Depeche Mode "Sounds of the Universe"

These types of reviews are always tough for me when you consider what a band like Depeche Mode has meant to popular music in the 80's. Violator is one of the most important albums of the last twenty years and their 80's-era catalog featuring Catching Up with Depeche Mode is legendary. Trying to cash these checks has been an uphill battle for the band for years.

"In Chains"
With a 2001/Kubrick-like opening that features music-like bleeps and notations this segment must be an overt reference to the album name. The early part of this nearly 7 minute effort reminds me of some Violator-era minimalist material like "Clean". Already I'm thankful the grunge-like sound of Songs of Faith and Devotion has been forgotten (not soon enough).

"Hole to Feed"
A driving bass pulses throughout this song and combines with Dave Gahan's growl a sound he is not known for effectively creating. As much has been made historically about Gahan's drug abuse my initial response to this song is our first drug addiction reference. It could also be about fame and endless searching for meaning in the face of a clamoring public. Moments of this song don't quite work and make me think it should've sat in the studio a little longer. While "In Chains" shows us Depeche playing to their strengths they get a little lost on this one and try to do too much.

"Wrong"
The yell/singing style of Gahan kicks of this song and we have our first single of the album. The reason for the heavy radio airplay is clear. This track is as much like Violator as I've ever heard. But is this not what you expect to hear when you play a Depeche Mode record? At this point their potential for legions of new fans is somewhat limited. They're hamstrung by their own success and can't deviate too far from what they built their fame upon. Even younger fans who are familiar with their older material would expect something like this.

"Fragile Tension"
The keys here are steady and hypnotic an excellent example of the downtempo Depeche. As the razor sharp guitars enter in the song veers somewhere we can't follow. Only when the original keyboard-based theme returns do we know what they're doing. I never felt Depeche figured out how to successfully navigate their 80's synth roots with a guitar-based sound. When the guitars fade in the background and the synths/programming returns this is actually a good example of what Depeche can still do. What's interesting to me now is that 80's music has returned to popularity and Depeche should throw away the guitars and return firmly to their roots.

"Little Soul"
This is a lullabye for a drug-addled Wall-e sung by Dave Gahan doing a Frank Sinatra impression. Somehow Bruce Springsteen as a new Daddy inserted himself into Depeche Mode and now we have this mis-mas of sounds and ideas.

"In Sympathy"
An industrial/goth staticky beat opens this song with dusty guitar strings that lead into new wavey-keys and we have a sensible jumping off point for Depeche fans. Some of the background programming is actually reminiscent of the sound effects of early Atari/Activision video games. But the driving bass underneath coupled with the repeating guitar theme keeps this song together making it one of the strongest on the album. Believe it or not this track isn't too derivative such that it would induce scoffs from your average music fan who witnessed the 80's. The repeating vocals build to a crescendo at the end.

"Peace"
The synths that open this song are dark and brooding not unlike Front 242 but the connection to that EBM-era ends quickly when Gahan's vocals chime in with music effects that evoke optimism and hope. Hard to believe that the recurring chorus of "Peace will come to me" references John Lennon's "Give Peace a Chance" and a haunting chorus repeated ad infinitum above techno-like keys bring BT's _ESCM in as a reference point. Most Depeche fans are not used to such hope and smiles.

"Come Back"
The desperation that begins this track is reflected in the sonic pastiche of the first minute. Industrial clanging and metal-upon-metal mix with chimes and Martin Gore's dark synths. Many aspects of "Come Back" seem to have been cut-and-pasted from other Depeche Mode releases making this song seem completely unremarkable and therefore a little boring. Many points on "Come Back" sound like they were written by Trent Reznor whose rough edges were then blunted by Martin Gore. Clocking in at just over 5 minutes this track is the first one that seems to drag a little bit and is too long by about 3 minutes.

"Spacewalker"
The keys/synths on "Spacewalker" have an echo or delay on them that take the listener to space. Vocal effects sound like alien beings are trying to communicate via the Voyager space explorer or something. The only real experimental track on the album only this track seems a little dated but at just under 2 minutes is a nice respite from the serious music contained elsewhere.

"Perfect"
Beginning the final 1/3 of the album is a lamenting of a relationship gone wrong. Perhaps a reference to Gahan's rocky personal life that saw him flirt with death numerous times over the years this is another mature song that begs the listener to accept him warts and all. A lot of these older "rockers" never fully kick their drug addictions and just accept trying to manage them throughout their lives - this could be a reference to that.

"Miles Away/The Truth Is"
I like the driving programming and artifical guitars that build up Gahan's vocals that plead and explain. The best way for Depeche to include guitars is to arrange them way down in the mix as if they were another programmed/keyboard element and not something that drives the song which is how they are done here. The (ghost) guitar changes to southern gothic hypno-jangle at the midway point followed up by a very noisy soundscape. This nice mix makes "Miles Away..." one of the best songs on the album. The faded out echoing piano/keys drives home the distance theme.

"Jezebel"
Don't know who is singing lead on this track but it can't be Gahan. It's way too high and almost sounds like Alison Moyet (thinking of Yaz' Upstairs at Eric's) and that Depeche offshoot. The delicate keys add a nice spooky element here and is another strong vintage Depeche composition. The programming is heavy found-sound techno with what sounds like an early 80's casio underneath. No one can do this like Depeche and tracks like "Jezebel" show the band playing to their strengths and keep their longtime fans in their pocket.

"Corrupt"
At nearly 9 minutes my first thought is to groan. But the beginning finds the band in a good position to find their place. Another sensible use of guitars with the keys makes "Corrupt" sttand out. No keys/synths on Sounds of the Universe are as catchy as material from earlier in their career but the band is still trying to refine a newer sound that incorporates guitars or guitar-like effects in a sensible way that adds value. "Corrupt" grinds along but has a definite refrain that feels intuitive for Depeche fans. The imploring of how Gahan can corrupt as an old man who's done bad things and is looking back on his career/life is an effective tool but comes to an end with the rest of the song at around the 5 minute mark. I was afraid of this - hidden track. So we wait. Who does this shit anymore anyways? This is kind of retro - as was "Spacewalker" the electro-experimental track that gives listeners a break - as if Sounds of the Universe had been purchased as one complete album and not downloaded piecemeal. The final 45 seconds is tacked on as a reprise of "Wrong" and ends spookily pseudo-childishly like a nursery rhyme turned inside out; haunting like Children of the Corn.