YEAR IN REVIEW: LOOKING BACK AT MUSIC IN 2023

Well, we made it. 2023 is almost over and I couldn’t be happier. To put it bluntly, this year fucking sucked. But the one shining spot, one of the things that kept me going through the year was the music. Though there were some duds (as there always are) there were a lot of great albums from old favorites and new favorites. So before we close out 2023, here’s a look back at the music that grabbed my attention this year.

Memento Mori – Depeche Mode

The future of Depeche Mode seemed uncertain following the death of founding member Andy Flecther in 2022. Many speculated it would be the end of the band. But Martin Gore and Dave Gahan carried on in honor of their fallen brother to release their eerily titled 15^th album Memento Mori. After the disappointment of 2017’s Spirit, this was a welcomed return of classic Mode. Now a duo, Gore and Gahan leave behind their half-hearted political songs to focus on the overarching theme of death. Strangely enough, this was already in place before Fletcher’s death, yet his absence weighs heavily on the record. Listening to tracks like “Ghosts Again,” “Don’t Say You Love Me,” and “Soul With Me” are more solemn in light of his passing.

This is Depeche Mode’s strongest album since Playing the Angel. The album is a perfect blend of the many moods of the band from melancholy and brooding to upbeat industrial-synth songs that make you want to dance despite their lyrical content. Honestly, I didn’t expect to enjoy the album so much. I enjoyed Delta Machine but didn’t revisit it often, and I didn’t like Spirit at all. This is the first record of theirs in a long time that I enjoyed from start to finish. Songs like the chilling “Speak to Me,” the industrial-tinged “Before We Drown,” and the groove-laden “Caroline’s Monkey,” quickly made it one of my favorite releases of the year.

Memento Mori is an excellent album and, in some ways, a return to form for Depeche Mode. Gahan’s vocals are as strong as ever and Gore still knows how to write provocative songs. It’s just a shame Fletcher wasn’t a part of it. We still don’t know if Depeche Mode will continue as a duo after this. They can clearly keep the band going, but if they decide to make this their final album at least they’d go out on a high note.

Sleep Token – Take Me Back to Eden

The buzz surrounding Sleep Token was too big to ignore. After countless articles about this mysterious band, I decided to check them out. I liked singles like “The Summoning” and “Aqua Regia” enough to listen to their new album. And that’s when I checked out. I can’t get into this band. Sometimes I like Vessel’s vocals and find them unique. Other times it sounds like he has marbles in his mouth, and I find them unbearable.

Songs like “Chokehold” and “Granite” are captivating with their sonic shifts and experimental nature. Others were too Imagine Dragons for me. No matter how many times I listened to it, I couldn’t click with this album. The songs are too laborious and long. The vocals can be grating and midway through I tuned the whole thing out. I appreciate the band’s eclectic mix of rock, metal, pop, and R&B, but otherwise, Sleep Token isn’t for me.

Back to the Water Below – Royal Blood

Royal Blood confused and shocked critics with their disco-infused sound on Typhoons. On Back to the Water Below, they return to their tried-and-true hard-edged sound while finding new ways to expand upon it. And though it works, it doesn’t make for their most exciting album. I wasn’t a huge fan of this one when I first heard it. I thought it was fine, but it didn’t grab me like their last album, which I loved. Over time the record grew on me, but I still wouldn’t call it my favorite.

Here, the duo focuses on mid-tempo, piano-led songs, such as “Pull Me Through,” “How Many More Times,” and “There’s Goes My Cool.” This adds some variety to the record. Without them, it would sound like well-worn territory. Don’t get me wrong, songs where they return to their formula like “Shiner in the Dark,” and “Triggers” feel so good. But I appreciate that they’re hell-bent on finding new ways to incorporate and evolve their sound. Maybe they’ve learned their lesson from their second album, How Did We Get So Dark? Back To The Water Below is a fine album with some standout tracks, but it’s not one I’ll return to often.

Neon Noir – Ville Valo

As a longstanding HIM fan, I was thrilled when Ville Valo announced his solo album, Neon Noir. We already got a taste of his solo material with 2020’s Gothica Fennica EP. This is an expansion of that. So what does his solo album sound like? A lot like HIM. You can’t help but compare the two. On top of that, Valo isn’t trying to hide the similarities. In several interviews, including my own, he alludes to it as a HIM-adjacent album. He’s just doing what he knows best. And honestly, you wouldn’t expect anything less.

