Customer Reviews

Sounds Of The Universe

5 star:		(96)
4 star:		(45)
3 star:		(28)
2 star:		(26)
1 star:		(34)

 

 

When a band has been around for close to thirty years and is still making music, it probably means one of three things: 1) they're trying to recreate the past, or 2) they're trying to do something very different, or 3) they're recombining elements of their catalogue to make something kind of new and kind of familiar. Sounds of the Universe falls into that last category.

The latest Depeche Mode album features thirteen tracks, all of them using early-eighties synthesizers with no apologies. At times, these tracks sound like they could have been made in 1984, using the melodic sophistication of Some Great Reward and the sonic textures of A Broken Frame. Sounds of the Universe bleeps and thumps and hisses with a seemingly primitive array of manufactured noises in a way that only deep fans of, say, Orbital, Autechre, Kraftwerk, or early Nine Inch Nails can really appreciate.

But to dismiss this album because of its Atari arcade sound effects would be a mistake. For one thing, Sounds is not strictly a throwback in the sense that many of the songs use an actual guitar to great effect, which would have been unthinkable to the band in its earliest years. "Wrong," for example, owes as much to the twang of "Personal Jesus" as it does to the robotic drone of early Depeche Mode dirges such as "Photographic." The same applies to "Fragile Tension" and "Come Back," and even "The Truth Is/Miles Away" and "Perfect" use guitar strategically to great effect, something that never would have happened before Music for the Masses at the earliest.

But even the songs which rely completely on a synthetic sound don't suffer as a consequence. "Little Soul" and "Jezebel" may not be for everyone, with their Exciter-era tempos and "mature" feel (which some would argue is the death knell for any band)--yet they work well for anyone who has enjoyed the quieter moments of past albums. If you're looking for a faster track, "In Sympathy" is probably the best on the album, with its sunny intro and a bridge that delves into a melancholy club-thump, and "In Chains" continues a long tradition of kinky songs with single potential while still remaining true to the album's subtexts of justice and fairness.

Admittedly there are some questionable decisions in the making of Sounds of the Universe, such as predictable rhymes and the campiness of Dave briefly dipping into an Elvis Presley impression as he croons "The Truth Is/Miles Away." And "Peace" is a little embarrassing in its sincerity. But when in the band's career have Dave and Martin sounded so good as vocalists?

Part of me wishes for the return of rock opera masterpieces such as "Enjoy the Silence," and any legitimate DM fan will probably agree that Violator was either the band's best album or a serious contender for the title. However, that is not going to happen, because that sound is inextricably tied to departed band member Alan Wilder and Flood, Violator's producer. As a trio, Depeche Mode are still making very good, if not great, music--and if you can square yourself with that reality, you may find yourself listening to this "grower" of an album for quite some time.

Depeche Mode is a survivor and has kept creating full studio albums long after many of their peer bands dissolved. This album and the last (Playing the Angel) are a continuation of the journey and reflects the entry into middle-age. Those people looking for songs like "Lie to Me" and other very sexually charged songs need to go back and listen to DM's earlier work when these men were much younger and compelled to write those kinds of songs. Sounds of the Universe has a lot of steady patterns with the feeling of deep movement (example: "Come Back") and going somewhere with the patience (and weariness) of age. Its a bold stare into the void which can develop (much akin to outer space) when one looks at the other side of the life cycle. To do it right you can't have the young more energetic and poppy DM without the darker, slower, more mature DM, it gives the band/project a life of its own and more purpose and meaning. I personally thank DM for continuing to make work and offer up such great songs for the enjoyment of us all.

After three years of waiting, Depeche Mode are back with their 12th original studio release, the epically grand titled: "Sounds Of The Universe." The band came up with the name quite early on in the process. Songwriter, Martin Gore, has said that the title just felt like it summed up the eclectic nature of the songs and the sounds on the album. While he feels there is no overall theme, the album tends to focus on different aspects of relationships, both positive and negative. This is a lighter, more laid back `Mode, with the album a cross between 2001s "Exciter" and 2005s "Playing The Angel" with a little "Violator" thrown in for good measure. In fact, while this isn't DM at their darkest, there are very noticeable moments of darkness on the album, as well as a retro feel. This is due in part to the fact that, during the recording sessions, Martin would constantly be winning auctions on eBay for classic older electronic equipment, incorporating them into the productions. As with "Playing The Angel," Martin wrote most of the songs on "Sounds Of The Universe," with lead singer, Dave Gahan, providing writing credits for three songs (*).


