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28 of 31 people found the following review helpful:
5.0 out of 5 stars
Depeche Mode's definative classic of the 80s, December 5, 2002
Continuing the bleakness of where 1986s Black Celebration left off, Music For The Masses is slightly brighter yet much colder than the previous album. The album cover perfectly portrays what the mood of the album is like; the hazy sunset portrays the bleak minor tracks and the bullhorns seem to portray the extremely experimental, and downright sonic bite of the music. NEVER LET ME DOWN AGAIN-Who can ever forget the danceable "Never Let Me Down Again" with it's bizarre instrumentation, metallic beats, buzzy synthesizers, harsh piano licks and stabbing sonics towards the ending. I would say that it's the most schizophrenic tracks on the CD. The loud melody would portray the sunny daytime feel, but the eerieness gives the 'sunny mood' an unpleasant feel like something is not right. As the song climaxes with the orchestral band in the background before gradually fading into a dreamy, hissing steam pipe sound effects which bring us into the dreamy haze of the next track. This is an unforgettable classic from an unforgettable band. THE THINGS YOU SAID-This song is much darker, and more mellow and portrays a very dreamy haze of the monotony of the same old things over & over in adolescence and also the admitting of ones weakness and not keeping secrets. Musically speaking, the music itself perfectly fits the meaning. I just love it's dark, dreamy, grey, hazy atmosphere. No idea why this wasn't made a single. :/ It's one of my favorites. STRANGELOVE: Who can ever forget this track. Strangelove is one of the most danceable track on the LP. However, where the version played on the radio has the thumping, bass-heavy beat, the version the parent album has a much lighter beat, but it doesn't rob the song of it's power. True, I like the single version with the heavier, but either way, Strangelove is one of my all-time favorite songs from DM. I love that line "Will you take the pain, I will give to you, again & again". It perfectly fits how I sometimes feel about past lovers. The main song fades out except for a cold, dreamy, ambient outro chord which fades into a much darker minor note ending the track. SACRED: The fourth track, Sacred, begins with the minor note intro that ended Strangelove and has an eerie, choir before it blasts into a bass-heavy danceable track. Sacred is a much darker, more danceable track that, from my guess, is about religious doubt, although I don't think it's nearly as suicidal as Blasphemous Rumors is. LITTLE 15: Little 15 is probably one of the most experimental tracks on the album. There are few synthesizer-like sounds like on the previous ones. Instead the song has a more, how would I say it, orchestral sound. There are some keyboard dabblings in the middle of the track. BEHIND THE WHEEL: The song begins with the most memorable intro in my opinion with the sound of a rolling lid and then the beating drums come in with aggressive guitars. Ultimately frightening chimes are followed by pulsating beats and a gloomy feel to the music. From my guess, it speaks of not wanting to be in the center of the action at times. I WANT YOU NOW: Whoa! DM at their erotic apex! A heavy breathing of someone breathing through a gas mask before a bizarre, disturbing track comes in about intense sexual longing and urges. This is one of the most experimental tracks on the LP and is almost like it's own genre of music. As the song fades out a Sci-Fi-like speaker voice effect comes in then a disturbing low-pitched siren comes in. TO HAVE AND TO HOLD: The disturbing siren brings us to what I consider the most frightening song that Depeche Mode has ever done in their career. The siren gives away to alarming buzzes and wailing alarm sound effects with a , lead grey storm atmosphere, and an extremely eerie mood to the song. As the beats stop, the disturbing siren sound keeps wailing until it's immediately cut off at the end of the track. NOTHING: This song is probably the last `regular' track on this CD. It's a nihilistic dance song with a dark dreamy, hazy atmosphere and electronic guitar pulses and phat beats. A great song. After this, the album becomes more experimental until track 14. PIMPF: Pimpf is a bizarre Gothic piano instrumental that feels more like a B-Side to a single and in fact, it was the B-Side to "Strangelove". The song becomes an explosive, Gothic wash of `Gregorian' chanting, and chinging bells before ending. There is a `hidden track' within it which is a bizarre sounding challiope with the sound of a basketball bouncing. AGENT ORANGE: Could the title of the track be better? This is a very gloomy instrumental and probably the darkest song on the entire album. It begins with a cold, nuclear winter breeze and becomes a death-like ambient instrumental similar to Pimpf but with more oomph to it. NEVER LET ME DOWN (AGGRO MIX): This is a remix of the original single with aNitzer Ebb like flavor to it and a totally different melodic structure before creeps of the original come in. TO HAVE AND TO HOLD(SPANISH TASTER): This is a reworking of track8, but with a less frightening sound and more of an industrial dance vibe to it. PLEASURE, LITTLE TREASURE: The album wraps up with this perky yet gloomy number. With it's ominous melody, pulsating beats, quirky keyboards, and acoustic guitars, I'd say that this continues where Stripped left off but a more danceable sound. I love the `Egyptian' voice effects at the ending. The voice echoes away and wraps up the album. I cannever recommend this album enough. Sure, they had bigger hits and sold after this but from my perspective, Music For The Masses remains their masterpiece to this day. Buy it! It's so worthit!
