This album should never have been made.
No, that's not a critical summation at all. Rather, a new Depeche Mode CD-- it's 12th and first studio album in four years-- couldn't be guaranteed considering the crises facing it's distinctive lead singer, Dave Gahan. Not unexpectedly, Depeche Mode sometimes resembles a 12-step addicts program on ULTRA, with numerous songs crying out in pain. There's one measure of hope amid the gloom on "Home", were Gahan sounds remorseful and grateful: "I thank you for bringing me here/ For showing me home/ For singing these tears/ Finally I've found that I belong here." Yet the three members of Depeche Mode (minus departed drummer Alan Wilder) have rallied to craft an album that overall could resonate with longtime fans who never cared for the group's foray into electronic guitar rock with the preceeding Songs of Faith and Devotion. ULTRA (due out Tuesday) is a return, of sorts, to the electro-pop sound of it's biggest hit, 1990's Violator., while U.K. electronic dance producer Tim Simenon (aka Bomb the Bass) gives ULTRA a steady, slowly rhythmic and modern feel. The caustic lead track "Barrel of a Gun", with it's techno synths, metallic guitars and distorted vocals, is ULTRA's one misstep as it recalls the music of nine inch nails-- a sonic gimmick that borders on cliche. But then Depeche Mode settles into more familiar, dark and melodic territory with "The Love Thieves" and subsequent songs. Just when the music threatens to become dull, the pace too labored, the group pulls out a sizeable hook-- the weeping guitar on the lushly orchestrated "Home", the gnawing guitars on "Useless", the catchy vocal chorus of "It's No Good"-- and the pitch-black ULTRA sinks in.
Miami Herald, April 12th 1997
Thanks to Jessica
