One record at a time: 74. Depeche Mode - Ultra

Having survived losing a member of the band once, Depeche Mode decided to try it again. Alan Wilder had become increasingly significant in shaping the sound of the band and his production skills were seemingly the perfect match for Martin's songs.

However, Alan was never given much credit for his contribution, and considering Andy Fletcher was getting paid the same amount for simply being Martin's mate, it's no wonder he decided to leave.

So 1997's "Ultra" sees Depeche Mode emerging from a hiatus as a trio with producer (and self confessed fan) Tim Simenon attempting to steer the band through the fog.

As with the previous album, I wasn't impressed by the lead single. "Barrel of a Gun" is a stuttering and confused track that barely registers a melody. There are three or four sections but none of them are identifiable as a chorus and the whole things is bathed in light distortion. 

Second track "The Love Thieves" is another strange one that sounds like it is building to a climax that never arrives. Just as you begin to think you are sinking into a sea of mediocrity, the epic single "Home" comes along to make you think again. This song is so good it can even survive a guitar solo. 

The turn around continues with "It's No Good" which, despite a good groove and melody, still suffers slightly from the same, "distortion equals atmosphere" philosophy that has ruined several of Depeche Mode's more recent records. The only other track of note is "Useless" which soars through highs and lows much like this album does. 3/5