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17 of 18 people found the following review helpful:
5.0 out of 5 stars
"For All Of The Fun, The Damage Is Done...", May 6, 2000
Depeche Mode revolutionized music with a collection of great songs, revolutionary recording techniques, and one of the biggest cult followings in music history. Back in March of 1987, Music For The Masses proved to be another defining moment in an already legendary band's catalogue. Released only a year after their seminal "Black Celebration" album, Music For The Masses was strangely both dark and danceable. The fusion of the two elements of "goth" and "dance" opened up Depeche Mode's sound to a whole new audience of clubgoing teens who could appreciate not only the beat heavy polyrhythms, but also the honestly bleak lyrics. Coincedentally, Music For The Masses would prove to be released at the height of the 80's dance scene of 1987 and 1988 - this timing would prove to be a boon for Depeche, as Music For The Masses sold more copies in the U.S. than any of their previous recordings. With the first single, "Strangelove," the band actually scored their first stateside top 40 hit since 1985's "People Are People." They even got regular play on MTV for the first time, and earned a performance on 1987's MTV Video Music Awards. Not only did Music For The Masses open up Depeche Mode's commercial influence, but it also revolutionized their sound as well. Never before had the band relied so heavily on rhythm to carry their songs. Recordings such as "Strangelove," "Behind The Wheel," and "Nothing" display the bands intimate knowledge of layered percussives and employ them to brilliant effect. Never since have Depeche Mode incorporated such complex rhythms into their music as on Music For The Masses. This album, in my opinion is the paradigm of eighties dance-pop. Brilliant lyrical motifs that reflect life, love and friendship coupled with strangely impersonal, yet passionate, synth-noise. The glowing, almost orgasmic in heights, "Never Let Me Down Again" opens the album on a blissful exuberant note as Martin sings "Everything is alright tonight." "The Things You Said" is one of the moodiest pieces the band has ever recorded, focusing on the gossip of daily life - "I heard it from my friends about the things you said, but they know me better than that..." perfectly conveys the adolescent experience. "Strangelove," the album's most danceable track, is accented with everything from metallic beats and glass breaking percussion to electronic crickets. "Sacred" explores the depth of love with a gorgeous echoing chorus and beat-heavy verse. Without a doubt it is one of the best album tracks the band has ever recorded. Next comes the downbeat "Little 15" with a repetitive cello synth and lyrics that will touch the heart of any adolescent - a perfect reflection of the powerless feeling that accompanies youth. "Behind The Wheel," despite being one of my least favorite Depeche Mode tracks, is still a wonderful work-out in dance rhythms. The intro with the "wheel rolling" effect is one of the most recognizable in pop history. "I Want You Now" wins the MostDisturbingDepecheModeSong award. Its spooky breathing effects beneath a possessive lyric are nothing short of scary. But, a nice melody and the inventive arrangement save it from being merely shocking and turn it into a compelling peice of music. "To Have And To Hold" is one of the bands most experimental songs ever. You can barely hear the lyrics beneath the noise piled over top of them. But it is also strangely affecting because of this. It is near-perfect in conveying a sense of paranoia. "Nothing" is one of the most nihilistic songs the band has ever performed. "Sitting Target, sitting praying, and God is saying... Nothing." Is that dark or what! But this is also one of my favorites, because it is so rhythmic in spite of all the gloominess. Finally, "Pimpf" rounds out the album on an instrumental note. This is clearly Alan Wilder's moment to shine. This one can be categorized under "unsettling." And that was it. With these ten tracks, Depeche Mode revolutionized the pop music scene of the late 80's. The complex interplay between darkness and danceability has only been seen since in the music of Nine Inch Nails and Garbage, both of which proved themselves to be very influential as well. Depeche Mode has never again toyed with pop music in the manner found on "Music For The Masses" again, but their one foray into the genre left a timeless impression upon pop music. I recommend that you check this one out.
