Depeche Mode – Sounds of the Universe

It is impossible to look back at the early career of Depeche Mode without having to concede that at times, its not unreasonable to state that they were a bit crap. There, I’ve said it. Not often, only every now and then. Martin Gore’s fondness for getting his nipples out and smothering his body (and lyrics) in bondage didn’t help, leaving them tarred with a reputation for gloom and sadism in equal measures, something they’ve never really shaken. However in reality, since the mid to late eighties, they have actually been consistently impressive. Few bands have managed to sustain a career with such a wide variation in style, from the ice-cold electronica of Violator and Ultra, to the pomp and grandeur of Music for the Masses. In fact, it is the latter that new album Sounds of the Universe is most akin to, and not just in title. Lyrically, not much has changed. Gore still manages to use the word “beseeching”, simply because it rhymes with “reaching”, and does play to form, almost with a knowing wink. 'Wrong', the lead single, is so awash with his usual clichés that it almost sounds like a Hale and Pace comedy tribute. Thankfully, the music on the track is rich and powerful, archive synths polished with a modern finesse. Tempo-wise, it also sounds fast in your mind until you actually listen to it, full of random sound bursts as if they just let Andy Fletcher go wild on a keyboard to see what would happen.It is very much an album where the old equipment has been dragged out of the loft, revealing its electronic credentials from the start with what sounds like a bunch of synthesizers warming up in the orchestra pit. 'Peace' reeks so much of the 80’s it could be a reject from second album A Broken Frame, the bass-line and chirps sending a misty eye darting back to early single 'See You'. 'Hole to Feed', one of Dave Gahan’s contributions, has a backing lifted wholesale from Pump Up The Volume and a rich, throaty vocal. Gahan is as wonderful as always, his voice an asset throughout the album, but more than ever he is backed by an equally impressive Gore, his rich, tuneful harmonies in particular making standout track 'Little Soul' one of the best songs of their career.Equally wonderful is 'Fragile Tension', full of crunchy guitars and crispy drum snaps. Arrangement wise, it is rather disjointed, particularly the end where it sounds as if someone just wandered into the room and switched it off. 'In Sympathy' is jittery, pulsing with echoing stabs balanced against a warm electric guitar, where 'Come Back' is a clanking, pounding monster of a song, resonating with crisp static noises. As a whole, this release is every bit the equal to Playing the Angel. The majesty of 'Little Soul' shows how Gore’s talent for melody has not diminished, and Gahan’s voice is as potent as ever. Sounds of the Universe is a worthy addition to their catalogue, holding its own with the zenith of their popularity. 74%Official Website