Depeche Mode
Depeche Mode Songs Reviewed
I have been following the work of Depeche Mode since the early 80s and they consistently remain within my top 5 musical influences. In fact, for decades I have tried to sound like them – before finally giving up and striving for my own sound.
Just recently I found the website of Jason Steele where he reviewed and ranked every Depeche Mode song – this inspired me to do something similar, but not just with the eyes of a fan, but rather the viewpoint of a fellow musician.
I spare you from reciting information about the band itself, they’re popular enough that you will find lots of sites elsewhere.
Note that sometimes I mention tracks in brackets, these appeared on B-sides of the vinyl singles, or later editions of the studio albums. Let’s get started:
Speak & Spell (1981) – Clarke, Gahan, Gore, Miller, Fletcher
– Debut ★ ★ ★ ☆ ☆
An album that defined a category. This is pure synth pop, energetic, vivid. Minimal equipment (Kawai 100F, Korg KR-55, Korg Minikorg 700s, Moog Prodigy, Roland Jupiter, Roland SH1, Yamaha CS5, and, the ARP 2600!), but already with an impressive level of detail.
New Life – 3:43 – ★ ★ ★ ☆ ☆ – Nice melodies, great singing. Although the lyrics are kind of strange, it always puzzled me how a bunch of 18 year olds without any kind of formal training could record such vocals.
I Sometimes Wish I Was Dead – 2:16 – ★ ★ ☆ ☆ ☆ – One of the weaker tracks on this album. The title has always put me off as it stands in stark contrast to the lyrics and the mood transported by the music.
Puppets – 3:55 – ★ ★ ★ ★ ☆ – One of the best tracks on the album. Slow, gloomy, dark – a new romantics classic. Nice hook, a clear arrangement. My favorite part is the chorus’ “I don’t think you understand – What I’m trying to say – I’ll be your operator baby – I’m in control”.
Boys Say Go! – 3:04 – ★ ★ ☆ ☆ ☆ – I can’t do anything with this. Apart from the cool “Boyyyyyyys” with its reverse reverb trail and the fact that there is an actual bridge in the arrangement, it doesn’t make much sense to me.
Nodisco – 4:12 – ★ ★ ★ ☆ ☆ – This picks up the mood where “Puppets” ended, but with much weaker lyrics. Good vocals recordings and again, a bridge.
What’s Your Name? – 2:42 – ★ ★ ☆ ☆ ☆ – This goes in line with Boys Say Go!, I can’t really say I like it. If it wasn’t for the vocal harmonies, I couldn’t say anything good. And the “P R E, Double-T, Y”-part is so clichè, you’d wonder whether they did this on purpose.
Photographic – 4:44 – ★ ★ ★ ★ ☆ – Very strong. One of their first tracks ever. It picks up the mood started with Puppets and shines with vocal harmonies, good arrangement, and – this time – cool lyrics. My favorite part is “I said I’d write a letter, but I never got the time”. If you like this song, make sure to checkout the even better (and faster) Some Bizarre Version, which is a variant recorded for the Some Bizarre Album sampler from Some Bizarre Records.
Tora! Tora! Tora! – 4:34 – ★ ★ ★ ★ ☆ – This one starts with a segue (a seamless transition) from Photographic and continues with a very gloomy and dark mood. It’s the first track with a title and lyrics that are a reference. My favorite part is the chorus: “From the skies you could almost hear them cry ‘Tora! Tora! Tora!’ In the town, they were going down ‘Tora! Tora! Tora!’”. They’re using an interesting background lead sound there that almost sounds like a Theremin.
Big Muff – 4:21 – ★ ★ ★ ★ ☆ – What appears to be the first of many instrumentals in their back catalogue is – apart from the Simmons-type percussion, which sound a bit out of place – a straightforward arrangement that would fit any action cue.
Any Second Now (Voices) – 2:35 – ★ ★ ★ ☆ ☆ – A mellow love song with a nice arrangement full supporting melodies and countermelodies. Nice vocals in two voices.
Just Can’t Get Enough – 3:40 – ★ ★ ★ ☆ ☆ – One of their most famous anthems and, as we know by now, especially well suited for live performances.
Dreaming Of Me – 3:46 – ★ ★ ☆ ☆ ☆ – Their first single. Already with those slick vocal harmonies, but otherwise a pretty simple and straightforward pop song.
(Ice Machine) – ★ ★ ☆ ☆ ☆ – This track appeared as the B-side of Dreaming Of Me vinyl release. It’s an interesting track, not just because of the lyrics and the vocal harmonies, but in particular because it shows what would later become a criticial unique “selling point” for Depeche Mode: The sound. The original version of Ice Machine sounded a bit bland. After Alan Wilder joined in 1982, he did a makeover for the See You Tour which uplevels this track to a whole new league (★ ★ ★ ★ ☆) with fat drums, filtered bass sounds, and more modulated leads.
(Shout) – ★ ★ ★ ★ ☆ – This track appeared as the B-side of New Life vinyl release. Sadly, the vocals are mixed too weak, but we get a nice set of ARP 2600 percussion and some interesting lyrics.
A Broken Frame (1982) – Gahan, Gore, Miller, Fletcher
– Reorientation ★ ★ ★ ☆ ☆
After the surprising departure of Vince Clark (who left because he couldn’t stand the publicity… ironically subsequently forming the next successful bands Yazoo and, later, Erasure), Depeche Mode found themselves without their song writer.
Martin Gore took over and immediately set a new, darker, tone – primarily through his use of “deeper” lyrics and more complex chord progressions.
Although the used instruments are pretty those used for Speak & Spell, the sound stage and the arrangments are more dense and refined.
Leave in Silence – 4:48 – ★ ★ ★ ☆ ☆ – The album starts off with mysterious howling vocal harmonies. The lyrics are telling a story about unlimited growth and diplomacy. The chord progressions on this first song are already more complex than everything on Speak & Spell – in particular the chorus with its diminished(!) chord: Am, Adim, Dm, Em, Am.
My Secret Garden – 4:46 – ★ ★ ☆ ☆ ☆ – As if Martin did already waste all his energy on meaningful lyrics in Leave In Silence…. Trivia: While this version is not the most impressive track, Alan Wilder later arranged a medley of Oberkorn – It’s a Small Town and My Secret Garden for the 1982’s live tour – and this must be one of the most haunting and touching intros ever. I still get goosebumps everytime I hear Dave’s “Good Evening, Everybody!”.
Monument – 3:14 – ★ ★ ★ ☆ ☆ – This one has a interesting percussion track and lyrics telling a story of working men – at least on the first lyrical layer. After all these years, I still wonder where there’s more to it.
Nothing to Fear – 4:16 – ★ ★ ★ ☆ ☆ – The next instrumental.
See You – 4:33 – ★ ★ ★ ★ ☆ – One of the strongest tracks on this album. Although the lyrics and the melody are relatively lighthearted, the amazing background choir lead sound (done on the PPG Wave) injects a mellow mood which produces a really interesting contrast.
Satellite – 4:43 – ★ ★ ★ ☆ ☆ – The lyrics are the star on this track, telling a story of a “A satellite of hate”.
The Meaning of Love – 3:06 – ★ ☆ ☆ ☆ ☆ – An energetic track, but much too shallow and, dare I say, cheesy for my taste. Trivia: If you like this track, you will love the extended version.