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8 of 8 people found the following review helpful:
5.0 out of 5 stars
Like "Black Celebration," a dark exploration..., June 27, 2000
"Black Celebration" had solidified DM's synth pop sound within the realms of a darkly sensual and gothic exploration into the listener's emotions. Now with "Music for the Masses," that sound is continued through more great songs wrought with sexual undertones, gothic soundscapes, and blistering dance rhythms that dare the listener to get up and move in ecstasy. The songs on this album are lyrically profound, and the music atmospheric and dark, yet accessible. Truly a sound for the masses. Upbeat tempos with downbeat backdrops, and songs so infectious...it makes great driving music...-"Never Let Me Down Again": a brilliant opener with a pulsating rhythm and a great buildup to a fade out of echoing synth riffs and harmony vocals. An acoustic cover was done by Smashing Pumpkins for the "For the Masses" tribute album. -"The Things You Said": this is arguably my favorite song on the album. An airy ambient minimalist song, with a great gothic bassline. -"Strangelove": the single mix was far more upbeat, but this version certainly fits within the ambient context of the rest of the album. Great lyrics that would seem to suggest bondage, but still subtle enough to make the listener get up and dance. -"Sacred": my least favorite song on the album, to me there is nothing special about it. This is the one song the album could have done without, though the intro sample of vocal choirs buried in the mix is pretty cool. -"Little 15": why this song was released as a single ONLY in France, I don't know, but it is a great song. Lyrically not unlike "A Question of Time" from "Black Celebration," but again, far more subtle and more provocative. Beautiful. -"Behind the Wheel": this song, along with its B-side, DM's cover of "Route 66," and "Never Let Me Down Again" help to prove my point of this album making great driving music...at least lyrically. An infectious bassline, pulsing tempo, and a great dual-lead vocal from Gore and Gahan make this probably the best song on the album...certainly the most recognizable. -"I Want You Now": the breathmask sample that starts off the rhythm of this song (most notably sampled by bandmate Alan Wilder for his song "Curse" on his Recoil "Bloodline" album) is eerie, but the song by itself is nothing special. If anything, it's a great vocal by Gore. -"To Have and to Hold": this is perhaps the most frightening song on the album. This is as dark as it gets. Echoing vocals, a slow dirge beat, and brilliant lyrics make this a spectacle for the album. Faithfully covered by Deftones on the "For the Masses" tribute album. -"Nothing": my second favorite song on the album. The bassline is almost literally identical to the Cure's "The Walk," but that means "nothing" when taking into account the criticism that song got for being somewhat identical to New Order's "Blue Monday." Be that as it may, I love Gahan's vocals on this song, and the lyrics are just great. -"Pimpf": this is probably the most experimental Gore ever went musically. The piano melody is very well done, and the "Hee-Hoo" choir-style vocals are eerie and powerful. A brilliant song. Overall, this album is far more ambient and atmospheric than "Black Celebration," but lyrically and stylistically speaking, this album is an excellent piece of work that stays true to form while still being experimental in its own sense. The bonus tracks, which were nothing more than selected remixes (all of which appeared as B-sides to their respective singles), are also noteworthy, especially the "Spanish Taster" mix of "To Have and to Hold," which is said to be the original version Gore intended before Wilder's influence on the final album version. On the whole, this album is probably DM's best in the '80's...afterall, it spawned the tour that produced "101." But that's another story in itself...
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