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11 of 11 people found the following review helpful:
5.0 out of 5 stars
So many DM tributes, but this one is worth it., June 18, 2005
As a person who works in the synthpop / electronic pop scene for many years, I've seen an endless flood of Depeche Mode tributes, usually flowing out of Germany and Sweden. It seems that any start-up synthpop band has to crank out a Depeche Mode song or two and throw it on a tribute CD to be taken seriously in Europe. With a couple of the earlier tributes, I enjoyed hearing different electronic takes on the pioneers ("Your World in Our Eyes" or the DM cover band Diesel Christ "Diesel Mode"). But honestly, I just got tired of it after a while.
However, this new tribute by Color Theory was quite refreshing because it did a few things differently than the other tributes. For one thing, it's all by one artist, which brings some continuity (sometimes a good thing), but the song selection was also much more interesting, choosing tracks that fit Color Theory's established sound. Rather than picking the over-killed DM hits, Color Theory interprets the more romantic, lusty, melancholy side of DM, and does it with creative flare. It isn't an attempt to clone what's already been done-- instead it throws a new light on the songs and takes them in Color Theory's own direction. The artist is also talented enough not to slaughter any of the songs (a trait sadly lacking in many tributes).
If you're a DM purist, you may not get into this tribute, or any other. If all you want is Depeche Mode, then keep buying those hits and remix compilations. But if you don't mind hearing those great songs with a fresh perspective, this is a good CD to check out.
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7 of 7 people found the following review helpful:
5.0 out of 5 stars
"Sweetest Perfection" This is a must for all DM/CT FANS!!!!!, December 1, 2003
Lets start with the Jewel case.....it is a great jewel case. Inside you will find all the information you need about Color Theory, a bit of history on why he did this project. It even includes the lyrics to "Ponytail Girl". So know lets go to the songs. Here are my thoughts1) I Want You know: It begins with suspense like sound (Like is saying; "Are you ready for my take on one of the greatest band of all time?"). It then picks up. I have always been a fan of the song. CT's take is more upbeat. I like what he did with it. What's next??? 2) Sister of Night: CT's take is definitely a great one. I'm not going to compare it to any other bands cover of the song, because there is no comparison. The programming is great, the vocals are fantastic. One of my favorites. 3) It Doesn't Matter: "Oh it does." A fantastic cover. The music sounds like is a fairytale theme song. The programming on this cover is good. Brian's voice sounds fantastic. 4) Sweetest Perfection: I like this cover!! I was never a fan of the original song, but this cover is fantastic. Very catchy it gets you moving with the beat. Also one of my favorites. 5) Here Is the House: I was looking forward to this song. My gosh it is great!!!! Very upbeat, Beautiful programming, Brian's voice sounds great!!! My favorite one. If you never liked the song, you will know. 6) I Am You: I had to listen to "Exciter" again. I have to be honest, I didn't remember the song (then again Exciter wasn't so exciting). CT's take of the song made the song enjoyable to listen, at least for me. 7) World Full of Nothing: I had to listen to CT's cover a few times. Not because it wasn't good, but because it was never a fan of the song and never really paid attention to it. CT's take has a great beat but mellow at the same time. I really enjoy the song. 8) Surrender: Here is another song that I'm not a fan of the original. The programming is great. Brian's voice sounds great, CT's take made me give the song another chance. 9) But Not Tonight: Another song that I was looking forward to listen to. Right from the start it grabs you. The piano made the difference for me. The Programming is great. Is a bit slow from the original but it still gets you moving. I like it so much I played it again and again before I went to the next song. 10) One Caress: CT's take sounds very deep and dark, but enjoyable. I have to admit, Brian's voice sounds very much like martin's on this song. 11) Leave In Silence: WOW!!!!!!!! If you didn't like the original, you will like CT's take. Very catchy and the programming is good. 12) Ponytail Girl: Most of us know the history of the song. The mysterious unreleased single from the "Exciter" cd. This is how most of us came across Color Theory's music; at least this is the case for me. I've been hooked to CT's music ever since. I have to admit, I was expecting a good cd and it was great. CT's take of the songs made me a fan of some of the songs I didn't like. It made me realize the talent that Brian has. How he transform the songs to a whole different dimension. Most artists when they do covers, they stick to the same sound and speed of the original. I feel that when you cover another artist's song, it should be a bit different (besides the voice). The programming is great; some songs are mellow, while others are a bit more upbeat. Brian's voice sounds great. I have to admit one thing; there were times that it sounded like Martin Gore was doing the backing vocals. (Sorry Brian). The tribute is close enough to be DM, but different enough to know that is Color Theory. This is a must get for all Depeche Mode and Color Theory fans.
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6 of 6 people found the following review helpful:
5.0 out of 5 stars
Thank goodness for interesting DM covers, July 15, 2005
What I look for in a cover is something that maintains the integrity of the original but adds something new or interesting, and this album definitely makes the grade. (in contrast to most of the covers on 'for the masses,' which add nothing to the originals)
First and foremost, the piano on 'but not tonight' is incredible. rain. for me it was dangerous to touch this song since i love the original so much, have the single, etc. but the piano, the piano...it goes straight to my heart, and i can see the raindrops plopping and bouncing off the streetlamp lit ground with the piano strokes, and dave gahan dancing around in circles with his arms out, face turned up to the sky, ruining his leather boots in the rain.
My other favorite on this album is 'it doesn't matter', with these lovely bells. and i like how it ends it with the line "i am happy, i am happy, i am happy even though you're not here now." which is a better closing line, and the repetition of the "I am happy" part leaves the listener to think about whether the singer is truly happy and ok with the situation, or whether he is trying to convince himself that he is happy.
The pace and dancy-ness of "i want you now" gives it a different feel, makes it lighter, flirtier, a little less...desperate, sleazy....
conversely, the heavy beat on 'one caress' makes it a little more insistent, with a deeper emotion, or urgency, rather than the more sweet character of the original.
The ending of 'world full of nothing' is this very interesting, beautiful, eastern-esque instrumental interlude, like peacefully pondering love, pondering the world, is it full of nothing? maybe it's peacefully full of nothing?
"I am you" is better than the original, which I find boring except for the ending with the orchestration. Color Theory's version is a little faster, with a more interesting instrumentation. It changes dynamics and uses silence in ways that make the song move somewhere, so that you can FEEL something- it's far more emotional than the original.
"sister of night" is another song in which color theory makes it loads better than the original by making it more emotional. For me, the original is largely one emotion and every time I want it to get more or less intense, it doesn't. So the original feels so flat for me.
Color theory's version has an interesting intro, with a different beat and instruments/sounds, and it sets it up in a way to allow for darkness of different kinds, it can increase intensity so that it becomes more urgent, then releases the tension with the piano which is, for me, calming, but not necessarily less dark.
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