One record at a time: 259. MG - MG

One of the markers of your dedication to a band is your willingness to buy records released by individual members. By this measure I could be regarded as a "less than half hearted" Depeche Mode fan as "MG" by MG is the only solo record by a member of the group that I own. 

I suspect Martin Gore chose to employ the MG moniker for this album to differentiate it from his earlier solo records or his work with Depeche Mode. None of the sixteen instrumentals that make up this record offer any concessions to pop or rock. This is abstract electronic music with only the occasional dance beat or twist of self indulgent noodling to add colour.

It is quite fitting that the opening track "Pinking" is named after an engine fault as the song is a bit of a miss fire. As soon as you think the atmosphere is about to build into something interesting, it ends. "Europa Hymn" is an improvement and reminds me of B12 or Aphex Twin with some unmistakable Martin Gore flourishes thrown in. Another standout is "Stealth" which rumbles along with some nice chords and minimalistic beats. "Crowly" is a bit more aggressive sounding and is reminiscent of Gore's collaboration with Vince Clarke "VCMG" (how do they think of these band names? Amazing). Everything else washes over me like a sea of mediocrity.

As I swap the discs and handle the packaging I can't help but feel the quality of this pressing is a little wasted on the music. Both discs sound as good as you would expect from a heavyweight Optimal media pressing, and both a CD and digital download were included in the package. Yet nothing on here really grabs my attention. This is a soundtrack to a movie that has yet to be made, and I think I might enjoy it more in such a context; but as a piece to listen to, it doesn't really interest me that much. 2/5

One record at a time: 79. Depeche Mode - Spirit

After what seems like an eternity, we reach the last Depeche Mode vinyl in my collection. "Spirit" was released in 2017 and I will be playing the European double vinyl.

As a fan of Simian Mobile Disco, I was excited to hear what James Ford would deliver on this record. I was hoping for something a little purer and possibly less 'rock' than recent albums. Alas nothing substantial changed and, as good as the production is, it isn't a million miles away from what Ben Hillier delivered on the three previous albums.

Opening track "Going Backwards" is a promising introduction that manages to skirt on the right side of the distorted guitar versus melodic synthesizer battle. I have about 12 remixes of this song on my hard drive and none of them quite hit the mark.

As the album progresses, everything is run-of-the-mill until we hit "You Move" which is a rare Gore/Gahan co-write. This song shines out like a synthpop beacon in a sea of mediocrity. "Cover Me" is another quality track that drips with atmosphere until half way through when a glorious synth arpeggio and kick drum take it into the stratosphere. 

I'm not impressed by the mournful "Eternal" which seems to conform to the blueprint of meandering blues tracks that Martin churns out recently. "So Much Love" has a pulse but doesn't inspire. The remaining three tracks are instantly forgettable and they come and go to my complete apathy. As much as I have enjoyed the music of Depeche Mode over the years, I didn't buy "Spirits In The Forest" and after this outing, I will debate purchasing a new studio album should one emerge. 2/5

One record at a time: 78. Depeche Mode - Delta Machine

I'll be honest, I can't find much to like in this album. I don't even like the artwork. I own the 2016 repress of the 180g double vinyl and it has never been played.

Once opening track "Welcome to my World" gets going it sounds great and develops into a stirring composition - but things go downhill fast from here. "Angel" sounds like a blues song executed on distorted synthesisers and single "Heaven" leaves me scratching my head.

The first trace of innovation is heard on "My Little Universe" which threatens to build into an acid tinged wig out before suddenly collapsing. We are subjected to more blues guitar on the awful "Slow" and I am beginning to lose the resolve to finish listening to this album.

"Broken" has a nice melody and repairs some of the damage but the lacklustre "The Child inside" kills off any hope of a turn around for the album. "Should Be Higher" is a good song that demonstrates how good a songwriter Dave becoming at this time. In fact, you could argue that Dave's contributions were more consistent than Martin's on this album. Things peter out with seventies rock pastiche "Soothe My Soul", the disappointing "Alone" and the rather cliched blues nonsense of "Goodbye". Not my favourite album. 1/5

One record at a time: 77. Depeche Mode - Sound of the Universe

"Sounds of the Universe" brings us to the end of the second shelf of vinyl in my collection and another step closer to ending the marathon of Depeche Mode releases. This album was released in 2009 and here I am playing the double 180g vinyl version. I also have a box set containing extra CDs, a poster, books, badges etc. somewhere.