"In Chains" starts things off with a one minute intro, reminiscent of how a live orchestra sounds like when they're tuning up their instruments. Only here it's a bunch of electronic equipment that's preparing to play a piece of music, with lots of strange noises and other odd sounds going off one after the other, until all is in readiness. Then what sounds like an electric organ begins to play the main melody, which almost sounds like something you might hear during a funeral procession. Until Dave Gahan's voice comes crying out with sexy allure, proclaiming his adulation for the seductive power of the woman he desires, ("The way you move, has got me yearning. The way you move, has left me burning. I know you know what you're doing to me. I know my hands will never be free. I know what it's like to be in chains") and the way she controls him ("I know I crumble when you are around. Stutter, mumble, a pitiful sound. Stagger, stumble, shackled and bound, in chains") with her sexual powers of persuasion ("You've got me dying for you. It's you that I'm living through. You've got me praying to you, saying to you anything you want me to...You've got me reaching for you. My soul's beseeching me to. You've got me singing to you, bringing to you anything you ask me to") that always wins over in the end. Martin Gore adds a funky guitar riff throughout the song that gives it a bit more bite, along with his affective backing vocalizations that are always a crowd pleaser.


"Hole To Feed,"* which sounds more like a Nine Inch Nails title, opens with a cool little beat and an array of retro electric laser beam sounds, as it's formatted interestingly in a chorus-verse-chorus motif. The song centers on the maintaining of a serious and meaningful relationship. ("We are here, we can love. We share something. I'm sure that you mean the world to me.") But with all relationships, there are pros ("You opened my eyes to a world that I could believe."..."The games that we're playing, they've left us hoping") and there are cons. ("When you get what you need, there's no way of knowing what you'll have is another hole to feed") The real point here is that real love takes hard work and dedication, and it doesn't always turn out quite the same way we expect it to be. It's a nice tune with a very poignant message that's rumored to become a future single.


"Wrong," the first single taken from the album, immediately begins with a unified chanting of the title name, four times in a row, until Dave Gahan's voice explodes into the first verse ("I was born with the wrong sign, in the wrong house, with the wrong ascendancy") subjecting the listener to a torrent of negative outcries ("I took the wrong road that lead to the wrong tendencies") and self-deprecations ("There's something wrong with me chemically, something wrong with me inherently") that signify an essence of decay and hopelessness ("I was marching to the wrong drum, with the wrong scum, pissing out the wrong energy") yet is still able to retain that one bleak glow of hopefulness ("With the wrong tune played till it sounded alright, yeah!") that rings true. The word, "Wrong," is actually used a total of 72 times (including backing vocals) on this original album version. It's got a fast groove with a heavy techno backbeat that'll have you singing along and dancing to your heart's content.


"Fragile Tension" is another excellent track from Sounds Of The Universe that also discusses the intricacies of relationships ("There's a fragile tension that's keeping us going. It may not last forever, but oh when it's flowing") and the strength and power the right kind of chemistry conjures up between two people. ("There's a strange obsession that's drawing us nearer. We don't understand it, it never gets clearer") Despite the problems and difficulties, they always seem be able to pull closer together in the end. ("Oh when we're teetering on the edge of collapse, nothing can keep us down") The song has a strongly positive and powerful message with a great beat, a wonderful guitar performance by Martin Gore, as well as a beautiful vocal job by Dave Gahan. ("There's something radical in our hands, nothing logical to our plans") This track has "Hit Single" written all over it!


"Little Soul" is indeed a soulful little tune with an introspective, yet slightly vain, viewpoint. ("My little light is going to shine. Shine out so bright and illuminate your mind. My little soul will leave a footprint") The song has some nice vocal duo moments between Gahan and Gore, with a slow, quiet, and easygoing melody that, while sounding pretty, ("I'm channeling the universe that's focusing itself inside of me...a singularity") still retains that usual DM melodic sense of melancholy. ("My little words are going to sting. Haven't you heard the pain and joy they bring?") It's a pretty tune, which calms things down a bit.