Neon Noir has all the familiar Valo/HIM staples: sweet crooning vocals, gothic romanticism, and dark lyrics about love and death. It’s not as heavy as HIM, but the songs would fit right at home on later albums like Tears on Tape and Screamworks: Love In Theory and Practice. There are some absolute bangers here: “Loveletting,” “Neon Noir,” and “Echolocate Your Love” being highlights.

Though it has all the trappings of a HIM album, it’s great to hear from our favorite goth heartthrob once again. When I saw Valo on tour earlier this year, it was clear he was having a great time making new music and honoring HIM’s legacy. I like that he doesn’t shy away from the HIM connection. Instead, he embraces it acknowledging the role it had in his life. Neon Noir is a love letter to every HIM fan who is still mourning the band. It’s sure to make your vampire heart flutter.

TRUSTFALL – Pink

It should be no surprise to see this here. I haven’t liked any of Pink’s recent albums, but because she is one of my favorite singers, I had to check this out. And, what a shock, I hated it. Much like Hurts 2B Human and Beautiful Trauma, TRUSTFALL is safe, bland, and boring. It’s yet another instance of Pink trying to keep up with pop trends. If she were adding her own spin on it, it would be fine, but she’s just copying other pop stars. Lead single “Never Not Gonna Dance Again” sounds like a poor man’s version of Justin Timberlake’s “Can’t Stop the Feeling.” Others like “Last Call” and “Hate Me” are indistinguishable from other singers on the radio.

The biggest issue with TRUSTFALL and the albums that came before it is they’re not fun. Pink’s music used to be fun, upbeat, and lively whether she was talking about partying or facing her demons. Now, everything is so morose and sappy. The album is littered with ballads and mid-tempo numbers dealing with the same tropes: Pink’s childhood, how shitty love can be, fighting your inner demons. It’s such a disappointment because she bears no resemblance to the badass I fell in love with. Her music was biting and sassy. Everything oozed with her no fucks given attitude. She wasn’t your typical pop star; now she is even though she tries to pretend like she isn’t. She’s trying to have it both ways and it just doesn’t work. It’s time for me to accept that Pink is not that person anymore. And the sooner she accepts that the better it’ll be.

 The Above – Code Orange

Code Orange is one of those bands I always heard about, but never got into. Yet, this is the album where I finally got it. As soon as I heard “Take Shape” I was hooked. I was surprised by just how good the album was. Many of the songs stuck with me long after the album ended. What drew me in were the various moods and sounds explored.

Songs like “Splinter The Soul” and “Grooming My Replacement” are so fucking brutal, while “Never Far Apart” and “Mirror” are downright ballads with Reba Meyers’ haunting vocals front and center. Others like “The Mask of Sanity” and “I Fly” are high energy and more rock forward. Their genre-blurring sound is fresh and exciting. It hits that sweet spot of melody and aggression, which I’m a huge sucker for. They’re not doing anything Earth-shattering, but it keeps you on your toes; you don’t know what’s coming next. Their refusal to be labeled made it into my top five of the year.

CMF2 – Corey Taylor

Sigh. What was I expecting from this album? I dubbed Corey Taylor’s debut solo album as the worst of 2020, so I shouldn’t be surprised that the follow-up is a dud. But it’s not all bad. In comparison, CMF2 is a more cohesive album than its predecessor. Taylor finally seems to have landed on a solid direction for his solo stuff leaning into the hard rock with a Southern twang sound. It’s not terrible, it’s just not that interesting. And thankfully, there are no cringey rap songs on this record.

Aside from that, the album is just…there. It’s a nothing record that you put on as white noise. Very little about it is engaging. I hated Pink’s new album too, but at least that made me feel something. I get absolutely nothing from this album. The one song that I kind of like, “All I Want is Hate,” is just a rip-off of Slipknot. The thing that made you excited about Taylor’s debut was the novelty of it. What does a Corey Taylor album sound like? Now we know, so that curiosity and excitement are not there. While CMF2 is an improvement from the last record, it’s still subpar.

The Death of Randy Fitzsimmons – The Hives

Just when it seemed like The Hives were gone for good, they returned with their long-awaited new album, stylish new suits, and lore. Though not a concept album, the band did reveal the mysterious sixth member named Randy Fitzsimmons as the Svengali behind the band. His disappearance caused the band to lay dormant for a few years until they received notice of his passing. When they went to inspect his tombstone, they discovered a new batch of songs that make up their latest album. At least, that’s what they say.

