Review: "Delta Machine" by Depeche Mode

Cover art for Delta Machine

The Return of Depeche Mode

If you're this far into the blog and don't know who Depeche Mode is, go here to educate yourself.

It's been four long years since the the last DM release, and four years is a long time for this dynamic band, enough to go from A Broken Frame to Black Celebration.

Is Delta Machine an equally as great shift in the band's style?

No.

But that's a good thing.

Martin Gore described the album as a cross between SOFAD and Violator in an interview after releasing "Heaven," which oddly has failed to receive major airplay, despite the fact it comes form the masters of synthpop themselves. While it does (kinda-sorta) have the vibe from both Songs of Faith and Devotion and the triple-platinum Violator, it seems more closely related to Exciter at most points, while still remaining totally original.

Why You Should Buy the Album

• Here's a simple and silly reason: the baselines. Delta Machine contains some pretty badass synthesized baselines, with "Welcome to My World" and "All That's Mine" (deluxe version only, B side for "Heaven") standing out.
• Those blues tracks, emphasizing that fact that you could call the Mode a blues-rock band and get away with it. "Heaven," of course, is the greatest example of it, with Gahan and Gore's contrasting vocals. "Angel" stands out as well, serving as a slightly more upbeat contrast to the darkness of "Heaven."
• The connection between previous styles of Depeche Mode, such as the nice little primitive synth riff in "My Little Universe."
• The darkness of the album, along with its connectivity to the modern era. "Broken" (no relationship to the Tears for Fears track) makes you say "That is why I love Depeche Mode." "Soft Touch/Raw Nerve" is particularly emotional, reminding us of the often fragile balance between love and hate in our relationships with the people around us. 
• "The Child Inside." "Heaven" is great single material, no doubt about that. However, "The Child Inside" sums up the album quite nicely. It is simultaneously brand new and reminiscent of Depeche Mode's past, along with being both terribly dark and connectable, being a song about the dismay of seeing someone lose their innocence and traits that you connected with and loved. If someone makes this into the background music for a film adaption of Sartre's "Nausea," then this song will be completely and utterly perfect.
• This was originally filed under the con section before I came to my senses: it feels...incomplete...like Depeche Mode could evolve more...like this already great album could influence even greater ones.

Why You Shouldn't Buy this Album

• You're a moron who has no taste in music and rather would listen to One Direction. In this case, you can go with other people, since Sartre correctly pointed out that "Hell, is other people." 

There you go. I said I would write it. As always, give me your eloquent opinion below. Heck, if I like it, I might add it on.