album and I decided to purchase a nice new copy on vinyl. This was advertised as a remastered "HD audio" 180g vinyl that suggested it would be audiophile heaven. 

However, this record is more like audiophile hell. This is the noisiest new record I own and one of the worst pressings I have ever heard. The needle drop is one of the quieter elements of surface noise and there are constant crackles and random attacks of sibilance throughout playback. As the record spins I find myself repeatedly looking at the needle expecting to see a big ball of dust and debris clogging it up. Really I should have returned it, but my experience is that a replacement is likely to be just as bad. I've seen on Discogs that other owners have a much better experience and don't report any issues, but for me this record verges on unlistenable. I don't even understand what HD audio is outside of a home cinema or computer context. How can you have a HD vinyl?

Anyway, the music on this record is rather magical. Yes, I have an aversion to guitars, but Robin doesn't use them to create the typical rock sound. The guitars on these tracks are played cleverly and drenched in effects that transform them into expressive and imaginative instruments. The contention is that there is no synthesizer on this album and I dare say there is an element of truth in that. But make no mistake there are a lot of electronic sound sources and effects creating the same end result. I like the fact that there is no drummer in the band and they relied entirely on a drum machine and Robin's programming skills. There isn't a bad song on this album which makes it highly suited to vinyl: you don't feel the need to skip about. The only issue with the vinyl experience is this terrible pressing. 4/5