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Rating: This new “Spirit” is an important album for Depeche Mode.
The first novelty, and certainly the most important, is the change of producer: after the experience with Ben Hillier that led to a trilogy of albums (one beautiful - “Playing The Angel”, one negligible - “Sounds Of The Universe”, and a decent one - the last “Delta Machine”), the Basildon band relies on James Ford, a member of Simian Mobile Disco and a rather renowned producer (with experiences with Arctic Monkeys, Klaxons, and Mumford & Sons).
Now at their fourteenth studio effort, the British trio attempts a partial refresh of their well-established sonic framework. This intent is already evident from the first single “Where’s The Revolution?”, a fair compromise between anthem-like attitude and incisiveness in the sounds (all seasoned with a sharp political vein in the lyrics, a theme that recurs throughout the work).
The journey begins with an opener like “Going Backwards” that already convinces completely, based on a well-crafted weave between piano and electro fascinations. It is one of the tracks written by Martin Gore, who seems to be in good form, spanning between the gloomy and dark atmospheres of the excellent “The Worst Crime”, “Eternal” (in which he also lends his voice) and “Fail” (also performed by him, placed at the end) and the aggressive “Scum”, a real punch to the stomach that shoots a frantic mix of synths and supercharged bass in the listener’s face. Noteworthy is also Gahan's performance, as sharp as it has not been in years. “So Much Love” is the only one that brings to mind the pre-Exciter Depeche, while “Poorman” is much more airy and deconstructed.
This time, Gahan signs as many as four tracks for the new work: one in collaboration with Gore himself, namely “You Move” (once again guided by the bass), and the others with regulars Peter Gordeno and Christian Eigner, as well as Swede Kurt Uenala. “Cover Me” starts slow and gradually and unhurriedly builds a good melody, culminating in an instrumental magma dominated by keyboards. “Poison Heart” is the most Soulsavers-like track on the album, while “No More (This Is The Last Time)” could easily hold its own as a future single.
“Spirit” is undoubtedly a good album, which definitively puts an end to the now outdated misstep with “Sounds Of The Universe” and reconfirms the good form of the three from Basildon.
Best Track: Scum
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Other reviews
By Avvelenata
"Oh no. No. No. No: it’s not possible."
When you love, even if the partner gets fat, loses hair, and starts getting wrinkles, you keep loving them just the same.
By mauriziodag
The Basildon trio switch their communicative register to take a clear and unequivocal 'political' stand, bluntly expressing their anger and thoughts to the world openly and without any filter.
'We have not evolved, We have no respect, We have lost control (...) We are going Backwards.'
By AGENTORANGE
"It had been since ULTRA that I hadn’t perceived such a compact and dark album like SPIRIT."
"It gets under your skin, circulates through your veins, and slowly you become addicted and inevitably dependent on it."
By marcomaisetti
Spirit is not a political album, say Depeche Mode, but it harshly reproaches humanity for what it could have been and was not.
'Cover Me' is undoubtedly the album's pinnacle, with an emotional journey beyond the zenith, awaiting a new dawn.