A Photograph of You – 3:05 – ★ ★ ☆ ☆ ☆ – Still shallow, but not as cheesy as before.
Shouldn’t Have Done That – 3:13 – ★ ★ ★ ★ ☆ – Completely switching gears here. Starting with a segue from A Photograph of You, it quickly transitions into one a very special song about human nature, parenting, and fate.
The Sun and the Rainfall – 5:05 – ★ ★ ★ ★ ★ – Easily my favorite track on this album – and the first one that gets a full five stars! Starting with a segue from Shouldn’t Have Done That, introducing a nice velocity resonance bass with an interesting chord progression. The lead melody and the lyrics are absolutely fantastic.
(Now, This Is Fun) – ★ ★ ☆ ☆ ☆ – This track appeared as the B-side of See You vinyl release. The song is interesting merely due to the contrast of the title and the mellow mood. I can’t quite make sense of the lyrics.
(Oberkorn – It’s a Small Town) – ★ ★ ★ ★ ★ – A five star instrumental, released as the B-side of The Meaning Of Love. This track has been the inspiration for Return to Oberkorn (Small Town Mix) by Fabrique Noir (yours truly).
Construction Time Again (1983) – Gahan, Gore, Wilder, Miller, Jones, Fletcher
– Transitioning ★ ★ ☆ ☆ ☆
After A Broken Frame, Alan Wilder, who originally joined as a tour keyboarder, became more and more involved in shaping the future sound of Depeche Mode. This, and the music technology advancements in the early 1980s lead to a more industrial tone – gone were the bubble gum sounds. For the first time, sampling devices, such as the E-mu Emulator I, the Synclavier, and the E-mu Drumulator were used. And although it only really shows on the next studio album, the path was already set with this one.
On top of this more grown-up sound, you’ll find quite a number of sociocritical lyrics – unprecedented, apart from the aforementioned Tora! Tora! Tora. Unfortunately, compared to the previous two albums, there are fewer songs with “hit single potential”. And though I love the sound, all in all, it’s my least favorite album of their early period.
Love, in Itself – 4:29 – ★ ★ ★ ☆ ☆ – Not the usual love song. And the first ever published Depeche Mode song to feature an unprocessed piano and an acoustic guitar. My favorite line: “Consequently I’ve a tendency to be unhappy”. Trivia: Later on, they released a bunch of cool remixes of this song. Make sure to check out Love In Itself.2, .3, and .4.
More Than a Party – 4:45 – ★ ★ ☆ ☆ ☆ – Lyric-wise it might be an anthem against social injustice. But it’s hard to tell.
Pipeline – 5:54 – ★ ★ ☆ ☆ ☆ – Interesting sounds, not so much the chord progressions. The lyrics though are pretty much in line with the sound.
Everything Counts – 4:19 – ★ ★ ★ ☆ ☆ – The single on this album. Industrial sound meets an interesting storyline. Favorite line: “The graph on the wall tells the story of it all. Picture it now, see just how, the lies and deceit gained a little more power”.
Two Minute Warning – 4:13 – ★ ★ ★ ☆ ☆ – A depressive song, written by Alan Wilder. Obviously about the dangers of a nuclear war – back then, when the cold war was a thing.
Shame – 3:50 – ★ ★ ☆ ☆ ☆ – Starts out with another fine segue from Two Minute Warning. A protest song against war. Metallic pole percussion.
The Landscape is Changing – 4:47 – ★ ★ ☆ ☆ ☆ – Another song written by Alan Wilder. This time it’s about environmental pollution. Notable brassy synth sounds. The lyrics are a bit bland / uninspired for me… “I don’t care if you’re going nowhere, just take good care of the world.”
Told You So – 4:24 – ★ ★ ★ ☆ ☆ – An energetic song with a great synth hook, driven by the bass line and a diversified arrangement. Easily my favorite song on the album. The lyrics are fitting with a similar tone as the others: “Something went wrong along the way – Everybody’s waiting for Judgment Day”.
And Then… – 4:34 – ★ ★ ☆ ☆ ☆ – And yet another song about the end of the world and/or a great restart. And the 2nd song to feature an unprocessed acoustic guitar.
(Get the Balance Right) – 3:15 – ★ ★ ★ ☆ ☆ – The first Alan Wilder single release, for some reason not included on the album – probably because it was soundwise a bit more leaning towards A Broken Frame. I like it, especially because of the message.
(The Great Outdoors) – 5:03 – ★ ★ ☆ ☆ ☆ – The B-side of the Get the Balance Right vinyl release. An “interesting” instrumental, not in line with the previous ones. Strange choice of instrumentation. Sounds more like the theme of an animated children series (Dr. Snuggles, anyone?).
(Work Hard) – 4:25 – ★ ★ ★ ☆ ☆ – The B-side of the Everything Counts vinyl release. With its loud and bold metallic percussive sounds, this is a foreshadowing of what would be to come soon. Overall, a good song with exceptional vocals – unfortunately not included on Construction Time Again.
(Fools) – 4:18 – ★ ★ ☆ ☆ ☆ – The B-side of the _Love, in Itself. Another song written by Alan Wilder. Nothing exceptional, I’m afraid.
Some Great Reward (1984) – Gahan, Gore, Wilder, Miller, Jones, Fletcher
– Metallic Mode ★ ★ ★ ★ ☆
Less experimental than its predecessor, this album is the perfect combination of old-style synth sounds with sample-based metallic sounds. Interestingly, the lyrics – being more or less completely focused on personal interactions – are in stark contrast to Construction Time Again. Rumors have it that they have been very much influenced by the song writer’s (sexual) relationships.
Something to Do – 3:46 – ★ ★ ☆ ☆ ☆ – Fat drums, metallic sequence sounds, somewhat meaningless lyrics. Trivia: A even greater remix (metallic mix) was subsequently released.
Lie to Me – 5:03 – ★ ★ ☆ ☆ ☆ – A nice bass line and good drum sounds, but still: It does not resonate with me.
People Are People – 3:51 – ★ ★ ★ ★ ☆ – Punchy, vivid, interesting. Noone else sounded like this before, and noone else managed to sound like this afterwards. Trivia: There’s also a handful of really cool remixes available.
It Doesn’t Matter – 4:43 – ★ ★ ☆ ☆ ☆ – A bit too “buttery” for me. Yes, it’s a love song.
Stories of Old – 3:12 – ★ ★ ★ ★ ☆ – My favorite song on this album. The arrangement, the sounds, the lyrics, just great. Favorite line: “I’ll probably burn in hell for saying this – But I’m really in heaven whenever we kiss”. Make sure you also remember the line “Now I’ve got things to do – You have, too”, which we’ll come back to later. Trivia: If you like this song, you might also like the “bare version” remix which they recorded decades later.
Somebody – 4:27 – ★ ★ ★ ★ ☆ – Another love song. But this time the lyrics go right under my skin, transported by Martin Gore’s angelic voice. And… it’s an unprocessed piano, folks!
Master and Servant – 4:12 – ★ ★ ★ ★ ☆ – Metal power, industrial drums, breathes, hooklines, scandalous lyrics – I like!