"In Sympathy" picks things right back up again with its nicely moody up tempo sound, ("They're almost falling over you. Why don't they call a truce? Whatever they are trying to do, it's of little use") as Dave plays an onlooker to a beautiful and intelligent woman, whose physical attributes bring her much notice. ("They're drowning you in compliments, trying to furnish proof. And though they speak with eloquence, there is little truth") The chorus is fraught with positive reinforcements, ("You're bright, you're strong, you know your right from wrong, at least to some degree. You're wise, you're tough, you've heard their lies enough. You smile, in sympathy") and coupled with the nice beat, Dave's great vocals, and Martin's alluring guitar work, it makes for a nice morality tale with some good-spirited heart and soul. ("And as the night begins to fade, you're heading for the door. Followed by a sad parade; you're on your own once more") Longtime fans may recognize a swirling noise throughout the song that's reminiscent of a sound used prominently in the 1984 track: "People Are People," which gives this new tune an added retro feel to it. It's a lovely song that has the makings of another "Hit Single."


"Peace," the second single taken from the album, has an affirmation vibe about it, ("Peace will come to me") along with a bit of an Erasure-esque sound quality, as Dave goes through his positive mantra ("I'm leaving bitterness behind this time, I'm cleaning out my mind. There is no space for the regrets I will remember to forget") which gives off this glowing ray of hope & happiness, ("I'm leaving anger in the past with all the shadows that it cast. There is a radar in my heart I should have trusted from the start") something you don't usually find, on a regular basis, in a Depeche Mode album, ("Just look at me. I'm a living act of holiness. Giving all the positivity that I possess, I'm going to light up the world") that's nicely done.


"Come Back"* is one of those tracks that just get better, over time, with each listen. Here we have Dave begging and pleading for that special someone to return into his life ("Come back. Come back to me. I've been waiting patiently") as he bares his soul ("Walking a thin white line between love and hate. Wasting all of my time in another world...in another place. I could use a little company, a little kindness can go a long way") and appears to be waiting in vain. ("Weeks turn into months, months turn into years. Reaching the same conclusions, gathering up the fear") Gahan, always the hopeless romantic, evokes a personal, poetic longing and sweet sincerity, ("Light will always shine in the heart of you. In truth and in reality, only blindness can hide it away") which gives the song its power and additional beauty. Nicely executed by Mr. Gahan.


"Spacewalker" is a short, nearly two minute, instrumental interlude that's reminiscent of "Easy Tiger," from 2001's Exciter. It has an outer-world, space age feel to it, with a moderate beat and an upbeat melody. While the interlude ends all too briefly, it sets things up nicely for the next track on the album.


"Perfect," again, continues the whole relationship motif of the album, this time with the idea of using other dimensions & realities to tell the story. ("On another world by another star, in another place in time. In another state of consciousness, in another state of mind") And each reality has slightly different outcomes, ("Everything was almost perfect, everything fell into place. The jury reached a different verdict, before the judge dismissed the case") some positive, ("In another lonely universe, we're laying side by side, and no one's hurt and no one's cursed and no one needs to hide") some negative. ("I didn't shoot, I didn't pull the trigger. It wasn't me. I'm just a plain and simple singer. I heard the sound, I turned my head around, to watch our love shot down") But the true constant, no matter what reality we experience, is that people, and life in general, are never easy. It's always a lot of hard work and dedication that make anything in this world worthwhile. This track is already rumored to be a future single, and that's not surprising, as it's a great track and a definite highlight from "Sounds Of The Universe."


"Miles Away / The Truth Is"* gets its odd name from the mere fact that when the band heard that Madonna already had a song out called "Miles Away," they didn't want their song to have the exact same title, so it was altered to include "The Truth Is." It's a funky tune, with Dave discussing the mundane and repetitive aspects of getting to know someone ("It's one of those conversations we've, we've had them before. The ones that leave you empty and wanting for more") and that déjà vu feeling of having done it so many times before ("Excuse me for my hesitation I've, I've met you before. Your face seems so familiar and longing for more") you start to wonder if anyone out will ever be right for you. ("With all your superstitions and empty lines, I could be just like you, withdrawn but alive") Accepting the fact that we're not always given the things we want most in this world, ("Life, it has its limitations. We all have our needs. Love could be the only answer. It lies underneath") the struggle to continue on, in the hopes of some day finding them can sometimes leave us feeling isolated. ("Your eyes, they tell me something that I understand. Your eyes, they hold the truth and the truth is, your miles away")