Once the incredibly annoying into for "In Chains" passes a rather nice and surprisingly catchy song begins to emerge. I once heard this track used during a private demonstration for some very expensive amplifiers at a high end hi-fi shop. When the track finished another one of the potential clients said, "Yeah I like that eighties type stuff". This comment mystified me as the song doesn't sound very eighties to me. Yes, it has a CR-78 beat and some analogue synths, but that hardly makes it "Just Can't Get Enough".

The next track "Hole To Feed" is a mix of electronics, acoustic toms and guitar that doesn't hold together too well for me. The first single for the album "Wrong" follows and is surprisingly electronic in execution. I remember there being a good video for this song and some of the remixes were excellent. There's something about "Fragile Tension" that I can't warm to despite its relatively frugal use of guitar, but the next track "Little Soul" is much better.

It has taken me over ten years to realise just how electronic this album is. A prime example "In Sympathy" which features a prominent analogue beat and some nice synth programming. The Roland CR-78 is resurrected for single "Peace" which is a bit of an odd track as the verses are sublime but the chorus is a bit of a disappointment. 

"Come Back" is a great song but clearly someone got itchy fingers and turned the distortion up on almost everything associated with the backing track and ruined it. There is another version of this song floating about on the internet that is often labelled as an "early version" or "alternative take" which is superior to the released mix by some distance. Judging by comments on YouTube, I'm not the only one with this opinion. 

There's short instrumental track called "Spacewalker" before we hear my favourite track on the album "Perfect". I love the melody on this track and the pulsating synths give it an energy that I find irresistible. Like the rest of this album this song employs analogue synthesisers but I'm sure I can here a JV-1080 preset in there somewhere. This song made the biggest impression on me but I think I must have neglected it recently as hearing it now has instantly transported me back to 2009. 

"Miles Away" is a bit of a guitar driven dirge that gives way to "Jezebel" which sounds like it was transported to us from seventies LA. The last track is "Corrupt" which is an uptempo and catchy number that makes you want to go back and start the album again. Surprisingly the 'hidden track' "Interlude #5" is also included on the vinyl after 3 minutes silence. This album gains lots of points for "In Chains" and "Perfect" but loses almost as many for the wasted opportunity of "Come Back". Still, this is miles better than what is about to come. 3/5

One record at a time: 76. Depehce Mode - Playing the Angel

This is Depeche Mode's eleventh album which was released in 2005. Here I am playing the reissued double vinyl from 2017 as I only bought the CD/DVD when it was originally released.

Whilst I like a lot of songs on this album, I am not too keen on the production. Depeche Mode seem determined to turn their backs on any element of synth-pop and use distortion as an enabler for credibility. It drives me to distraction.

The album starts with "A Pain That I'm Used To" which has a really annoying intro but develops into an an amazing song with some great electronic instrumentation. Whilst there is plenty of Martin's guitar present, I don't believe that Andy Fletcher played the bass on the song for one second (no matter what Wikipedia might say). I know the next track "John the Revelator" has its fans but I am not one of them: it's just too noisy for me. "Suffer Well" is another obvious single with its infectious groove with a great chorus but could do with some of the guitar removing.

This album was the first in many years where the lead single had been spectacular. "Precious" is a heartbreaking pop song that has a slight whiff of the "Violator" era about it. For my money this is probably the best song the band have produced since 1993; I can't think of much else that would top it. Things get a bit soggy in the middle with "Macro" and Dave's composition, "I Want It All". Dave's other joint writing credit is for "Nothing's Impossible" which is slightly monotone and doesn't really develop enough for me. Martin takes over vocal duties for the disappointing "Damaged People" before Dave returns for another good track "Lilian".