If You Want – 4:40 – ★ ★ ☆ ☆ ☆ – As much as I love Alan Wilder’s taste for sound design and arrangement skills, I’m not so much impressed by his song writer abilities.
Blasphemous Rumours – 6:21 – ★ ★ ★ ★ ★ – My 2nd five star rating. This is a perfect melange of sounds, arrangement, and story lyrics.
(In Your Memory) – 4:03 – ★ ★ ★ ☆ ☆ – The B-Side of the People Are People vinyl release. A pumping bassline and assorted drums. Great vocal harmonies in the chorus. If I were to criticize something, it’s the vocal melody in the verses, which is a bit too simple. Trivia: If you like this, you’ll love the “Slik Mix”, which has been subsequently released.
(Set Me Free (Remotivate Me)) – 6:21 – ★ ★ ☆ ☆ ☆ – The B-Side of the Master and Servant vinyl release. Featuring their (for that time) signature metal lead sound.
– Interlude ★ ★ ★ ☆ ☆
Their first compilation album, with three new tracks foreshadowing the release of the next album:
Shake the Disease – 4:52 – ★ ★ ★ ★ ☆ – One of my favorites. A track that really resembles the band. The lyrics, the sounds, Dave and Martin’s voices. Trivia: The line ”Now I’ve got things to do. And I’ve said before, that I know you have, too“ is a reference to Stories of Old from Some Great Reward, where it read ”Now I’ve got things to do – You have, too.
It’s Called a Heart – 3:48 – ★ ★ ★ ☆ ☆ – A great uptempo track with some fat sounds. I personally like the lyrics, although some find them too “poopy”, espcially after the bands’ trend towards a more dark image.
Flexible – 3:11 – ★ ★ ☆ ☆ ☆ – This is a crazy song. Starting out with the processed Banjos, the thin bass sound, and some “interesting” lyrics. Favorite (senseless) line: __“I ask myself – It is a sin – to be flexible – When the boat comes in”_. Hmm…
Black Celebration (1986) – Gahan, Gore, Wilder, Miller, Jones, Fletcher
– Dark Mode ★ ★ ★ ★ ☆
This is probably the most melancholic and dark album they ever produced. While their sound is still very heavily sampling-based, the samples are more often layered with analogue synths, which gives them an extra quality.
Black Celebration – 4:57 – ★ ★ ★ ★ ★ – The prime track on this album is a great opener. Starting out with a looped vocal, plucked sounds, and then great theme. Combined with dark lyrics, somewhat picking up the tone set by Blasphemous Rumours.
Fly on the Windscreen (Final) – 5:19 – ★ ★ ★ ☆ ☆ – Transitioning via a segue (Did I tell you that I love such things?) from Black Celebration, adding more dark lyrics: “Death is everywhere. There are flies on a windscreen, for a start.” I really like the gated drum sounds and the pitched whip. Also great harmonics in the vocal lines.
A Question of Lust – 4:21 – ★ ★ ☆ ☆ ☆ – Starting out with another segue from Fly on the Windscreen comes a slow song about (love) relationship. This is – after Somebody, the 2nd song with Martin doing the lead vocals. His timbre matches the song perfectly.
Sometimes – 1:53 – ★ ★ ☆ ☆ ☆ – Another “Martin sings about someone who ponders about his role in the world” song. Trivia: This is the shortest non-instrumental song Depeche Mode ever released.
It Doesn’t Matter Two – 2:49 – ★ ★ ☆ ☆ ☆ – And yet another song with Martin’s lead vocals. Although I love his timbre, four songs is at least one too many for a typical Depeche album.
A Question of Time – 4:09 – ★ ★ ★ ☆ ☆ – A great song about a father and a daughter – at least that’s what I’m interpretating. Great pacing, interesting lyrics. Favorite line: “I can see them now – hanging around – to mess you up – to strip you down – and have their fun – with my little one”. Having a 9 year old daughter myself, I can relate to those feelings…
Stripped – 4:17 – ★ ★ ★ ★ ★ – An anthem. In my mind, the sound of an idling tractor will forever be connected to this song. Together with Black Celebration, these are my favorite songs on the album. Dave’s voice, the (strange) lyrics, the industrial samples, it’s perfect. Favorite rhyme: “Let me hear you make decisions without your television”.
Here Is the House – 4:16 – ★ ★ ★ ☆ ☆ – Great arrangment and nice sound design – I especially like cello-ish lead sound.
World Full of Nothing – 2:47 – ★ ★ ★ ☆ ☆ – One more song with Martin’s vocals. And though I’m not into so many slow tracks, this one resonates with me – especially thanks to the lyrics.
Dressed in Black – 2:32 – ★ ☆ ☆ ☆ ☆ – My least favorite song on this album. The slow songs are more of a Martin domain. I don’t find Dave’s voice matching very well with the arrangement.
New Dress – 3:42 – ★ ★ ☆ ☆ ☆ – At least one more uptempo song on a pretty slow album. Nothing spectacular though. The lyrics are pretty shallow, in fact Martin later apologized because of the really unfounded “Princess Di is wearing a new dress”.
(Breathing in Fumes) – 6:07 – ★ ☆ ☆ ☆ ☆ – This was released as one three songs on the B-Side of the Stripped vinyl. – the weakest B-Side ever produced by Depeche Mode. It is merely a collage of some sounds taken from Stripped, rather than a song on its own.
(But Not Tonight (Extended)) – 5:13 – ★ ★ ☆ ☆ ☆ – Another song from the Stripped B-Side. This one has been used in a teeny film and got its well-deserved share of the fame.
(Black Day) – 2:36 – ★ ★ ☆ ☆ ☆ – The last song from the Stripped B-Side.
Music For The Masses (1987) – Gahan, Gore, Wilder, Miller, Bascomb, Fletcher
– Peak Mode ★ ★ ★ ★ ★
Depeche Mode at their highest moment. All the experiments with analogue synths, digital synths, and samples seem to have culminated in the sound of this very record. When Daniel Miller decided to pretty much withdraw himself from producing this album, he did them a favor. David Bascomb fit in perfectly and helped them up their game – while staying honest to where they came from. This is their first record that gets five stars from me.
Never Let Me Down Again – 4:48 – ★ ★ ★ ★ ★ – This is one of those lonely-islands songs. I don’t know whether it’s the best song I have ever heard, but it’s certainly ranks very high among my most favored ones. Starting with the iconic guitar riff, the energetic drums, the piano, the lyrics, the mood, the combination of Dave’s lead vocals and Martin’s background vocals. Rock’n’roll hall of fame material.
The Things You Said – 4:00 – ★ ★ ★ ☆ ☆ – The mood changes with an elegant segue into a more-or-less typical Martin Gore Weltschmerz song.
Strangelove – 4:57 – ★ ★ ★ ★ ☆ – A great combination of a nice hook and an accompanying bass line, featuring some really nice choir-type sounds with percussive elements.
Sacred – 4:47 – ★ ★ ★ ★ ☆ – Starting out with a very impressive interwoven conglomerate of Martin’s and Dave’s vocals, moving into a nice mid-tempo song about faith and devotion (sic!) with interesting lyrics on top of great sounds and melodies. Watch out for the bridge that picks up the mood from the intro. “Trying to sell the story – Of love’s eternal glory”.
