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 was 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 and some good mixes, so the whole 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