The Death of Randy Fitzsimmons was 11 years in the making and it was worth the wait. This is a triumphant return for the Swedish rockers. If you’ve heard other Hives records then you know what to expect here: loud, brash garage rock anthems that’ll get you strutting like Howlin’ Pelle. The album picks up right where they left off on 2012’s Lex Hives. As guitarist Nicholaus Arson told me during our Illinois Entertainer interview, they could do something else, but they wanted to make something that screamed The Hives are fucking back. And they knocked it out of the park with this album.

The band still sounds as cocky, in your face, and energetic as they did a decade ago. Clearly, they haven’t lost their edge. Songs like “Bogus Operandi,” “Countdown to Shutdown” and “Step Out of the Way” hit you like a freight train. The album is just a good time, which is missing from rock music these days. The album may not be anything groundbreaking, but it is a reminder that rock is supposed to be loud, fun, and dangerous. And who better than The Hives to give rock music a swift kick in the ass?

My Guardian Angel – Ultra Q

Whenever I see bands featuring the offspring of famous musicians in the news, I scoff. It feels like they’re only getting coverage because of their famous parents. But that’s never been the case with Ultra Q. The band may be founded and fronted by Jakob Armstrong, son of Green Day’s Billie Joe Armstrong, but they don’t need to ride on his coattails. They firmly stand on their own thanks to their immense talent. After rebranding (they were formerly known as Mt. Eddy), and a few experimental EPs they finally nailed their sound on their debut album My Guardian Angel.

They leave behind their punk rock roots for a more low-key, dreamy sound. On songs like “Rocket,” “Klepto,” and “Wrip” they lean into a post-punk, shoe-gazey sound, while “I Watched Them Go” is heavy drum and bass. Whereas past material was jangly, raw punk rock, the overall vibe here is mellow, almost lo-fi.

The music is just good. It shows how much they’ve grown and evolved as musicians. My Guardian Angel is Ultra Q firmly separating themselves from everything Mt. Eddy represented. As the band told me during our interview, this represents their next chapter; this is the album where Ultra Q has finally arrived. And I can’t wait to see what else they have in store for us. If you haven’t listened to Ultra Q, do yourself a favor and check them out.

Pretty Vicious – The Struts

The Struts are keeping glam rock alive and well in the 21^st century. But when that’s your entire gimmick, it starts to get old. And that’s the problem with their fourth album, Pretty Vicious. It’s been there, done that territory for the UK band. Another album’s worth of songs about partying, the rockstar life, living it up, and scandalous adventures.

There are some bonafide jams on here. “Do What You Want” is boot-stomping fun, “Too Good at Raising Hell” is frontman Luke Spillar at his cheekiest, and “Rockstar” is a crowd-pleasing anthem. But the rest of the album feels too similar to what they’ve already done before. Everything feels a bit samey here. For the most part, the record is a good time, but very little about it makes you want to revisit it after hearing it once. You understand what the album is about within the first three songs leaving you unenthused for what’s to come. It’s not terrible, rather it’s a disappointing record.

RAT WARS – HEALTH

I only started listening to HEALTH within the last year, but I can already say this is my favorite release of theirs so far. After teaming up with heavy hitters like Poppy and Nine Inch Nails for the varied collaborative DISCO4 project, the band returns with RAT WARS, their first album standing on their own in nearly five years. It takes the grit, industrial noise, melancholy, and lust of previous albums and takes it to greater heights. The album is darker, heavier, and harder than anything we’ve heard from them before. Songs like “CHILDREN OF SORROW,” “HATEFUL,” and “CRACK METAL” are absolutely crushing.

As always, vocalist Jake Duzsik’s voice proves to be a powerful force on the album despite how softly he sings. There’s something hypnotic about his vocals. Oddly enough, they can be a soothing presence during the album’s most intense moments. With RAT WARS, HEALTH delivers one of their strongest records to close out 2023.

Dogsbody – Model/Actriz

This record is unhinged. When I first heard it, I had no idea what the hell was happening. Yet, that’s what drew me in. Dogsbody is a mess, not in its production, or quality, or writing. More in that it sounds like someone on the verge of a breakdown. It’s hard to even classify the music. It’s noisy, alternative rock with hints of punk, sleaze, and dance. Whatever it was, it was unlike anything I was listening to at the time. The music is harsh, discordant, brash, and frantic. Some of it sounds terrifying enough to score a horror movie. But what really sells it is singer Cole Haden’s crazed delivery.