Little 15 – 4:19 – ★ ★ ★ ★ ☆ – … A song that touches me – being the dad of a 10 year old girl. It’s always a rare moment, when Dave sings some of the slower songs. At 2:22, they’re modulating the key! In a pop song!
Behind the Wheel – 5:19 – ★ ★ ★ ☆ ☆ – Back to that kind of bluesy rock’n’roll Depeche Mode always had a sweet spot for. After the five killer tracks we’ve been through on this album, it’s one of the weaker ones though.
I Want You Now – 4:17 – ★ ★ ★ ★ ☆ – Martin is back on top of an interesting collection of breathes, sighs, and other noises. This would have been one of the weaker songs, if it wasn’t for that B-part at 1:27, where they are sounding like a medieval orchestra, before transitioning to the next verse.
To Have and to Hold – 2:54 – ★ ★ ★ ★ ☆ – Softly transitioning from the track before. Great arrangment and nice sound design – Sirens, radio transmissions, and sampled drums. Slow, but powerful! And… mmmh… Dave’s mellow vocals! Did I already say that it’s pure gold when he sings the slower songs? There’s a nice variant (the Spanish Taster remix) on the release of Never let me down again.
Nothing – 4:14 – ★ ★ ★ ★ ☆ – The bassline alone is to die for, especially considering the layering of an analogue resofilter sound with a metal sample and a piano. I really like the self-mockery kind of lyrics: “What am I trying to do? What am I trying to say? I’m not trying to tell you anything you didn’t know when you woke up today!”
Pimpf – 4:56 – ★ ★ ☆ ☆ ☆ – Ok, they wanted to have 10 tracks on the album. “Hoh! Hey!”
(Pleasure, little Treasure) – 2:52 – ★ ★ ★ ☆ ☆ – This was released on the B-Side of the Never let me down again vinyl. – an energetic uptempo song, but nothing spectacular.
(Route 66) – 4:12 – ★ ★ ★ ★ ★ – As far as I know of, the first and ever only cover version Depeche Mode did. It’s beautiful! In some remixes, interwoven with Behind the Wheel. Rock’n’Roll, baby!
Violator (1990) – Gahan, Gore, Wilder, Flood, Fletcher
– One Forward, One Back ★ ★ ★ ☆ ☆
Soundwise, I think this record is a step backwards, though it is definitely another improvement with regards to production and songwriting – in particular because of the vocals and the overall mixing. After Music For The Masses, they seem to have grown a bit tired of layering metallic percussion samples with analogue synths. This album has a solid and warm analogue sound, in a way, more straightforward and cleaner than the previous albums – sprinkled with Kraftwerk-esque arpeggiators and drums. History has it that this album gained a lot of new fans, so it certainly was a success.
World in My Eyes – 4:26 – ★ ★ ★ ☆ ☆ – With drums honoring Kraftwerk’s Music Non Stop, this is a solid opener for the album.
Sweetest Perfection – 4:43 – ★ ★ ★ ☆ ☆ – The lyrics leave room for interpretation. Possibly Martin’s take on Dave’s drug addiction?
Personal Jesus – 4:56 – ★ ★ ★ ★ ★ – This one might have been a better fit on the subsequent album, but the guitar-riff-heavy song with the band stomping on their flightcases has written history anyways: If the mighty Johnny Cash covers your song, then you know that you have reached the Rock’n’Roll heaven.
Halo – 4:30 – ★ ★ ★ ★ ☆ – One of the better songs on this album with a pretty nice transitioning between the verses and the chorus.
Waiting for the Night – 6:07 – ★ ★ ★ ★ ★ – My favorite track on this album is a downtempo ballad sung by Dave and Martin together. The athmosphere alone is giving me goosebumps everytime. Haunting lyrics and great harmonies.
Enjoy the Silence – 6:12 – ★ ★ ★ ☆ ☆ – One of their highest ranked song ever. Not here though, in particular because of the tempo and the drums, which – in my opinion – make the song too “disco” and compromise its meaning. Then again, I really adore the “harmonium mix”, which is more or less Martin’s slower demo track with vocals sung by him. Although not a topic for this article, but: The video for this single is pretty cool.
Policy of Truth – 4:55 – ★ ★ ★ ☆ ☆ – Nothing spectacular with regards to the sounds, but I really like the lyrics in this one.
Blue Dress – 5:41 – ★ ★ ☆ ☆ ☆ – Another downtempo song sung by Martin which does not really resonate with me.
Clean – 5:28 – ★ ★ ★ ★ ★ – Softly transitioning from the previous track, it’s my second favorite on the album. PPGish choir, Krafterk-esque resonance. And the lyrics: Oh, the irony! Written and recorded in a phase where most of the band’s members were everything but clean.
(Dangerous) - 4:22__ - ★ ★ ★ ★ ☆ – One of the most underrated “B-sides” in Depeche Mode’s history. It was released as part of the Personal Jesus vinyl release.
(Sibeling) - 3:18__ - ★ ★ ☆ ☆ ☆ – An instrumental piano track, released as “B-side” of the Enjoy the Silence vinyl relase.
(Kaleid) - 4:18__ - ★ ★ ☆ ☆ ☆ – An instrumental track, released as “B-side” of the Policy of Truth vinyl release.
(Happiest Girl) - 4:58__ - ★ ☆ ☆ ☆ ☆ – The “B-side” of the World in my eyes vinyl release. So sorry, but… boring.
(Sea of Sin) - 4:46__ - ★ ☆ ☆ ☆ ☆ – Another “B-side” of the World in my eyes release.
Songs Of Faith And Devotion (1993) – Gahan, Gore, Wilder, Flood, Fletcher
– A rock band, after all ★ ★ ★ ☆ ☆
Ok, I really have a love-and-hate relationship to this album. It marks another cesura in the catalogue of the band, but as it stands, it is the sum of the invidual and collective changes that happened since the band came together for Violator. It’s very guitar laden and relies on live drums. Dave Gahan finally living his youth rock dream, they are spreading out their repertoire, and, in some moments, it shines, but at the same time it somewhat alienates the fan base – in particular the ones who were on board for more than just one or two albums. On the plus side, I must mention that it is a very cohesive album. The songs perfectly fit with each other, much more than on most of their previous albums.
I Feel You - 4:36 - ★ ★ ★ ★ ★ – A great opener and easily the best track on the album. The energy. The voice. The harmonies. The drums. It rocks!
Walking In My Shoes - 5:26 - ★ ★ ★ ★ ☆ – This one has an almost biographic taste. The lyrics definitely stand out.
Condemnation - 3:29 - ★ ☆ ☆ ☆ ☆ – Now what is this? I’m not against Gospel per se, but as a Depeche Mode song this absolutely does not resonate with me and I rank this among the five worst songs the band ever has released.
Mercy In You - 4:18 - ★ ★ ☆ ☆ ☆ – It’s Dave singing, no doubt about that. But… is it Depeche Mode? Certainly not the one I know.
Judas - 5:13 - ★ ★ ★ ☆ ☆ – Once you get past the bagpipes (don’t skip yet, it’s really a Depeche Mode song, trust me!), it’s quite nice. I like the athmosphere of this. And the lyrics have some great lines. “Don’t just stand there and Shout it. Do something about it!”