"Jezebel" leads us to the only lead vocal track by Martin Gore on the album. The song, which has an eerily dark calypso feel to it, focuses on the subject of female promiscuity, ("They call you Jezebel whenever we walk in. You're going straight to hell for wanton acts of sin, they say, and that I'll have to pay. But I need you just this way") and feels almost like a direct sequel to the song, "Lilian," from "Playing The Angel." ("They call you Jezebel for what you like to wear. You're morally unwell. They say you'll never care for me") But the biggest difference is perspective, whereas Dave had spoken about this topic in a much darker more objective tone, Martin's take is much more optimistic and forgiving. ("But what they fail to see is that your games are the key. Open their eyes to the beauty. Open their hearts to the fun. Open their minds to the idea that you don't own someone") Martin, as always, does a wonderful job with the song, and gives it an elegant flow with his beautiful vocal work.


"Corrupt" brings the album to a close with a dark and seductive take on the power struggle between men and women, ("I could corrupt you in a heartbeat. You think you're so special...think you're so sweet. What are you trying? Don't even tempt me. Soon you'll be crying and wishing you'd dreamt me") with finger pointing, ("You'll be calling out my name, when you need someone to blame") and sadomasochistic overtones galore. ("I could corrupt you. It would be easy. Watching you suffer, girl it would please me. But I wouldn't touch you with my little finger. I know it would crush you. My memory would linger") Dave Gahan has always possessed those alluringly broody vocals of his, ("I could corrupt you. It would be ugly. They could sedate you, but what good would drugs be?") and they work in this song absolutely brilliantly. ("You'll be crying out in pain, begging me to play my games") It's arguably the best final track on a Depeche Mode album since "Clean" & "Higher Love," with a nicely dark electronic tone, funky guitar riffs, and a groovy beat that ends the album perfectly. But wait, there's an additional hidden track included later on: an instrumental version of "Wrong."


The Bonus DVD included with this edition has some additional goodies that are interesting, including:

The entire album in Dolby & DTS 5.1 Surround Sound (compressed 48/24).

"Sounds Of The Universe" [a short film]: with a running time of around 10 minutes, this short but insightful film is highlighted by interviews about the album by Martin, Dave, & Andy. It's a sneak peek into the creation process and there are some nice stories by all to be heard.

"Wrong Music Video" [3:23]: Directed by Patrick Daughters, the video portrays an unknown man (Julian Gross from American art rock legends Liars) tied and gagged inside a car that is slowly rolling backwards down a long road to his death. The band only have a quick 5 second cameo, which is a little disappointing, but the video itself is eerily dark, bleak, and pure Depeche Mode.

In Chains (Minilogue's Earth Remix) [7:54] - has a bit of an erratic flavor, with a lot of different noises and echoing sounds going on as the opening first verse gets played around and distorted vocally.

Little Soul (Thomas Fehlmann Ambient Mix) [9:20] - gives the song a bit more kick this time, with a nice beat and some additional electronic riffs and an echo effect: "My little soul will leave a footprint (print) (print) (print...)" which is good, though the mix is long.

Jezebel (Six Toes Remix) [5:33] - is a wonderfully put together acoustic version, with a string accompaniment that really gives the song a whole different dimension and elegance that really works well.


"Sounds Of The Universe" is another great album by the best electronic band in the world. If there were anything to criticize it would be the fact that only one Martin Gore lead vocal track was used instead of two. Martin actually wrote and performed a second track, entitled: "The Sun and The Moon and The Stars," which is another beautifully made music number. But the band felt that it just didn't fit well with the rest of the album, so it was dropped. It's included, along with 4 other non-album tracks on disc two of the "Sounds Of The Universe" Deluxe Edition. Even so, the album is a triumph and another milestone for Depeche Mode. Pick it up and enjoy.


"Sounds Of The Universe": Give Into The Corruption.


Stay Devoted!