Songs like “Crossing Guard,” “Mosquito,” and “Pure Mode” see him going from panic to desperation to seduction to fragileness sometimes all within the same song. Every minute it sounds like he’s spiraling out of control. Near the end of the album, he’s nearly weeping. Whether you love or hate how manic it is, Dogsbody is an arresting record. From the beginning, it commands your attention and proceeds to hold it with how demented it sounds. Maybe you want to turn it off, but you also want to know just how insane it gets. After a few listens this instantly became one of my favorite releases of the year.

ONE MORE TIME… – blink-182

The past two years have been a whirlwind for blink-182 fans. After yet another reunion, a massive world tour, and new single “Edging,” we finally got their comeback album ONE MORE TIME…, which the band claimed as the best of their career. While I wouldn’t call it better than classics like Enema of the State or Untitled, it certainly lived up to the hype.

There are so many things I love about this album. It captures the various iterations of blink from the “mature,” darker sound (“Terrified,” “More Than You Know”) to their goofy, juvenile humor (“Turpentine,” “Turn this Off”) and even that sweet classic pop punk sound (“Dance With Me,” “Blink Wave”). But what stood out to me the most was its cohesion. This truly sounds like it was made by a band united. 2011’s Neighborhoods is solid but felt off in places. It was easy to tell which songs Mark and Tom wrote. It didn’t help that the album was recorded apart from each other. Here, they sound like a band and more importantly friends that want to make kick ass music together.

It’s also their most reflective album. Everything is on the table here: the breakups, getting older, and facing their mortality. They’re open and honest about their tumultuous history, whereas on Neighborhoods they never addressed it. If anything, it seemed like they wanted to sweep it under the rug as if it never happened. This honesty resulted in “ONE MORE TIME,” the most emotionally charged song of their career. I never thought a blink-182 song would make me cry, but when Tom sings “Do I have to die to hear you miss me?” I’m breaking out the tissues. The songs on the album range from beautiful to silly and upbeat. And I love every second of it.

This is a wonderful time to be a blink-182 fan. We’re getting awesome new music from blink-182, watching them play amazing shows, and seeing them bond again. This is the reunion we wanted back in 2011. We wanted it to feel genuine and real. This time, it seems like Mark, Tom, and Travis want to do this. They’re nothing but all smiles and laughs during their shows. More importantly, they’re open and honest with each other and the fans. Listening to this album and seeing their reunited brotherhood makes you smile. It gives you hope that this time things will be different.

EndEx – 3TEETH

On their fourth album, 3TEETH uses their heavy industrial sound to lambast everything wrong and unjust in society…just like they did on their last album and the one that came before that. EndEx doesn’t find the industrial outfit traversing new territory. It’s aggressive, face-melting industrial/metal/rock music as Alexis Mincolla screams about society’s ills. And it sounds so good.

This is another solid album from 3TEETH. It’s an intense ride with music so brutal it assaults you yet leaves begging for more. The collaborations with DOOM soundtrack composer Mick Gordon are album highlights. Songs like “Higher Than Death,” “Slum Planet,” and “Merchant of the Void” pack an extra punch; they leave you bloody and raw. Other standouts include the oddly mellow “Drift,” which features a crooning Mincolla, and “Paralyze” featuring Ho99o9. Of course, a 3TEETH album wouldn’t be complete without an industrialized version of an 80s staple, and this time it’s Tears for Fears’ “Everybody Wants to Rule the World.” EndEx may be your typical 3TEETH album, but that doesn’t mean it’s boring. It’s still a wild time.

SANGUIVORE – Creeper

Creeper’s sophomore album Sex, Death, and the Infinite Void was my top pick for 2020. And this year, they’ve taken the top spot again with their third album SANGUIVORE. The band goes bigger and louder on this album, taking the drama, theatricality, and sensuality of their previous album and cranking it to 11. This is the album Creeper has been building up to. Past releases saw hints of where they were going, but this is the record that best represents the Southampton outfit.

One thing I love about the band is their mysterious, chameleon nature. A new album means new look, new sound, and new mythos – this time they’re vampires. It’s reminiscent of David Bowie and his alien-like nature. They truly capture the bigger-than-life aura of 70s and 80s rockstars that isn’t prevalent in the social media age. It’s this attitude that keeps their music exciting and interesting. You never know what the band is going to tackle next. Gothic country song? Sure. Doo-wop? Why not? This time they present us with their rock opera about doomed lovers Mercy, a vampire who was turned at 19, and Spook, an old man she has complete control over.