In Your Room - 6:27 - ★ ★ ☆ ☆ ☆ – It’s dense and full of interesting lyrics, but it’s not for me.
Get Right With Me - 3:52 - ★ ★ ☆ ☆ ☆ – And more of the Gospel-inspired material. No, thanks.
Rush - 4:37 - ★ ★ ☆ ☆ ☆ – It has energy and there are some cool lyrics, but I just can’t like the sound. Even after decades of listening to it again and again.
One Caress - 3:33 - ★ ★ ☆ ☆ ☆ – A typical Martin ballad – of which there are too many – but this time I’m almost thankful for it as a counter point to the rock and gospel overweight.
Higher Love - 5:57 - ★ ★ ★ ☆ ☆ – Some interesting sound textures, but the drum loop somewhat ruins it for me.
(TODO: B-SIDES)
Ultra (1997) – Gahan, Gore, Simenon, Fletcher
– A hole in the whole ★ ★ ☆ ☆ ☆
With Alan Wilder leaving the band, the chances for sound experiments and deep arrangements pretty much vanished. The message to the fans seemed to be “Take it or leave it”. Pretty much like the previous album, Ultra has its moments, but even fewer than Songs of Faith and Devotion. In hindsight – and considering all the non-musical issues the members of the band went through – it’s a little miracle that this album exists at all. And if it hadn’t, the band would probably have split for good. Which would mean that some more great forecoming tracks would also not have existed. So… am I grateful? Somewhat.
Barrel of a Gun – 5:35 - ★ ★ ☆ ☆ ☆ – Distortions on the lead vocals? Are you serious?
The Love Thieves – 6:34 - ★ ★ ☆ ☆ ☆ – Dave singing a song which would have been more appropriate with Martin’s voice.
Home – 5:42 - ★ ☆ ☆ ☆ ☆ – A drum loop, hurray! And a somewhat annyoing lead melody.
It’s No Good – 5:58 - ★ ★ ★ ☆ ☆ – One of the three songs on this albums that receive three stars from me. And I’m not even sure if I would have given these without having seen the congenial self-ironic music video.
Uselink – 2:21 - ★ ☆ ☆ ☆ ☆ – Since long, an instrumental as the main track. Which is cool, in theory. In practice though, it’s a bit substanceless and out-of-place.
Useless – 5:12 - ★ ★ ☆ ☆ ☆ – One of the better songs on this album. The lead guitar is a bit too prominent for my taste – almost annoying.
Sister of Night – 6:04 - ★ ★ ☆ ☆ ☆ – Somewhat similar to The Love Thieves, it’s a Martin-song sung by Dave. I like the harmonies when they transition to the chorus.
Jazz Thieves – 2:54 - ★ ★ ☆ ☆ ☆ – Another instrumental. That makes two on the album.
Freestate – 6:44 - ★ ★ ☆ ☆ ☆ – The slide guitar is nice.
The Bottom Line – 4:26 - ★ ★ ★ ☆ ☆ – Finally a Martin-song sung by Martin. And this time I like the textures with the guitars being slightly turned down. Lyrics tidbit: “Like a pawn on the eternal board, who’s never quite sure where he’s moved towards”.
Insight – 6:26 - ★ ★ ★ ☆ ☆ – Great vocal harmonies. And I like how it transitions into the coda: “And the spirit of love is rising within me, talking to you now, telling you clearly, the fire still burns”. Is this a promise, directed to us, the dear fan? I surely hope so.
Junior Painkiller – 2:11 - ★ ★ ☆ ☆ ☆ – And the third and last instrumental on this album. A hidden track on the vinyl release.
(Painkiller – 7:29) - ★ ☆ ☆ ☆ ☆ – Released as the B-side to Barrel of a Gun. A long instrumental.
(Slowblow – 5:25) - ★ ★ ☆ ☆ ☆ – This instrumental was released as the B-side to It’s No Good. Has a cool laid-back Morcheeba vibe, but sounds a bit out of place in the context of Depeche Mode.
– Interlude II ★ ★ ★ ☆ ☆
Their second compilation album, with one new track:
Only When I lose myself – 4:34 – ★ ★ ★ ☆ ☆ – Although recorded after Ultra, the track sounds more like the Songs Of Faith And Devotion era. (Headstar – 6:18) – ★ ★ ★ ☆ ☆ – Released as extra track on the Only When I lose myself single, … (Surrender – 4:22) – ★ ★ ★ ☆ ☆ – Another extra track from the Only When I lose myself single, …
Exciter (2001) – Gahan, Gore, Bell, Jones, Fletcher
– Still healing ★ ★ ☆ ☆ ☆
It’s been four years since the last studio album. Still looking how to fill the hole that Alan Wilder has left, they brought back Gareth Jones (Tonmeister extraordinaire from their legendary Hansa Mischraum days) to join Mark Bell (of LFO) producing this release. And lo and behold, there is a bit of synth goodness reappearing. Plus, they have cut down on the drum loop front, which is much appreciated. I still don’t rate this album very high, but as I’ve hinted before… better things are coming our way.
Dream On – 4:20 - ★ ★ ★ ☆ ☆ – A solid guitar-laden opener that – willingly or unwillingly – comes with a bit of Personal Jesus flair.
Shine – 5:33 - ★ ★ ☆ ☆ ☆ – Not a bad song, although the key seems to be a bit too high for Dave. This might have been a better Martin song.
The Sweetest Condition – 3:43 - ★ ★ ☆ ☆ ☆ – Good, good.
When The Body Speaks – 6:01 - ★ ★ ★ ☆ ☆ – A very intimate song based around Martin’s guitar and Dave’s vocals. Real strings here! A gem on this album.
The Dead Of Night – 4:50 - ★ ☆ ☆ ☆ ☆ – Too much noise. Too much distortion. This is way over the top.
Lovetheme – 2:03 - ★ ★ ☆ ☆ ☆ – A pretty minimal instrumental.
Freelove – 6:08 - ★ ★ ☆ ☆ ☆ – Some cool noises, but overall somewhat, uhm… boring.
Comatose – 3:24 - ★ ★ ☆ ☆ ☆ – This song left me… comatose.
I Feel Loved – 4:21 - ★ ★ ☆ ☆ ☆ – An uptempo tune.
Breathe – 5:18 - ★ ★ ★ ☆ ☆ – Nice lyrics on this one. I can’t help but think about Rumors (Timex Social Club), when I hear it. This might have been a more appropriate title, by the way.
Easy Tiger – 2:05 - ★ ★ ☆ ☆ ☆ – Another instrumental.
I Am You – 5:10 - ★ ★ ☆ ☆ ☆ – Has some nice moments later on, but Dave’s vocals are oddly mixed. Would have been better, if they could have also used the string orchestra from When The Body Speaks here.
Goodnight Lovers – 3:50 - ★ ★ ☆ ☆ ☆ – Somewhat gospel-ish, which I still do not find appropriate.
(Zenstation – 6:25) - ★ ★ ☆ ☆ ☆ – Released as the ”B-Side“ to Freelove, it’s an almost ethnic sounding instrumental w/ some vocal bits on top.
(Dirt – 4:59) - ★ ☆ ☆ ☆ ☆ – An Iggy Pop cover, released as the ”B-Side“ to I Feel Loved.
