Depeche Mode
Sounds Of The Universe

THE REVIEW

For reasons I won't explain, I had the chance to preview the new Depeche Mode album titled "Sounds Of The Universe" (an absolutely official version, not one fished from some torrent).

After their previous "Playing The Angel," which in my opinion, and not just mine, was one of the most beautiful albums of the last 10 years, I was quite hesitant about what to expect from this new work. After numerous attentive listens before giving my final opinion, I come to a concise conclusion about the album, but especially about Depeche Mode: Clone them!

After more than thirty years of career and success, these three wealthy middle-aged gentlemen present us with another fantastic album, once again surprisingly innovative in its sounds and production. Throughout the album, there is a remarkable attention to detail and a stylistic research that emphasizes an uncommon refinement and experience. The entire record is enriched by almost vintage-flavored electronic sounds. They remind me of certain 1970s sci-fi films or, more simply, Kubrick's masterpieces "2001: A Space Odyssey" for its icy and motionless atmosphere of the "perfect sci-fi film" or the electronic version of "A Clockwork Orange"’s Ludovico van. I must also mention the electronic influences of Kraftwerk and everything that followed from the '70s onwards. This is only to provide a superficial idea without wanting to delve into every single nuance of which the album is full. Moreover, everything is not thrown in randomly as a kind gesture, but is built with wisdom and elegance that leaves one truly amazed.

13 songs in total. The beginning is amazing; the opening track "In Chains" will probably become one of DM's all-time classics, with its poignant and alienating melody. Right after, we plunge into the whirlwind of "Hole To Feed" which drags with it everything it encounters until it reaches "Wrong," the single that might not shine for originality but has a staggering drive and is completely convincing nonetheless. But the gut punch comes with the fourth track "Fragile Tension," a stunning track with a stellar verse and a delirious and distorted chorus. The rest of the album alternates moments of absolute beauty with slight declines. Extraordinary "In Sympathy," "Come Back," "Miles Away" truly fantastic, and the closing track "Corrupt" which is indeed the paradigm of DM's music. A notch below, in my opinion, "Little Soul" and "Jezebel" left me decidedly colder, as did "Peace" and "Perfect," beautiful songs, yes, but not unforgettable. A final mention goes to "Spacewalking" a small instrumental gem of just under two minutes that encapsulates the entire essence of the album and the references I've made in the preface.

In summary, nine songs from another planet and four normal. Draw your own conclusions. May God keep these guys with us as long as possible.