Review: Depeche Mode- Delta Machine
There are at least two memories, possibly three, I have that
I associate with Depeche Mode.
The first is from the summer of 1993. The summer I turned
10, I spent most days at my friend Paul's house—my mother worked, his did not,
so she watched me, and I watched myself become less and less interested in
being friends with Paul throughout the three months between 4th and
5th grade.
We would occasionally watch television in his living room,
watching music videos on MTV. One video I vividly recall seeing a lot was
Depeche Mode’s “I Feel You.” And as a 10-year old, I can recall being really
bored every time it came on, flipping the channel for a few minutes until we
thought it would be over.
“I Feel You,” to some extent, attempts to recreate the
juxtaposition of a blues riff with a modern synth-pop sound, exemplified in
their previous single “Personal Jesus.” The video, filmed in artistic black
& white, featured a very sultry woman, looking into the camera in a very
sultry fashion, as well as various shots of the band—including a very greasy
looking Dave Gahn, smacked out of his mind, shuckin’ and jivin’ to the music,
lip syncing towards the camera.
(look at this fucking guy.)
The second memory of Depeche Mode involves my development of
actual interest in the band, thanks to the second single from their 1997 album Ultra. It was summer again, the year I
turned 14, and the video for “It’s No Good,” was getting a lot of airplay. It
featured a recently cleaned up Dave Gahn, still looking very greasy, playing
some kind of strange lounge singer/pimp, sporting very sparkly leisure
suit. To this day, “It’s No Good,” is
still an incredible song—timeless, I suppose, in it’s sound.
I never owned a copy of Ultra—I
believe I had purchased the “It’s No Good” Maxi-Single with my 8th
grade graduation money—along with some other choice 1997 releases. For some
reason, that summer, I made a lengthy mix tape to play in the computer room, or
in the garage when I was shootin’ hoops (because I’m so athletic.) I remember
that “It’s No Good” came right after Third Eye Blind’s seminal “Semi-Charmed
Life.” So to this day, whenever I hear the ending of “Semi-Charmed Life,” I
immediately want to hear the first synthy notes of “It’s No Good.”
Also, please do not be jeal jeal of my mix tape making
abilities at the age of 14.
(<3 u 4 eva, maxi single)
The third and final memory of Depeche Mode comes in early
1999, when I was a sophomore in high school. Through my love of both the band
Failure and The Deftones, I discovered a Depeche Mode tribute album—For The Masses. The Deftones contributed
a rather shouty, yet somewhat authentic version of “To Have and To Hold,” while
Failure nailed the DM classic, “Enjoy The Silence,”—a cover so good that Martin
Gore himself has said he prefers their cover to the band’s original. It was
also during this time that I somehow struck up somewhat of an acquaintance with
the high school basketball coach, who I also had a teacher—of what class, I
can’t even recall. Somehow we started talking about Depeche Mode, and that in
college he was a huge fan.
I went into Depeche Mode’s new album, Delta Machine, attempting to look at things somewhat objectively,
but all I could think about for at least the first half of the record is how
these songs will sound when performed at the Minnesota State Fair in August.
The Twin Cities tour stop on the band’s itinerary isn’t in an arena like the
Target or the Xcel Center. It’s at the Great Minnesota Get-Together. So I’m
thinking of carnies, livestock, and Dave Gahn, wearing a sharp, shiny suit,
mascara around his eyes, performing for the masses. Also, worth noting I feel,
is that it is the only stop on their tour that is taking place at a State Fair.
Delta Machine is
the band’s 13th proper studio album. I am by no means the world’s
biggest Depeche Mode fan. I’d say that I have a passive interest in the band.
They release a new joint every three or four years, and whenever I see that
information in the music news, I think, “Oh hey, that’s cool. I’m glad they are
still around.”
From what I can tell, Delta
Machine is most certainly a Depeche Mode album. I’m not saying that in a
negative way, or even a positive way. I am just stating it as a fact. While by
today’s standards, their late 80’s and early 90’s heydays sounds super dated,
but they those are classics—“A Matter of Time,” “Personal Jesus,” and “Enjoy
the Silence.” For some reason, I have a hard time thinking that anything off of
this record will be considered a classic, twenty years down the line.
That’s not saying that there aren’t good songs on Delta Machine. It’s just saying that
latter day Depeche Mode, like many artists who have been at it for this long
and continue to record new material, lacks the immediacy that their earlier
material had.
Maybe it’s because the last glitch/synthy record I listened
to at length was the Atoms For Peace album Amok,
but there were a few times on here that I thought the beats and some of the
synth work was very Amok-y. Delta Machine is very synth heavy—like
sometimes I was thinking, “ayo, how many keyboards you need on this track,
son?” The album gets off to a bit of a slow start, but the tracks “Heaven, “and
“Secret to the End” are both moody enough to remain interesting, and keep the
pacing moving.
As the record approaches the halfway point, “Broken,” one of
the more guitar-driven attempts to recall echoes of their early material. At
the half though, things lose steam with “The Child Inside.” The following
track, “Soft Touch/Raw Nerve,” is bombastic enough to try and pick the pacing
back up, based around relentless, festival headlining-ready synthesizers.
In the final moments of the album, “Soothe My Soul,” is
another track that revisits their early sound and overall vibe, while the
closing track, the aptly titled “Goodbye,” is built around another slow bluesy
guitar riff, but also features some obnoxious synthesizer tones that do not fit
at all with the overall atmosphere the song is trying to create.
Again, I am by no means a Depeche Mode aficionado—just a guy
who needed a new release to write a review of for his blog, and my passive
interest in the band lead me to pick this record. If you are a fan of the band,
chances are you will enjoy this record. Maybe not as thoroughly as Violator or Music for The Masses, but no doubt you will find hearing Dave
Gahn’s voice and Martin Gore’s wall of synthesizers like sitting down for a
drink with an old friend.
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