With Gore as the undisputed leader, the second transitional album arrives (which will be completed in the next one). Little accessible, some remnants of dance mixed with a dark sound. Everything Counts is an exception. Still too heterogeneous. more
After 3 albums, Depeche reach their pure essence. Gore expresses himself at his best, composing the darkest album of the group and the first of the "magic triptych." The real Depeche starts from here. more
The first of the two true masterpieces of the band: the sound has now become a trademark signed by Gore, the album is more balanced and homogeneous and slightly more accessible. One step away from perfection. more
Album that arrives in a tough period for the band, amidst struggles with drug addiction and conflicts. The electronics almost completely disappear to make way for a dark rock sound. Another great work. more
Still amidst issues (it seemed they should have resolved), Ultra embodies the essence of Depeche: it blends the synth rock sound of the "trilogy" with the rock of its predecessor. However, something is missing to define it as a masterpiece. more
Overcoming internal issues, Depeche return to producing an entirely electronic album. The sounds heavily diverge from those of their best works, blending the dance elements of their earlier releases with a chillout spirit never heard before. An album that breaks the Depeche mold. more
The hardest work of the Devon trio (and to think that even harder tracks were omitted and included in the Hullabaloo OST album). Undoubtedly the most sought-after and refined, New Born remains perhaps their greatest gem (along with Hysteria). more
Another great piece of work, with some initial hints of the more commercial style that would follow. Hysteria remains, along with New Born, their best track. more
Here the transition process is complete and Gore has total control over the band: nonetheless, it results in a work that is still mixed, between synth pop tracks and mood ballads (the first and last album by Depeche to contain them). The peak will come a few years later. more
This album lives on highs and lows, with peaks at the level of its predecessor (Slave to the Wage, Every Me/Every You), hints of their future sound (Taste in Men, Special K), and a few too many returns to the sounds of the first album (Black-Eyed). more
Continuation of what was started in the second piece of the previous Battiato. Tracks halfway between nonsense and 20th-century avant-garde music. It is all too clear why it was rejected as the soundtrack for the film Brunelleschi (it had been commissioned for that purpose). Unhearable, 2. more
First courageous work, though lacking the avant-garde elements of Pollution. Difficult to listen to; it needs to be absorbed slowly. more
Top experimentation, heavy use of electronics, and surreal lyrics. Perhaps it remains Battiato's best work. For the time it was released, one of the most innovative albums. more
Another experimental work, this time more focused on the musical side. It innovates without destroying, stepping outside the norms of the music of the time but still being listenable. Less involved than Pollution. more
The second masterpiece. Special Needs and the title track would have fit perfectly in Without You I'm Nothing, Taste in Men showcases how to blend rock (almost punk) with electronics, This Picture is pop with masterful elegance. more
In total disagreement with those who say it's a sad attempt to revisit Oxygène, in my opinion another great album, even superior to its predecessor in the first tracks. Part V is another unforgettable hit. more
The experimentation of an entirely "a cappella" album is commendable, but it fails to leave a lasting impression. Aside from gems like Oceania, there is a noticeable lack of something to accompany the voice (namely instruments), and in the end, it results in being tedious. more
Here in fully chill territory, another great job, but not as much as the previous one. more
Overrated album by most, only for the presence of a beautiful track like In The Air Tonight. Predominantly pop work, developed only in part for the rest. more
It doesn't leave a mark. Shallow pop. more