Written by: Eric Alves on April 20, 2009.

Depeche Mode Sounds of the Universe

Avoiding the trend of making music that increasingly relies on computers, Depeche Mode prefer to keep their heavily electronic sounds grounded in the tangibility of analog instruments. In Sounds of the Universe, this preference results in a lush sonic texture that reverberates with emotion while maintaining their theme of astral pensiveness.

Hole to Feed pulsates with a tribal beat, laced with a simple guitar riff that drives the famished undertone of the song. The pulse slows to a nervous palpitation in Wrong, the lead single from the album that outlines a life of misfortunes in coarse guitars with a confessional singing style, amounting to a catchy catharsis.

Ticking clocks and throbbing synthesizers begin Come Back, a passionate plea for a long estranged lover to return, coalescing stellar sounds perfectly into what becomes one of Depeche Modes most exceptional tracks released this millennium.

An undulating rumble pervades Jezebel, an unexpectedly beautiful poem about a harlot with a heart of gold. While the almost forcedly rhyming lyrical couplets are endearing, the core of the track is carried by the hypnotic instrumental portions, which again manage to be haunting, celestial and emotional all at once.

Sounds of the Universe ends with the sinister Corrupt, a threatening reminder that one should never completely surrender in the name of love- lest that love turn into a game of power no one wants to lose.

Unlike 2005s Playing the Angel, which had some low points, their latest release is consistent and cohesive, feeling illustrative of a band that knows how to imbue substance and style into their music with subtlety and panache. With Sounds of the Universe, the only objection listeners may raise is that Depeche Mode has created yet another contender for best album in their already extensive and colorful discography.

Glass Candy -

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Throwback sounds, ironic aerobics in new albums