Playing the Angel (2005) – Gahan, Gore, Hillier, Fletcher
– The fire still burns ★ ★ ★ ★ ☆
Another four years since the last studio album. This time there is a very welcome massive change in sound. The guitars are still there, but there is more and more analogue and modular synth goodness joining. And, hear, there’s a (tiny) bit of layering! For the first time in about ten years, the distinctive ”Depeche Mode sound“ is back. I’m not happy with the mixing and EQing, in particular of the vocals, which sound much less present in contrast to previous years. But after ten years of waiting, this album was much appreciated!
A Pain That I’m Used To – 4:11 - ★ ★ ☆ ☆ ☆ – Depeche Mode has a history of screaming openers, but this one is a bit too much – and it doesn’t fit with the rest of the song, which is pretty calm. Not a bad song and I really like the chorus, but in general I find it too weak, in particular for an opener.
John The Revelator – 3:43 - ★ ★ ★ ★ ☆ – This should have been the opener. A rocky song about a sermonizer with vocals, that – intended or not – remind me a bit of I Feel You, albeit a much less dense arrangement.
Suffer Well – 3:50 - ★ ★ ☆ ☆ ☆ – An uptempo track that doesn’t resonate with me. I don’t think the lyrics match the harmonies well. Written by Dave.
The Sinner In Me – 4:56 - ★ ★ ★ ☆ ☆ – This one is pretty cool.
Precious – 4:10 - ★ ★ ☆ ☆ ☆ – Released as the first single, it’s almost the weakest song in my opinion. Although the message is strong (written by Martin for his children in the light of him going through a divorce), the melody and harmonies are too smooth and unmeaning, thus compromising the message.
Macro – 4:03 - ★ ★ ☆ ☆ ☆ – A Martin song.
I Want It All – 6:10 - ★ ★ ★ ☆ ☆ – Dave’s vocals are really shining here. With flashbacks of Clean and Waiting for the night, a very intense and direct piece. Written by Dave.
Nothing’s Impossible – 4:21 - ★ ★ ★ ★ ☆ – A mellow track with a title that’s in stark contrast to its darker perception. Some plucked sounds and some cool modular goodness. Written by Dave!
Introspectre – 1:42 - ★ ★ ☆ ☆ ☆ – An instrumental.
Damaged People – 3:30 - ★ ★ ★ ★ ☆ – One of the best Martin-sung songs they have released for quite a while. Layered bells (!), great harmonies, an incredible vocal performance and really touching lyrics.
Lilian – 4:50 - ★ ★ ★ ★ ☆ – A simple song about a love relationship. And it’s great. Guitars and synth lines play together to deliver a well-rounded track. I would have put a bit less of EQ on the vocals, but oh, well.
The Darkest Star – 6:55 - ★ ★ ☆ ☆ ☆ – The final song’s lyrics contain the title. The arrangement and the sounds are pretty cool, but for me, the vocal melody is a bit uninspired.
(Free – 5:11) - ★ ★ ★ ☆ ☆ – The ”B-Side“ to Precious. Much stronger than the ”A-Side“.
(Newborn – 5:35) - ★ ★ ☆ ☆ ☆ – The ”B-Side“ to A Pain That I’m Used To.
(Better Days – 7:11) - ★ ☆ ☆ ☆ ☆ – The ”B-Side“ to Suffer Well. I don’t like it.
(Martyr – 6:55) - ★ ★ ★ ☆ ☆ – Martyr was recorded shortly after the album to promote the forthcoming ”Best Of“ album. It’s an uptempo song that fits nicely with Lilian and John the Revelator. Lyric tidbit: ”From the day I was born, I’ve been moved like a pawn, by the greatest of powers.“
Sounds of the Universe (2009) – Gahan, Gore, Hillier, Fletcher
– More of the same ★ ☆ ☆ ☆ ☆
The four years album rhythm seems to stabilize. Ben Hillier returns as the producer. Unfortunately this album does not continue the most recent trend (back) to more dense and layered arrangements and sounds. Again, three songs written by Dave have made it to the album. And while he’s certainly improving as a songwriter, most of them do not feel like Depeche Mode, but rather like a solo. Truth to be told though, this holds equally true for most of the other songs on this album. I wish I could notice more individual features of the tracks, but to me they all sounds more or less the same. Whereas I found at least one or two offerings I really liked in every single previous album, it’s a tough call this time.
In Chains – 6:53 - ★ ☆ ☆ ☆ ☆ – The opener is a somewhat odd track. Starting out with what might be a tuning session of Martin’s modular synth, then some guitars, a TR-808, and some more noises. One of the weakest openers since long.
Hole to Feed – 3:59 - ★ ☆ ☆ ☆ ☆ – Written by Dave. An unnerving beat with guitars.
Wrong – 3:13 - ★ ★ ☆ ☆ ☆ – Interesting lyrics, the rest of the guitars, not so much.
Fragile Tension – 4:09 - ★ ☆ ☆ ☆ ☆ – Distorted guitars on top of programmed drums with a modular blip here and there.
Little Soul – 3:31 - ★ ☆ ☆ ☆ ☆ – Weeping guitars on top of a preset(?) drum machine loop.
In Sympathy – 4:54 - ★ ☆ ☆ ☆ ☆ – Ringing guitars on top of a relatively uninspired drum programming.
Peace – 4:29 - ★ ★ ☆ ☆ ☆ – One of the rare guitar-free tracks on this album. Some modular arpeggios. The vocal line sounds a bit like The Beatles to me.
Come Back – 5:15 - ★ ★ ☆ ☆ ☆ – Written by Dave. Overdriven guitars.
Spacewalker – 1:53 - ★ ★ ☆ ☆ ☆ – An instrumental, at least. I swear I heared it in an elevator before.
Perfect – 4:33 - ★ ★ ☆ ☆ ☆ – Too much like Precious to me, which I seriously detest.
__Miles Away / The Truth Is – 4:14 – Written by Dave, a lot of the melody is happening on one chord, which can get… annoying.
Jezebel – 4:41 - ★ ★ ☆ ☆ ☆ – A Martin song. Some nice harmonies and well sung, but the TR-808-style loop sounds out of place.
Corrupt – 6:15_ - ★ ★ ☆ ☆ ☆ – Good craftmanship, but nothing outstanding.
Delta Machine (2013) – Gahan, Gore, Hillier, Fletcher
– What’s left behind ★ ☆ ☆ ☆ ☆
Four years after the uninspired Sounds of the Universe, Depeche Mode returned with Delta Machine, once again produced by Ben Hillier. I don’t know who’s to blame—Hillier, the band, or the relentless march of time—but this album continues the downward spiral of sounding “cobbled together.” Where is the intense, almost maniacal love for detail that defined Music for the Masses or even Playing the Angel? Instead, we get a tired formula: guitars layered over programmed drum loops, with the occasional modular blip that feels like an afterthought. The synths, when they appear, are buried under a glossy sheen that strips away the band’s soul. Dave Gahan’s vocals are a saving grace at times, but even he can’t salvage an album that feels like a shadow of Depeche Mode’s former glory. Is this all that’s left?