When I first heard the album I dismissed "The Darkest Hour" as it leans towards the more soulful side of Martin's writing that I don't always warm to. As the years have gone by I appreciate the song more and it makes more sense when heard in the intended running order that vinyl enforces upon us. "Free" seems to resurrect some of the more "industrial" elements of the bands early sound but there are enough contemporary touches to ensure it isn't as good as anything from "Black Celebration". 4/5

One record at a time: 75. Depeche Mode - Exciter

Having been only mildly impressed lead single "Dream On", I wasn't expecting much from parent album "Exciter". The album was released in 2001 but here will be playing the re-issued double vinyl from 2007. 

Despite some initial misgivings, I have grown to appreciate this album over the years. After twenty years of listening, I can now hear that this record is much more electronic than I initially thought and in some respects, it isn't a million miles away from the sound of the band at their commercial peak ten years before.

Producer Mark Bell does a good job in realising Martin's compositions with original arrangements that avoid the more avant-garde techniques he employed with Bjork. The drums on the second track "Shine" are pretty conventional and I can almost hear the beat trying to break free of its restraints and descend into a crazed distorted breakbeat. Even the electronic percussion and discordant guitar of "The Sweetest Condition" aren't allowed to dominate the mix and are constrained in a way that signals a concession to commerciality. Unfortunately guitars do begin to dominate on "When The Body Speaks" and the disappointment continues with "The Dead of Night".

Like many Depeche Mode albums of the era, this album moves between highs and lows. "Freelove" is a superb track that sounds much better here than the muddled single version. This peak contrasts with the dubious "Comatose" which sounds like it was found at the bottom of the songwriting barrel. The amazing "I Feel Loved" comes next which really found legs with the Danny Tenaglia "Labour of Love" mixes. I remember sitting listening to the radio when those mixes first hit and was blown away. Whilst the album version lacks the pumping rhythm of the Tenaglia mixes, it remains a brilliant track. 

"Breathe" is one of those uplifting songs that Martin sings with such conviction that you can't help be carried along by it. Shame it has loads of guitar on it. "I am You" is a bit nondescript and repetitive but the shimmering beauty of "Goodnight Lovers" leaves us with a warm feeling inside as the album ends. This is a much better album than I remember. 4/5

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

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

Delta Machine is actually quite good!

The last few Depeche Mode albums have disappointed me. I guess, like everyone else, I am hoping each new release will be the “Violator 2” that, in reality, we will never see or hear.

I am gradually letting the idea of reliving my youth go and trying to accept each new album on its own terms. Yet producer Ben Hillier’s sound isn’t to my taste and both “Sounds of the Universe” and ”Playing the Angel” fell short of their potential. I will be honest; I wasn’t expecting much with new release “Delta Machine”, but I have been pleasantly surprised.

The single “Heaven” is a brooding “grower” in the “Only When I Lose Myself” mould. “Secret to the End” has some really clever touches that almost sound contemporary and hold the presses……even has some sounds that aren’t distorted. “Soothe My Soul” sounds like the “Personal Jesus” riff is about to break out at any minute and rumbles along very nicely. Tracks such as “Slow” aren’t to my taste, but there is much else to like on this disc that means the poorer tracks don’t seem to matter. “Soft Touch” sounds almost circa 1983 and “Goodbye” is a fitting ending.

So don’t approach “Delta Machine” with caution (even if Corbijn has outdone himself in terms of crap sleeves). It’s not a pop-fest by any stretch of the imagination, but it is a good album full of new ideas (and plenty of old ones) which not even Hillier could ruin.

VCMG "Ssss"

Forming one of the greatest British bands back in the early eighties obviously wasn’t enough for Vince Clarke and Martin Gore. 30 years on they have decided to bury their differences and try again. Anyone with even as little as a passing interest in electronic music should have been eagerly awaiting the release of the VCMG album “Ssss”. So now it’s here what are we to make of it?

Well, despite having two of the greatest writers of pop songs this country has ever produced in the group, VCMG have gone down the ‘techno’ route. But it’s definitely techno with Depeche Mode DNA. Comparisons with “Speak & Spell” are a little wide of the mark, but there is liberal use of some wonderful analogue synth sounds that hark back to he early days of their careers and draw on their shared history and love of synthesizers.

