The following review appeared on Louder Than War on 20/03/13. It took me completely by surprise - rating as the second highest World Google for 'Depeche Mode Delta Machine', and, being shared around 2,500 times from the LTW site in the four days before it's release. It made me very proud, and, I received some great comments for it, particularly from Boss man John Robb. Please read the review below and feel free to add any comments:
Depeche Mode - Delta Machine (Columbia)
CD/DL
25 March 2013
In the four years since the release of the
very average Sounds Of The Universe, social media has come a long way. The new Depeche Mode album has whipped up a
media frenzy with, it seems, everyone now a huge fan with a primteime
appearance on Letterman Live in the USA proving the theory.
The release of lead single, Heaven, was a
sudden affair, after an album taster released in October 2012, it was believed
that Angel was in fact the said single.
Confusion ensued and Heaven’s release was postponed by a week until
everything was cleared up.
The question everyone wants to know is, is
Delta Machine actually any good?
Tantalisingly described by band and PR alike as a cross between Violator
and Songs Of Faith And Devotion (coincidentally, their biggest selling albums),
the album is produced by Ben Hillier for the third consecutive time. Unusual in itself, for pioneers such as DM to
stick with the same producer, but, the relationship and final sound is obviously
something that the band favour. Whilst
the production on SOTU was well polished, the songs weren’t really up to much
and it suffered. Breaks with VCMG
(Martin Gore re-uniting with techno-genius Vince Clarke on the instrumental
Ssss album), and, Soulsavers (Dave Gahan effectively becoming a member of the
group on the album The Light The Dead See), have it would seem, recharged their Basildon
batteries and they are back with all guns blazing. In fact, Gahan’s performance on the
Soulsavers album was seen by many as the best of his career at the time.
The current Mode sound is exciting with the
constant resonance of bass notes, baritone vocals and analogue effects. With the volume turned up loud, your speakers
(and eardrums) WILL rattle. Opener,
Welcome To My World is case in point, the cutting deep thrust resonates
immediately to a slow beat with Gahan’s gentle toned voice. It moves along nicely until a string section
lifts the track with a rousing chorus.
The mix isn’t packed, and, there lies the key to the whole album with
every track sufficiently filled with equal amounts of voice and sound to allow
for an eerie silence in parts, and, for every track to have the potential to
roar completely out of control. Hillier
has done well.
The album taster, Angel follows, and will
undoubedtly be an forthcoming single. It
too stomps along fiercely from the off with screeching synths and obligatory
blips. Gahan is on top form here with
surely one of the greatest performances of his life. The rough razor like verse vocal complimented
by the sweet bridge holding it all together.
Bulding and building into a cacophony of sound. It’s a joy to hear, and, is very very
addictive.
Like Bowie, Depeche chose a ballad as their
comeback single. Heaven broods in its
downright patronising braveness and displays that even the 80s stalwarts can
produce a ballad of rather magical quality.
Again, the mix is so sparsely put together that every click, beat and
tap can be heard. Whilst the press was
raving about the single, the groups PR smugly admitted it wasn’t the best track
on the album.
Perhaps a classic Mode sound with a modern
twist with Secret To The End. Bubbling
basslines with a rousing rise to a repetitive chorus backed by Gore. This will embed itself in your head. The now familiar of late guitar also enters
for a brief riff. Imagine each song on
Delta Machine starting like the Wizard Of Oz in a basic black and white, and,
slowly exploding into the glorious and bright colours of amazing Technicolor,
that’s what you have here.
Packed with 13 songs, Delta Machine
continues to prove that the Mode are one of Britains finest ever acts. Never critically acknowledged with any big
media award (perhaps not a bad thing), and, never supported by the likes of
Radio 1 in their heyday (guilt finally hitting the station with a Depeche Mode
Day in 1993 that even the DJs couldn’t understand), they move forward
continually.
Soothe My Soul is another example in the
art of alternative pop, starting from nothing and ended with a modern day DJ
type mix. The Child Inside sees Gore
take lead vocal for the only time on the album – as usual a slow-paced affair
allowing him to pour out his heart once more - a very underrated
balladeer. Soft Touch/Raw Nerve could be
an updated outtake from Black Celebration with its constant A Question Of Time
like pound. Another possible single and
another example in the art of perfect songwriting.
Even the blues gets chucked into the
perfect equation with album closer, Goodbye, surely also a live show
ending? A Johnny Cash type riff
cohesively holding together verses and exploding chorus alike. Once more, the song rises and rises and rises
to its final end.
After being in the spotlight for four
decades, Depeche Mode have released possibly their finest work to date. Staying ahead of the crowd, continuing to be ground-breaking
and not pandering to over-commercialisation is what they have always done and
will always do. Delta Machine is a fine,
fine album that will no doubt have imitations everywhere. On this, their thirteenth studio album, the
Essex lads can be very proud of themselves.
9.5/10
Published on Louder Than War 20/03/13 - http://louderthanwar.com/depeche-mode-delta-machine-album-review/
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