Depeche Mode have largely managed to uphold the rule of quality over quantity. And with such a large and fairly diverse discography behind them it must get harder to provide high quality results. It is no surprise then that when they started out they were churning out a record each year, but now we get them every four.
The album tunes in (literally) with electrons generating up to high pitch. And then Gahan lets loose his vocal talents and we are away for what is essentially a showcase for its lead singer. Sublime musically, but no less effective and with a voice like Gahan’s it’s hard to complain. “Hole to Feed” is far more DM sounding a track, but even then the music is still restrictive to what is a going on vocally in the song. Gahan changes gear, Gore backs him up beautifully, and what is intensely their first striking number from the album becomes evident. It is no single chart stopper, but it’s most definitely a decent Depeche Mode song.
We then reach the albums first single “Wrong.” Whilst it’s an odd choice to use as the launching single, elements are in place, but not any more so that the previous track on the album. It has pauses in the song, and a slow beat. Whether DJs in alternative clubs decide to latch onto it like they did with “Precious” from the last album will remain to be seen.
What continues to be impressive is the close attention to detail in the experimentation of the music itself and the production value behind it. This being the sound levels that are played with when interweaving the elements of each song which can end up with quite a rousing effect. “Fragile Tension” is a prime example of how well they mix the electronic, electric guitar and vocal work to blended perfection.
A real stand out song is “Miles Away/The truth Is,” perhaps the only song on the album that isn’t fully evident who it is you are listening to if it weren’t for the lead singers most distinctive voice. Every other song on the album is warmly at home in the DM camp.
But for honours, the prize must go to the beautifully pitched “Perfect” which is as good a title as any to give the song even in reference to its merits. Probably we’ll see this as another single release, and it is bound to much more accessible than the harsher toned “Wrong.”
Gore keeps his voice present but he has no real showcase like he has taken the opportunity to have on previous albums. His music talents on the other hand just continue on a level not many have been able uphold over time.
