Depeche Mode - Playing the Angel
By: Mark Runyon | Category: Album Reviews | 10/28/05 | 05:07 PM
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Grade: B- | Genre: Synth Rock
Summary: While Playing the Angel isn't quite the breathtaking genius that Depeche has spoiled us with in the past, it is a welcomed return to form that will hopefully chart their path in albums to come.
Do you remember the first time you fell in love with music? There's always a certain song, a particular album or seeing an artist shed their earthly skin on stage that made you hand over your soul and never look back. There are about a half dozen albums that signaled my musical awakening in high school: Morrissey's Your Arsenal, Tori Amos' Under the Pink and especially Depeche Mode's Violator. I took to this album like a baby to mother's milk. It had that intense dark edge, fueling that teenage angst, with an innovation of sound that would influence an entire breed of musicians. In later years, I would dig up gems like 101 and Music for the Masses, but my relationship with Depeche's more modern works would prove a rockier ride. |
Initially, I discarded the grandiose Songs of Faith and Devotion before I happened to backtrack over it a few years ago. Now I easily declare it one of the bands richest experiences. I blame my still budding music tastes for failing to spot that genius on the first spin around the turntable. Since then, we haven't been as fortunate. Ultra was the deep embrace of their darker, more methodic side, which was a really nice look, but a bit of a retreat from their deep synth roots. Exciter was a massive departure and an equally massive disappointment. It just seemed like a chore the guys were just trying to trudge through so the label would get off their backs. There were the occasional glimpses at their old selves, but it was largely uninspired and dry. In between, we saw frontman David Gahan step out on his own for the utterly forgettable Paper Monsters. Is it time to close the book on the visionaries who always delivered us tomorrow's music today? If Playing the Angel is any indication, we best not pack them off to the nursing home with the Rolling Stones just yet.
We start with the sonic screech of "A Pain that I'm Used To." It is supported by an understated, pulsing beat that puckers through like blood squeezing through the vein. The song has a subtle bite that squarely gets in your face and won't let you look away. Now that's the Depeche Mode we know and love. The musical force doesn't let up an inch as it powers its way into the rough cut "John the Revelator." On the whole, the album is a return to the core Depeche Mode sound that fans have been aching to hear again. Granted, it's a step slower, a bit watered down and doesn't quite have the innovative charge of their younger selves, but it's certainly a look in the right direction. That's not to say that the album doesn't have its problem children threatening to capsize its return to the spotlight.
There are songs here that are wretched, polluting the air with a foul stench. "Microcosm" is nails on a chalkboard bad. It's horribly lethargic, lyrically daft and it brings to mind Gahan striking a pose Madonna-style. Please make it stop; it scares me. "Damaged People" is another offender. Its slow drag sounds like something pulled out of Badalamenti's the City of Children soundtrack. It's stuffy, sour and socks you over the head with its introspection. Yeah, we get it already.
The remainder of the album is dressed in sparks of greatness and pieces to simply gloss over. "The Sinner Inside" doesn't muster enough snarl to be truly noteable although the merciless barrage of sound at the end scissors into you until you bail out to the next track. Three tracks are so juicy they melt in your ears. The album's first single "Precious" is one of these enticing slivers Martin Gore serves up. It's as if they stepped into a time machine and fused their years of musical knowledge with the limitless potential of their glorious 80's sound. It's careful, delicate and a bit sinister with its deep stare. "The Darkest Star" sounds like the evolution of the haunting "Waiting for the Night" that stood in the shadows on Violator. The track breaks the bleaker tone with swift punctuating piano blast. "Suffer Well" joins "Lillian" as the most dance inspired tune of the collection. Its beats are slick and scalding. Gahan's voice slowly razors its way through the pungent swell of rhythm. To hear it, you'd never know they'd ever lost a step. Interestingly, this song was one of three songs ("Nothing's Impossible" and "I Want It All" being the others) Gahan wrote. This is his first stab at writing for the group in their 25 year history.
While Playing the Angel isn't quite the breathtaking genius that Depeche has spoiled us with in the past, it is a welcomed return to form that will hopefully chart their path in albums to come. I'm very happy to see the father's of my music collection rediscovering their passion and plugging into the drive that first made them legends before their time.
Release Date: October 18, 2005
Download Depeche Mode's Playing the Angel at AllofMp3 for a mere $1.47 or get your hands on a hard copy at Amazon. Checkout featured tracks from Playing the Angel in the coming months on the best Internet radio has to offer at Live365's Innovative Radio.
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