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