"There's something magical in the air, something so tragic, we have to care" - M.L.Gore


Also Available:
"Sounds Of The Universe" CD
"Sounds Of The Universe" 2LP/CD
"Sounds Of The Universe" Japan CD w/Bonus Track
"Sounds Of The Universe" Deluxe Edition 3CD/1DVD

It seems there is a split among fans of Depeche Mode's new album. I can kind of see both sides. When I first purchased the album, I was not blown away by any tracks on the first listen. The album started to grow after listening to it all day though. By the end of the week, I loved the album. To me, it is a combination of both worlds... the old days (vintage synths) mixed with songs that remind me of Ultra. I believe that there is something there for all fans. I place it above Exciter and Playing The Angel. I enjoy the mood of the album, especially the latter, and the lyrics. My favorite song on the album is In Sympathy! Give this album a try =)

First of all, I can't believe the mixed reviews this album is getting. Some of the reviews are outrageous. Really, everyone needs to get over the past and move on. This band will never make another Violator, so stop waiting for one. Gone are the DM anthems like, Never let me down again, Strangelove, Enjoy the Silence, Blasphemous Rumours, etc... Depeche have recorded many classics in their time. Songs that they will always be associated with and remembered for. This album doesn't really contain any of that. But what it does have, to me at least, is many elements of their past work. This album reminds me a lot of Black Celebration, and as an album, I think it is their best "album" in years. I prefer DM when they are a little more mellow. The one thing that I am thrilled about is that there are no loud obnoxious songs on here with that dreadfull guitar and Dave Gahan screaming, like I feel you or John the Revelator.
Highlights for me are, "Peace", "Jezebel", "Perfect", "IN Sympathy", "Miles Away". One of my least fave songs on here is "Wrong". I just don't like it. I think "Jezebel" is gorgeous and is Martin Gore's best vocal since "A question of Lust". That entire song, from begining to end, is perfection. "Peace" is brilliant and would be a huge song for them with the right remix. This sounds like DM's most happy song since...well, ever.

I love the analog synths used through out this album. My favorite thing about this album is the way Martin Gore sings along with Dave through out most of these songs. I think their vocals compliment each other and sound amazing together.

One thing, I do have to agree with, is these other reviews about Alan Wilder. He is sorely missed, at least to the fans of this band. We can hear the difference. I know I can. To me, ignorantly so, Martin Gore was Depeche Mode. I realize that now I was wrong. Alan did a lot of great things for this band. His work is missed and obviously gone.

So, congradulations to Depeche Mode for an excellent album. I hope many people get to enjoy it as much as I do.

I have been a Depeche Mode fan for seventeen years and have followed the band closely ever since. I have seen them three times and plan to see them two more on this coming tour. The amount of CDs, videos, DVDs, books, t-shirts and frames posters I have that are Depeche Mode related borderlines on ridiculous. In my very humble opinion this band can really do no wrong (other than the song call "Wrong'). I like to believe that this devotion is based more on the quality of music that band has produced over the years and not just because anything Depeche Mode does is wonderful.

I know that many people state that Depeche Mode isn't the same band since Alan Wilder left and this assumption is correct. [Hell, Depeche Mode hasn't been the same band since Vince Clark left.] I was REALLY upset when Alan Wilder left the band in 1995. However, in hindsight it wasn't really a big surprise. There was some tension (I believe) after the recording of SOFAD and the Devotional Tour. Nevertheless Wilder is an amazing musician and he really brought a lot Depeche Mode.

One idea I would like to present is this, perhaps Depeche Mode became stronger once Alan Wilder left? The three remaining members really needed to hold it down if they had any plans of going forward. David Gahan kicked his addictions to drugs/alcohol and has released (so far) two solid solo albums. This has lead to Gahan now sharing song writing duties with Martin Gore. Martin Gore and Andy Fletcher also have some accomplishments since Wilder left the band. The former has released a second solo album and has written some great tunes for DM and Fletch has/had started his own label Toast Hawaii.

"Sounds of the Universe" finds Depeche Mode in familiar territory, with some drops of out of character approaches thrown in for good measure. "In Sympathy" sounds like a classic DM from the 1990's and "Corrupt" sounds like a missing song from "Violator". "Wrong" isn't like anything they have done before, where "Peace" and "Perfect" are more uplifting tunes that haven't been heard by this band in a long time, if ever. The vintage synthesizers and keyboards are force to be reckoned with on this album. The instrumental on this album, "Spacewalker" sounds a lot the score from the 1971 film "Daughters of Darkness". There are also certain songs that sound like they are trapped in an Atari 2600 game, which to me is cool.

