Connect with us

Music

[Album Review] Depeche Mode “Delta Machine”

Published

on

If you follow some of my articles or my twitter (hint hint), you know by now that I’m a huge fan and supporter of UK electronic band Depeche Mode. Since I was a young ‘un adjusting the antenna on my radio to get the local pop/rock radio station (how many of you can say you’ve done that?), their sound and attitude always appealed to me. I don’t know if it was Martin Gore’s fantastic songwriting, Andy Fletcher’s mesmerizing sounds, or Dave Gahan’s incredibly unique and versatile voice (I would probably commit some grave crimes to be able to sing like that man) or if it was simply the group as a whole, but I was always hooked when they came on.

Fast forward some 20 years later and I’m still a fan, as eager to hear new music from them as ever. That’s why I’ve been chomping at the bits for a chance to listen to their latest release Delta Machine. Now, having spun the record several times and thinking about it more than is probably healthy, I’ve come to a rather interesting theory. In my mind, I think that Depeche Mode wanted the listener to go through a religious experience when listening to this album.

If you’re scratching your head and asking yourself, “What the hell is he talking about?”, then I encourage you to head on below to hear me out. And if you have a different theory, I’d love to hear it!

Let me paint the picture of how I came to this realization, shall I? I’m laying back on my couch, wearing my Grado SR60i headphones, and just letting Delta Machine play from beginning to end. I’m not writing, I’m not watching or reading anything, I’m not playing any games. Nope, I’m just listening, absorbing the music and letting it all wash over me.

On the second playthrough, I was thinking on how Gahan sounded almost like a preacher at his pulpit, addressing his flock, in the second track “Angel”. That image was like a light bulb going off above my head. Suddenly, it was much more clear what was going on with this album. Within that song alone, Gahan sings of snakes, the Lord, angels, and more. It begins somewhat sinister but evolves into something more energetic and exciting.

With this realization and this theory in mind, I restarted the album and noticed that “Welcome To My World”, a very cinematic and engaging track, featured some sweeping, escalating synths that called to mind a choir of angels. The lyrics to “Heaven” were suddenly much more religious and pious, with phrases such as “I will scream The Word/Jump into the void/I will guide the world/up to Heaven”.

“Secret To The End”, which showcases Gahan’s stellar vocals, have him calling out “Thank god” while the music of “My Little Universe” reminded me symbolically of the beginning of Genesis. It begins minimalistic and empty, growing more and more lush while adding layers of depth and structure. Even the lyrics have a slight Genesis theme about them.

Each song on this album can have a religious aspect drawn from it if one were to choose to do so. I not being religious at all, it was still fascinating to try and pick out what was and what wasn’t a religious theme.

Now, with all that being said, I should at least tell you what I thought of the album from a musical standpoint, right? Well, to that I say that the album, while engaging and fascinating, simply didn’t speak to me in the same ways that other Depeche Mode albums have. I definitely enjoyed it but were I pressed to choose between this and other of their albums, I know I would always turn to Playing The Angel.

Sonically the album is, as with any Depeche Mode album, a joy to listen to. On top of the fantastic production (the mixing and use of panning alone is applaud-worthy), the various tones, patches, synths, and effects used ensure that something new will pop out each time you listen to it. Get some good headphones and ease back with this one.

The Final Word: While Delta Machine is a great album that continues the legacy of one of the greatest bands of my generation, I simply didn’t find myself as engrossed or intrigued by it as I was hoping. Still Depeche Mode have delivered something that made me think and investigate, which I can truly appreciate.

Got any thoughts/questions/concerns for Jonathan Barkan? Shoot him a message on Twitter or on Bloody-Disgusting!

Managing editor/music guy/social media fella of Bloody-Disgusting

Music

“He Walks By Night” – Listen to a Brand New John Carpenter Song NOW!

Published

on

John Carpenter music

It’s a new day, and you’ve got new John Carpenter to listen to. John Carpenter, Daniel Davies and Cody Carpenter have released the new track He Walks By Night this morning, the second single off their upcoming album Lost Themes IV: Noir, out May 3 on Sacred Bones Records.

Lost Themes IV: Noir is the latest installment in a series that sees Carpenter releasing new music for John Carpenter movies that don’t actually exist. The first Lost Themes was released in 2015, followed by Lost Themes II in 2016 and Lost Themes III: Alive After Death in 2021.

Sacred Bones previews, “It’s been a decade since John Carpenter recorded the material that would become Lost Themes, his debut album of non-film music and the opening salvo in one of Hollywood’s great second acts. Those vibrant, synth-driven songs, made in collaboration with his son Cody Carpenter and godson Daniel Davies, kickstarted a musical renaissance for the pioneering composer and director. With Lost Themes IV: Noir, they’ve struck gold again, this time mining the rich history of the film noir genre for inspiration.

“Since the first Lost Themes, John has referred to these compositions as “soundtracks for the movies in your mind.” On the fourth installment in the series, those movies are noirs. Like the film genre they were influenced by, what makes these songs “noirish” is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone.

“The trio’s free-flowing chemistry means Lost Themes IV: Noir runs like a well-oiled machine—the 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from John’s own Christine. It’s a chemistry that’s helped power one of the most productive stretches of John’s creative life, and Noir proves that it’s nowhere near done yielding brilliant results.”

You can pre-save Lost Themes IV: Noir right now! And listen to the new track below…

Continue Reading