Welcome to My World – 4:57 – ★ ★ ☆ ☆ ☆ – With the days of iconic openers (and axioms like “No Chords”) long gone, this is at least a slightly stronger start than In Chains. The synth bass pulses nicely, but the guitars and vocal distortion feel like a cheap nod to I Feel You. A missed opportunity for a haunting intro.
Angel – 3:58 – ★ ★ ☆ ☆ ☆ – A rhythmic offender with a guitar hook that screams, “We can still do things like I Feel You.”… sorry, but I’m afraid they can’t. The industrial crunch is promising, but the arrangement is repetitive, and the lyrics lack depth. Dave’s delivery is the only highlight.
Heaven – 4:04 – ★ ☆ ☆ ☆ ☆ – Great vocals, no doubt about that. But this is Precious 2.0, and I detest Precious. The smooth, radio-friendly melody and gospel-tinged harmonies are everything I don’t want from Depeche Mode. A different arrangement might’ve saved it, but this is a hard pass.
Secret to the End – 5:10 – ★ ★ ☆ ☆ ☆ – Written by Dave Gahan and Kurt Uenala, this track has a brooding vibe with a decent synth bassline. The lyrics about betrayal are intriguing, but the guitar riffs and plodding drums drag it down. It’s not terrible, but it’s not memorable either.
My Little Universe – 4:24 – ★ ★ ☆ ☆ ☆ – A minimalist track with modular synth blips and a sparse beat. I want to like it for the Kraftwerk-esque restraint, but the vocal melody is flat, and the arrangement never builds to anything exciting. It feels like a demo that needed more love.
Slow – 3:46 – ★ ★ ★ ☆ ☆ – A bluesy, slow-burner with Martin’s lyrics dripping with sensuality. Dave’s vocals are soulful, and the restrained synths are a welcome break from the guitar onslaught. It’s not Waiting for the Night, but it’s one of the album’s better moments. Trivia: The live version has a rawer edge that suits it well.
Broken – 3:56 – ★ ★ ☆ ☆ ☆ – Another Gahan/Uenala co-write, this one has a catchy chorus but falls apart in the verses. The guitars are too prominent, and the drum loop sounds like a preset from a 90s Casio keyboard. The vocal harmonies are nice, but they can’t save this middling effort.
The Child Inside – 4:15 – ★ ★ ☆ ☆ ☆ – Martin takes the lead on this somber ballad. The piano and synth pads create a moody atmosphere, but the vocal melody is forgettable, and the lyrics feel like a lesser Somebody. It’s not offensive, just underwhelming.
Soft Touch / Raw Nerve – 3:24 – ★ ★ ☆ ☆ ☆ – An uptempo track with a driving beat and some cool modular flourishes. The lyrics are cryptic, but the guitars overpower the synths, and Dave’s vocals are mixed too low. It’s energetic but lacks the punch of John the Revelator.
Should Be Higher – 5:04 – ★ ★ ★ ☆ ☆ – Co-written by Dave Gahan and Kurt Uenala, this is a highlight. The pulsating synth bass and layered vocals recall Halo, and the lyrics about striving for more have a raw edge. The guitars are still too loud, but Dave’s delivery carries it. Trivia: The live version on the Delta Machine tour was a fan favorite.
Alone – 4:28 – ★ ★ ☆ ☆ ☆ – A plodding track with a murky synth backdrop and uninspired lyrics. The arrangement tries for Black Celebration-style gloom but ends up sounding like a Sounds of the Universe B-side. Dave’s vocals are the only redeeming factor.
Soothe My Soul – 5:18 – ★ ★ ☆ ☆ ☆ – This single aims for an anthemic vibe with a driving beat and bold vocals, but the guitar riffs and glossy production make it feel like a U2 reject. The chorus is catchy, but it lacks the soul of Never Let Me Down Again.
Goodbye – 5:03 – ★ ★ ☆ ☆ ☆ – The closer has a bluesy swagger with slide guitars and a gospel-tinged vocal. It’s not as offensive as Heaven, but it’s not Depeche Mode. The lyrics are forgettable, and the arrangement feels like a tired end to a tired album.
(All That’s Mine – 3:24) – ★ ★ ★ ☆ ☆ – Released as the B-side to Heaven, this Gahan/Uenala track is stronger than most of the album. The dark synths and moody vocals recall Policy of Truth, and the arrangement is refreshingly uncluttered. Why wasn’t this on the album?
(Long Time Lie – 4:25) – ★ ★ ☆ ☆ ☆ – Another B-side, this time from the Should Be Higher single. The synth textures are promising, but the vocal melody is repetitive, and the guitars creep in unnecessarily. It’s a decent effort but not a classic.
Spirit (2017) – Gahan, Gore, Ford, Fletcher
– Political Misstep ★ ★ ☆ ☆ ☆
Four years after the lackluster Delta Machine, Depeche Mode returned with Spirit, produced by James Ford (Arctic Monkeys, Foals). The band took a bold swing at political commentary, tackling global unrest, Brexit, and the Trump era. While I admire their ambition to say something, the execution often feels heavy-handed, with lyrics that lack the poetic finesse of Black Celebration or Violator. Sonically, it’s a mixed bag: there’s a welcome return to darker synth textures and industrial edges, but the guitars and overly polished production dilute the Depeche Mode sound I crave. After Andy Fletcher’s passing in 2022, this album feels like a bittersweet final chapter for the classic lineup, but it doesn’t quite live up to their legacy.
Going Backwards – 5:43 – ★ ★ ★ ☆ ☆ – The opener sets a grim tone with pulsating synths and a Nine Inch Nails-esque crunch. Dave’s vocals are commanding, lamenting societal regression. The layered arrangement is a step up from Delta Machine’s blandness, but the lyrics are a tad on-the-nose. Trivia: The live version on Live Spirits (2020) adds a raw energy that elevates it.
Where’s the Revolution – 4:59 – ★ ★ ☆ ☆ ☆ – The lead single is a call to arms with a driving beat and fat synth bass. It’s got that Construction Time Again protest vibe, but the lyrics (“Who’s making your decisions? You or your religion?”) feel like a bumper sticker slogan. The bridge is cool, though, with a haunting vocal harmony. I wanted to love this, but it’s too blunt for my taste.
The Worst Crime – 3:48 – ★ ★ ☆ ☆ ☆ – A slow, brooding track with a bluesy guitar riff that feels out of place. The lyrics about collective guilt are earnest but lack the irony or depth of Blasphemous Rumours. The synth pads are nice, but this could’ve been a B-side.
Scum – 3:14 – ★ ★ ★ ☆ ☆ – This one’s got grit, with distorted synths and a menacing vocal delivery from Dave. The industrial percussion reminds me of Master and Servant, but the lyrics are a bit one-dimensional, railing against unnamed villains. A solid effort, but it doesn’t stick with me.
You Move – 3:50 – ★ ★ ☆ ☆ ☆ – Co-written by Dave, this track has a funky bassline and modular blips, but the vocal melody feels like a Sounds of the Universe reject. The arrangement is sparse, which I’d normally appreciate, but it lacks a killer hook.
Cover Me – 4:52 – ★ ★ ★ ★ ☆ – A standout. This slow-burner is haunting, with Dave’s emotive vocals floating over minimalist synths and a subtle Theremin-like lead. The lyrics about searching for meaning hit hard, especially knowing this was Fletcher’s last album. It’s got that Waiting for the Night goosebumps factor. Trivia: The “Alt Out” remix strips it down further, emphasizing the melancholy.