Comparisons have been made between SOTU and 2001's "Exciter". The only comparison I see is that both albums are mellow. However, I feel that "Exciter" was much more ambient and mellow than SOTU. Subsequently, "In Chains" would have not been out of place on "Exciter". The songs on SOTU really range in tempo, style and meaning. The first track being "In Chains", more or less a love song and the final track being "Corrupt" which is drenched in sordidness, sexy and masochism.

The one thing I noticed about this album is I needed to listen to it a few times for my appreciation to develop. This is a much layered album that might take more than one listen to truly enjoy. "Come Back" and "Jezebel" both didn't sound that great at first, now I totally love them. Therefore, it might be possible for multiple listens before "you feel a little love".

There has been some praise of this album and some criticism as well. This is common for any type of media. Nevertheless, I would like to take a moment to address the criticism towards SOTU. Under the assumption a person just dislikes this album and hates the way it sounds, that is cool, we are all have different tastes and it is hard to please everyone. In contrast, to report that this album sucks because it doesn't sound like "Violator" or "Songs of Faith and Devotion" (or any of their works) is really asinine. To set oneself up to thinking that every new Depeche Mode album is going to sound like one of their former albums is going to produce only one result........disappointment!!

For instance, REM is never going to make another "Out of Time", Pearl Jam is never going to make another "Ten", Metallica is never going to make another "Master of Puppets", U2 is never going to make another "Joshua Tree", and The Cure is never going to make another "Disintegration" and Depeche Mode is never going to make another "Violator". Everyone one of the following bands has evolved over time and is still around. I believe they do this by staying fresh and doing different things, if a band doesn't shake things up then they become predictable and boring.

Depeche Mode didn't get where they were today by repeating themselves. They keep it fresh and try new things; perhaps some albums are stronger than others but the approach is the same. I am just glad they are still around; there was a point in time where I wasn't sure. Besides think of any band, author, actor or movie director (or whatever) that has been around for almost 30 years. There is going to be some deviation from the mean, just to keep it new and exciting. It is hard to pigeon-hole Depeche Mode because they have touched so many different genres perhaps their strength is also their weakness.

As for criticism about the production of this album being bad I don't know what to say. I can say that I like the way this album sounds and I enjoy the songs. For agreement's sake if I wanted production to be better I wouldn't know where to start. Since I have never produced an album before, yet the criticism states to bring Alan Wilder back. Would Alan even come if requested? In addition, what type of "Depeche Mode Fan" is sitting around waiting to listen for "The Next Violator"? "Violator" is almost 20 years old and Alan Wilder has been away from the band for fourteen years. Depeche Mode has released four albums since Wilder's departure; it appears this longing for a copycat album is a moot exercise. I can think of many other elements in contemporary times to grip about than wishing that Depeche Mode would/will rerecord "Violator".

The one thing I do know about SOTU is I believe it is a solid and great album from a band I love. The theme that this collection of songs presents is a polished, robotic and arcane cacophonies that are mired in emotion.

Andy, Martin and Dave, keep up the good work!!!!!

I've read many reviews and first impressions about Sounds of the Universe, and I've seen thoughts that range across the ratings. I'm going to throw my hat in on the 5-star rating. Simply, I think this is the best Depeche Mode album of their career, a career my wife and I have followed closely from the beginning as a band that has defined every stage of our lives from high school to middle-age. I believe this album represents both a synthesis across the DM career and an evolution in sound and mood. In Chains is a great opener, soulful and building. Hole to Feed pushes into the trademark DM sexy with layers of sound and riffs that are reminiscent of the early 90's DM. Wrong is marching ballad that reminds me of of the Playing the Angel crossed with their early syth (and the video is positively creepy!). Fragile smooths into a wistful, romantic groove that frankly is my favorite song of the CD. Little Soul really takes me back to Violator with a extra fresh and positive vibe mixed with early DM sound blurbs and the ever-lovely layers of vocal melody. Sympathy is a positive and uplifting song that reminds me of my previously favorite album, Exciter. Peace starts with sound right from early DM then blossoms into relaxing hymn. Come Back is another romantic song that will most definitely end up as movie soundtrack. Spacewalker is a nice little interlude with a very DM sound, although I might have like to see it expanded as a full song with Martin's great lyrics. Perfect is a good song, although I'd probably rank it as the weakest of the album--still, it's great! Miles Away / The Truth Is surely is one of those songs that David will end up grinding to on the stage. I really love the song Jezeble--it's so typical DM mood. Corrupt is a great album closer and has a lot of DM sounds from the 90's and 2000's twisted together in a sexy groove that is a must for the concert this fall. And, yes, I'm seeing DM this fall--I can't wait to hear Sounds of the Universe in concert along with other DM standards I hope they play such as Personal Jesus, Get the Balance Right, Enjoy the Silence, and I Feel Loved. Enjoy SOTU! Tora! Tora! Tora!

