Journalist Luke Turner of The Quietus Magazine was another person who got the chance to listen to Depeche Mode's new album.
Welcome to my world
calmly at first ...and then the power plant vibrates... enormous explode ... to wait,Someone accidentally put the wrong cover on the CDRooster-notes？ 13. studio the albumDepeche model beginnoisy as hell, truck-technology surprise. but then Dave Gahans rather soft singing deliver form compared"Welcome to my world / Leave the tranquilizers at home / You don't need them anymore."Is this the state of Depeche Mode? "The actors are gone"zing Gahan,the devil didThe song develops into a huge "Welcome to Minecraft" chorus, quiet noises and beeps, and very analog unpainted strings. There was a lot of anger, but it sure looked good. Gahan is very familiar with the demon/soul/bleed/dream/control theme.
This is the demo track that Depeche Mode first announced via video for the Delta Machine a few months ago. It starts harder than 'Welcome', the heaviest song since the Einsturzende Neubauten-inspired collaboration with Gareth Jones in the mid-1980s or even later. It's hard to see what's behind the guitar when it's there. Gahan's mimicked gospel is great: "The angel of love is upon me," and the verse on "Sunday Canoe" suggests conflict between souls. Angel sounds like Depeche Mode, but different than ever.
I have to admit I'm not sure about this single. I think it's too focused on the US mainstream broadcasting market. Lennon plays too much piano, a bit like Radiohead's "Karma Police", which is arguably a stark contrast to the opening salvo. Still, it's not a passion killer like some of the other tracks. Although fans of Depeche Mode - in terms of the stronger side - expect more. The great thing about Heaven is that it sounds like a song U2 would write if they weren't constantly writing about giant storms... and there's always a Blawan mix.
the secret of the end
Pulsating electronics escape and there's a really good analog chatter throughout. A simple drum machine and "ping pong" as Gahan's vocals rebuild the song into a perfectly typical Depeche chorus:"The question should be you...if not me...last deal is up/we're done."I'm really starting to feel like some of the sonic elements from VCMG have been carried over to Depeche Mode. Great drum fills, a one note keyboard line and then a really ironic and ugly ending. Something happened in the rehearsal room.
my little universe
There's also a variation, the song starts off on a dull, unpleasant note and Gahan goes into a mode so slow you can even imagine Thom Yorke singing"I am the king / I decide everything / I don't let anyone in."Musically, it's (quite appropriately) disjointed electronics like four-tet things, beep beep beep beep beep. The piece has just the right amount of space, breather sounds, and nourishing exercises. He is far from glamor and simplicity. The whole thing is something Depeche Mode has probably never done before.
...the blues is coming, and we're halfway through the album. Presumably Gore could play the electric guitar. But her sound here fits perfectly with the rest of the album, perhaps because here too electronica dominates and the beats have an obscene cadence. Gahan sounds a bit depraved as he sings:"As slow as possible/I like it so much/I don't have to race in bed/Speed is in my heart/Speed is in my head".There is a loud noise in the background, when you turn it up and down it sounds like one of the toys but it comes from a very playful robot.
to gravel elements
The song references songs like "Behind The Wheel", with its dark intentions revealed through the solid synth drums and background echo effects. Guitar riffs complement Gahan's innocent vocals:"Remember when there were no tears?"And coyly repeating her plight:"You fall/I catch you/You don't have to fall that farThis is a bit different from what A Matter of Time offers.
Lyrically, it's almost the second part of Broken, with the most stark attitude: "There's darkness and death in your eyes / What you're buried / A shallow grave in your soul"... it's even darker: "You really must dig a little deeper in there/body parts start to come out and get scared/children from the inside". Here's another very simple song, thumping bass, maybe wind in the treetops, strings, anthem-inspired vocals, sci-fi jams, then a haunted forest, with increasingly gloomy lyrics: pop to bed / But you were made instead of to play with your soul / The child within died. It is the quietest song on the album, but also the most subtly structured.
soft touch / raw nerves
explode! Learning Monsters! Tingling, not soft, relentlessly pounding drums, synths running like fingers over shiny wet skin, a beautiful chorus: "Oh bro! most carefree song since the beginning, but it's still connected to what defines Delta Machine: dense production. Get some poppers, Fry Odd, old man.
should be higher
Delta Machine opens with the darkest track yet, deliberately set to a 4/4 beat, and is without a doubt Depeche Mode's darkest, most brutal album in years. With lyrics about bruised arms and lies and how I succumbed to happiness, I suggest adding another song to the canon of DM songs that could be about faces, love, or both. The brilliant stadium doll has another hovering choral character, another testament to the weakness of the Anglo-Saxon ear. Across Europe, from Volgograd to Turin, from Helsinki to Lodz, thousands of people will come to see a song so powerful... And here people are watching Coldplay and Muse. This is the bad taste of our country.
A muffled, galloping drum machine, a train off the track amid a black and white cinematic synth melody, fresh beats - all in an absolutely brilliant racket. “I can't save your soul”… Gahan apologized for that over the years and still does. Musically, it's further proof that Depeche Mode has resisted the temptation to keep everything perfect. Alone is a throaty, rough piece with a very good voice. It will be very interesting to see this album live - if some of the Depeche Mode concerts of recent years lack the captured power of, say, mass.
make my soul smile
Another Fastlane, a technopop song, this is one of a kind, like a deconstructed VCMG. Gahan quickly adapts: "I'm coming to your house / I'm going to break in" growls, that's all the helicopters rattling before...quite surprising...and a whirlwind in the chorus pitcher, but Gahan yelled it was over. here it is! He can be seen in tight leather pants, "I've come to you! There's only one way to soothe my soul," he brazenly exclaims. With all due respect, the contemporary "Personal Jesus" is the penultimate track on the album. Very classic shipping companies, they make it here.
The last cowboy song? “It was you who took my soul and threw it into the fire.” Yes, it's blues influenced, but again the acoustic guitar works perfectly with the electronics, and the song continues to tower over Gahan's vocals. You would think Goodbye was a ballad, but no, they kept their style.