Eternal – 2:25 – ★ ★ ☆ ☆ ☆ – Martin takes the lead on this short ballad, but it feels like a lesser Somebody. The piano and strings are pretty, but the lyrics are too vague to resonate. Nice harmonies, though.
Poison Heart – 3:17 – ★ ★ ★ ☆ ☆ – Dave’s soulful delivery shines on this bluesy track, co-written with him. The gritty synth bass and metallic percussion are a nod to Some Great Reward, but the guitar solo feels forced. A decent B-side vibe, but not a classic.
So Much Love – 4:29 – ★ ★ ★ ★ ☆ – A surprise gem, especially in the Highline Sessions version. It’s an upbeat anthem with layered synths and a driving beat, reminiscent of Told You So. The lyrics are simple but uplifting, and the vocal harmonies are spot-on. Why wasn’t this a single?
Poorman – 4:26 – ★ ★ ☆ ☆ ☆ – Another socio-political track, this time about economic inequality. The plodding rhythm and guitar riffs remind me of Songs of Faith and Devotion’s weaker moments. The synth textures are cool, but the song drags.
No More (This Is the Last Time) – 3:14 – ★ ★ ★ ☆ ☆ – A breakup song with a catchy chorus and crisp production. The synth arpeggios are Kraftwerk-esque, but the vocal melody is a bit repetitive. It’s better than most of Delta Machine, but not a standout.
Fail – 5:07 – ★ ★ ★ ☆ ☆ – Martin closes the album with a grim reflection on humanity’s flaws. The moody synths and slow build are evocative, but the lyrics border on preachy. A solid closer, but it lacks the emotional punch of Clean.
(So Much Love (Highline Sessions)) – 4:30 – ★ ★ ★ ★ ☆ – Released as a promotional track, this rawer take enhances the original’s energy with punchier drums and clearer synths. It’s the kind of track I wish dominated the album.
(Cover Me (Radio Edit)) – 4:02 – ★ ★ ★ ☆ ☆ – A tighter version of the single, it loses some of the original’s atmospheric depth but gains radio-friendly pacing. Still a strong track, but I prefer the album cut.
Memento Mori (2023) – Gahan, Gore, Ford, Salogni
– A Return to Form ★ ★ ★ ★ ☆
After the disappointing Spirit, Depeche Mode faced their greatest challenge: continuing as a duo following Andy Fletcher’s death in 2022. Memento Mori, produced by James Ford and Marta Salogni, is a triumph of resilience, grappling with mortality, grief, and hope. It’s their most cohesive album since Playing the Angel, with a return to the dark, synth-driven sound that defined Black Celebration and Violator. The modular synths are back in force, the guitars are restrained, and the lyrics carry an emotional weight that feels deeply personal. While the vocal mixing occasionally lacks the presence of their 80s peak, this is the Depeche Mode I’ve been waiting for—a haunting, layered masterpiece that proves the fire still burns.
My Cosmos Is Mine – 5:17 – ★ ★ ★ ★ ☆ – The opener is a cinematic beast, with pulsating synths and a foreboding atmosphere. Dave’s vocals are commanding, weaving a tale of existential solitude. The modular blips and dense arrangement recall To Have and to Hold. My only gripe is the slightly muddy vocal mix. Trivia: This was initially a non-single track but gained fan acclaim live.
Wagging Tongue – 3:25 – ★ ★ ★ ☆ ☆ – A subtle, groove-driven track with cryptic lyrics about communication breakdown. The synth bass is fat, but the vocal melody feels restrained, almost like a Ultra-era B-side. Solid, but not a standout.
Ghosts Again – 3:59 – ★ ★ ★ ★ ☆ – The lead single is a synth-pop gem, blending melancholy with an infectious melody. The lyrics about facing mortality hit hard post-Fletcher, and the vocal harmonies are pure Music for the Masses. It’s not Never Let Me Down Again, but it’s damn close. Trivia: It cracked the U.S. Alternative Top 10, a rare feat for Depeche Mode in 2023.
Don’t Say You Love Me – 3:48 – ★ ★ ★ ☆ ☆ – A noir-ish ballad with Dave’s emotive delivery and a subtle string arrangement. The lyrics are poignant, but the pacing drags slightly. It’s a grower, like World Full of Nothing.
My Favourite Stranger – 3:57 – ★ ★ ★ ★ ☆ – This track is pure Black Celebration vibes, with eerie synths and a gothic pulse. Dave’s vocals are haunting, and the lyrics about an enigmatic figure are evocative. The bridge’s chord progression is a highlight. A near-classic.
Soul with Me – 4:15 – ★ ★ ★ ☆ ☆ – Martin takes the lead on this tender ballad, reflecting on mortality. His angelic voice shines, but the arrangement feels a bit safe, like a Somebody retread. Still, the vocal harmonies give me chills.
Caroline’s Monkey – 4:17 – ★ ★ ★ ☆ ☆ – A quirky track with a driving beat and modular synth flourishes. The lyrics about addiction are intriguing, but the vocal melody doesn’t quite soar. It’s a solid album track, reminiscent of Halo.
Before We Drown – 4:05 – ★ ★ ★ ★ ☆ – Co-written by Dave, this lush ballad is a standout. The soaring vocals and oceanic synths create a Waiting for the Night-level atmosphere. The lyrics about survival are deeply moving, especially in the context of Fletcher’s loss. Trivia: The live version is even more emotive.
People Are Good – 4:24 – ★ ★ ★ ★ ☆ – A cynical yet hopeful track with darkwave synths and a pulsing rhythm. The lyrics echo People Are People but with more irony, and the arrangement feels like a nod to A Broken Frame. It’s a late-album highlight.
Always You – 4:19 – ★ ★ ★ ☆ ☆ – A romantic track with a warm synth backdrop and Dave’s mellow vocals. The chorus is catchy, but the arrangement lacks the edge of the album’s best moments. Still, it’s better than most of Spirit.
Never Let Me Go – 4:04 – ★ ★ ★ ★ ☆ – Not a cover of Never Let Me Down Again, but a new track with 80s-inspired synths and a driving beat. The lyrics about clinging to love are poignant, and the vocal harmonies are sublime. It’s a love letter to longtime fans like me.
Speak to Me – 4:36 – ★ ★ ★ ★ ★ – The closer is a masterpiece, co-written by Dave. It’s a raw, emotive reflection on loss and redemption, with soaring vocals and a cinematic synth arrangement. The final minute, with its layered harmonies, gave me goosebumps like The Sun and the Rainfall. A fitting tribute to Fletcher and a reminder of Depeche Mode’s enduring power.
(Don’t Say You Love Me (Live)) – 3:50 – ★ ★ ★ ☆ ☆ – Released as a promotional track, the live version adds a raw intensity to the studio cut, with Dave’s vocals shining. It’s a great showcase of their 2023 tour energy.
(My Favourite Stranger (Boris Brejcha Remix)) – 6:37 – ★ ★ ☆ ☆ ☆ – A techno remix that strips away some of the original’s gothic charm. It’s fine for the dancefloor, but I prefer the album version’s atmosphere.