I've never been a great fan of Depeche Mode. I have the greatest hits from the early years, dedicated to the pop hits and the turn towards industrial, and then I purchased the later day singles (enjoy the silence, behind the wheel, it's no good, etc). But I found that every time I listened to a full album, I was always skipping tracks and going straight to the hits. When DM reemerged on the music scene with Exciter, I was dissappointed to find that the group had done an "adult" album. A bit on the easy listening/starbucks side. But then they released Playing the Angels. It only had one true "hit", but the album itself was darker and heavier (more in tune with what I liked about DM), and I found myself actually listening to the whole thing.
Now, with Sounds of the Universe, Depeche Mode has made an album that I love from beginning to end. The songs are dense, atmospheric, and made to compliment eachother. With exception to the single, Wrong (which was stuck in my head since I first heard it about 2-3 weeks ago), the album boasts no "hits." At least, not in the pop tradition. I could nominate several songs to be singles (Peace, Hole to Feed, Fragile Tension, In Sympathy), but I doubt any would reach the top ten. The songs still throb, and pulse (they ARE Depeche Mode), but I'm not sure if you could dance to it.
I've read the reviews since yesterday's release, and I've noticed that the people who don't like it are either stuck with the notion that DM stopped being good after Walking in my Shoes, or only just became a fan after Exciter. Keep in mind that I'm not a die-hard fan, I don't like everything that DM has released. But this album, to me, is one of their best.

Definitely their best production since 'Songs Of Faith And Devotion'. I just cant believe some of the narrow minded characters that boldly rate this amazing album with only one or two stars. I think they'r forgetting the icony and super talented musicians they are writing about or even worse, they have no clue on what age they are living in. I agree the 80's was an amazing and creative time in music history but heyy, come on people it's time to move on please. Sounds Of The Universe is the best thing that Depeche Mode have created since Their most brilliant and risky album 'Songs of Faith and Devotion' and the departure of their genious sound wizard bandmate Alan Wilder. Best Tracks on this album are Hole To Feed, Wrong, Corrupt and the amazing strage litlle track Peace. They also added five other great songs on the exclusive box set that are no less than spectacular.
Five Stars!!!
Long Live Depeche Mode....

Still relevant and still masters of analog synthesis, Depeche Mode once again puts paid to the detractors who, with shovels in full swing, are only too eager to effect the premature burial of one of the most influential acts of modern music history.

While not at their best lyrically, the collage of synthesizers paint, at once, both a surreal and sublime musical soundscape.

With a nod to the past and an eye on the present, the boys from Basildon once again offer up something interesting and unique, despite a fanbase that has probably reached its zenith. Keeping everyone entertained is an achievement in itself and i think they do a masterful job here.

Tracks such as "Peace", "Wrong", "Fragile Tension" and "Jezebel" are as good as any they've produced over the years. At times, both Gore and Gahan's vocals harken back to a time when Depeche Mode was the best kept secret in the business. In those moments, one finds the essence of the original allure of a band that has evolved and aged gracefully. As such, the more things change, the more they stay the same.

It is rare that one finds a band that captures all the important moments of one's life like mileposts on the road to elsewhere. Depeche Mode has always enthralled and delighted my senses with the atmosphere of sound they create.

And having said that, i find myself currently unable to put the disc away as it's just so darn delicious to chew on.

It has always been that sound, more than any contrived lyrics, that has captured my imagination and kept me in anticipation of future releases. Once again they've given me a little piece of themselves and considering the lateness of the hour i'm always appreciative.

As closing time approaches, it's hard to fathom that soon the boys will stow the electronics for good and reflect on a career as complex as any arrangement they've ever conceived. It will be a sad day indeed, for we will surely be forced, in mourning, to "enjoy the silence".