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▌────── Release Info ───────────────── ▐▌ ──────────────── ▌ ──────── ▐
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Originally released : 04-21-2009
Release date : 07-08-2009
Album name : Sounds Of The Universe
Artist : Depeche Mode
Ripped by : Team EOS
Genre : Rock
Label : Capitol
Encoding Software : Lame EOS
Quality : -V 2
Tracks : 13
Size of Files : 87,1 MB
─ Track list ───────────────────────────────────────── ─── ─ ─
01 06:53 In Chains
02 04:00 Hole To Feed
03 03:14 Wrong
04 04:10 Fragile Tension
05 03:31 Little Soul
06 04:55 In Sympathy
07 04:29 Peace
08 05:16 Come Back
09 01:53 Spacewalker
10 04:33 Perfect
11 04:15 Miles Away Truth Is
12 04:42 Jezebel
13 08:59 Corrupt
Total time: 60:50 min
─ Release notes ─────────────────────────────────────── ─── ─ ─
2005's Playing the Angel proved to be one of Depeche
Mode's strongest albums ù the combination of Ben
Hillier's production, the emergence of David Gahan as a
songwriter following his initial solo effort and a
clutch of striking songs that openly embraced
arena-level bombast following the much more subtle
Exciter resulted in wide praise and a well-received
tour. As a result ù especially given the return of
Hillier, the first producer to work on two Depeche
albums in a row since Flood's heyday with Violator and
Songs of Faith and Devotion ù Sounds of the Universe
was initially suspected of being Playing the Angel
redux, something the swaggering lead single "Wrong"
didn't undercut at all. After all these years, though,
Depeche can still pull out surprises, and what's quite
astonishing about Sounds is how they've returned to the
equipment and textures of their early-'80s work in
particular while reworking it to match both Gahan and
Martin Gore's current lyrical and songwriting
techniques. On balance, Sounds is one of Depeche's
lower-key albums, but not without explosive or dramatic
moments by any means, though. "Come Back," one of
Gahan's three songwriting contributions, captures a
sudden sense of vast space right from its start, the
deep-chugging percussion and reverberation perfectly
contrasting the soft chimes on the verses, while
"Peace," with an opening bassline straight out of the
days of the band's pop-industrial phase, and a stellar
vocal turn from Gahan, is an absolute high point. But
"In Chains," the slow-building start to the disc, sets
the tone best for Sounds as a whole, with a hushed
keyboard introduction, Gahan's swoon-worthy vocals
(showcasing some of his best falsetto work yet), Gore's
compressed funk guitar blasts and, above all else, the
sense of older styles and sounds ù classic drum
machines, early synthesizers, a rumbling bass
undercarriage ù serving new purposes. More overt nods
to earlier days appear with songs such as "Fragile
Tension" and "In Sympathy," both featuring keyboards
and beats sounding beamed in from A Broken Frame days
but also with beautiful vocals that the younger Gahan
could never have so easily done and guitar textures
that the younger Gore had yet to fully embrace.
"Perfect," meanwhile, almost reaches back to Speak &
Spell thanks to an opening keyboard line that
immediately calls the song "Puppets" to mind, but again
it's more of a launching point for the current band's
sound rather than a simple exercise in retrospection.
Gore's sole lead vocal appears towards the end of the
album on the enjoyable if understated "Jezebel," but
his uncanny knack for harmonizing with Gahan throughout
remains intact, with stand-out performances including
the understated clatter and chime of "Little Soul" and
his bravura turn toward the end of "Wrong." On the
whole, Sounds of the Universe is a grower, relying on a
few listens to fully take effect, but when it does, it
shows Depeche Mode are still able to combine pop-hook
accessibility and their own take on "roots" music for
an electronic age with sonic experimentation and
recombination ù not bad for a band with almost three
decades under its collective belt.
─ Contact ───────────────────────────────────────────── ─── ─ ─
Contact us @ : #eos (EFNet)
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