I found the first single “Spock” a moderately entertaining slab of minimal techno that didn’t hold my interest for long. Yet in the context of the album the track sits nicely alongside its counterparts and sounds a much better prospect. There are some good tracks on the album with stand outs such as “Skip this track” and “Windup Robot” proving that these pop pioneers know just how to get us dancing.

This is my kind of techno – bright, mid tempo, funky, evolving and electro-pop tinged. Highly recommended to even none DM/Erasure fans.

Ambition fulfilled: Depeche Mode Live

It’s not often you get to fulfil one of your life’s ambitions. It’s even less frequent that such an ambition lives up to your expectations. Yet in the case of seeing Depeche Mode live, both things happened.

Being in the standing area of the MEN allowed me to get pretty close to the stage and as ‘In Chains’ began to start, everyone knew we were in for a great night. Dave was his usual exuberant self and Martin was clearly set for a good time. Only Fletch spoiled the party with his ridiculous hand gestures and posturing.

Following the obligatory new album tracks (they are, after all, promoting a new album) they began to churn out cracking versions of ‘Walking in My Shoes’, ‘A Question of Time’ and ‘World in my eyes’. One highlight for me was ‘It’s No Good’ which sounded as fresh and exciting as when I first heard it. Following a lacklustre ‘Enjoy the Silence’ we reached the arm waving spectacle of ‘Never Let Me down again’. This was something I’ve always wanted to be a part of ever since I saw ‘101’ all those years ago.

Quite brilliant performances of ‘Behind the Wheel’ and ‘Personal Jesus’ rounded out a truly remarkable concert that did not disappoint. Whilst the set design did not seem to have moved on much from the ‘Touring the Angel’ tour of 2005/6 and the dreadful timing and incompetence of Mr Fletcher became evident the longer the show went on (I will be interested to see if his dreadful playing of the snare in ‘Behind the Wheel’ makes it onto the live album.), all seemed to have enjoyed seeing the band in the flesh. Here’s to next time. Still miss Alan’s input though.

A week of remixes

The last week of listening has highlighted the difference between the old ‘extended’ remixes of the eighties and their modern counterparts. The “Big Train” remix of Erasure’s single “A Little Respect” is a good illustration of these differences. Yes, the snare is different and the songs structure has been altered, but essentially the “Big Train Remix” amounts to just a different mix of the original material. The verb ‘remix’ is defined as “to change the relative prominence of each performer’s part of (a recording).” What defines these brilliant mixes of the 1980’s and early 1990’s is that they use the source material to generate a new version of a recording. 

However, in recent years, remixing seems to have become something entirely different to some people. Artists such as The Orb, Aphex Twin and Underworld have contributed remixes that bear little resemblance to the source material. The popularity of the Depeche Mode song “Barrel of a Gun” from 1997 was enhanced by one mix in particular. The “Underworld Hard Mix” began to receive considerable club play on both sides of the Atlantic much to the mystification of the man who wrote the song, Martin Gore: “The original version of “Barrel of a Gun” was about 83 beats per minute. When we receive the “Hard Mix” back from them, we were sitting there thinking: what relevance does this speed bare to ours?” Gore later telephoned members of Underworld and asked, “Is there any chance you can fly some vocals in? Just so it has some relevance. Because there is not one sound of the original version on there?” Gore summarised the remix as: “Different key, different speed, different song!” 

 Sometimes you would be hard pressed to identify the original song from many contemporary remixes. Does anyone actually enjoy this stuff? With the exception of the remix of “Barrel of a Gun” mentioned here; I don’t know of any of this type of ‘remix’ as being popular with listeners. I don’t even like the Underworld remix of “Barrel of a Gun”. One of the biggest criticism I see aimed at remixes is that they are uninteresting and do not add anything to the original. Those of us who enjoy GOOD remixes know just how much difference a remix can make and equally abhor those mixes that bare no resemblance to the original. Some remixers would be better served by noting the definition of what a remix is, and if they do not like the source material, they should turn down the job. Please save me ear drums from the likes of “Liberation (E-smoove 12” Mix)” or “Sentinel (The Orb 7” Remix)”. Please.