The concept is beautifully introduced in the opening track “Further Than Forever,” which finds frontman Willam Van Ghould channeling Bonnie Tyler and Meat Loaf.  From there, the album is 80s goth and new wave; the Misfits meet Sisters of Mercy wrapped up in a Jim Stein package. And it’s fantastic. Just like before, they move beyond their punk rock roots to incorporate elements of rockabilly (“Chapel Gates,” “Lovers Led Astray”), goth rock (“Cry to Heaven,” “Teenage Sacrifice”), and even synth disco (“Black Heaven”). It’s a wonderfully varied album that proves you can’t pin Creeper down. Just when you think you’ve figured them out, they defy expectations. SANGUOVIRE is peak Creeper. It’s loud, spooky, sexy, and fun like a good vampire movie.

That’s it for 2023! I had a lot of fun with music this year. I put a lot of effort into listening to new artists and new songs every week. It helped me discover new artists and albums I wouldn’t have found otherwise. If you want to know what other new music caught my attention, check out my 2023 New Music playlist. Otherwise, enjoy the rest of the year, and see you in 2024!

Spins: Depeche Mode – Live Spirits Soundtrack

Originally Posted on Illinois Entertainer

Rock Hall of Fame inductees Depeche Mode remain a touring force 40 years into their career. No stranger to selling out massive stadiums around the world, the band embarked on their longest trek yet with the Global Spirit Tour. To commemorate the outing, the final date in Berlin was filmed for the 2019 documentary Spirits in the Forest, which also chronicles the stories of six devoted fans. But if you don’t want to learn about the passionate fans, you can experience the concert with the LiVE SPiRiTS Soundtrack.

Clocking in at nearly two-hours, the show is a testament to the band’s longevity. The setlist spans their expansive catalog featuring songs like “Precious,” “World In My Eyes,” “Walking In My Shoes,” and “Enjoy the Silence.” The best of their 2017 LP Spirit is highlighted with “Where’s the Revolution,” “Cover Me,” and “Poison Heart.” Though nothing sounds as good as classics like “Stripped” and “Never Let Me Down Again,” diehard fans will love hearing deep cuts like “Useless” and “The Things You Said” – the first time they’ve been performed in over a decade. The band even pays tribute to David Bowie with an excellent “Heroes” cover. And no matter how many times they play “Just Can’t Get Enough” hearing that iconic synth riff is always a thrill.

Though it’s a fun show, it’s not Depeche Mode at their best. Being the final concert of the tour, the band seems tired. Dave Gahan’s voice is hoarse and shaky at times, while Martin Gore disorients certain tracks by missing his cue. Luckily, these moments are rare. Gahan’s familiar velvety baritone returns one he hits his stride and Gore can still make the crowd soon with ballads like “I Want You Now” and “Insight.” Their exhaustion can be forgiven considering they played over 100 shows on this tour. It’s impressive they had this much gusto at the tour’s end.

LiVE SPiRiTS isn’t the definitive live Depeche Mode experience – that honor goes to 101. It’s not even their best performance, but it’s still a blast for fans. The band still know how to command the stage. Their larger than life presence is as strong as ever and they sound damn good aside from some minor hiccups. A lot has changed for Depeche Mode over the years, but one thing remains the same, even when they are not at the very top of their game: they still kick ass.

Spirit – Depeche Mode

Release Year: 2017

Rating: 7/10

I’ve always been impressed with how solid Depeche Mode’s later era albums are. Most bands still going over 30 years lose that something that made them special and start churning out mediocre material. While none of Mode’s later albums hit me like their early stuff, they’re still pretty impressive. So I was pretty psyched when they announced Spirit. When I got my hands on it, I found another solid record that finds the band turning their gaze outward instead of in. The band offers a damning commentary on what’s going on in the world. This isn’t the first time they’ve done it; look at “People Are People,” but it’s their most politically charged effort. Though their commentary is often blistering, it’s often too much and doesn’t make for a wholly satisfying album.

The album opens with the rousing “Going Backwards,” one of the strongest songs on the album. It’s booming opening making you think of an army marching in the field sets up the dark mood of the song. The lyrics find Dave Gahan calling out our society and how despite all our progress, we keep moving backwards: “We are not there yet/We have not evolved/We have no respect/We have lost control.” It’s eerily appropriate to what’s happening now with political tensions running high and the rights of people being threatened. Though it’s not an in-your-face song, there’s still a lot of anger and frustration channeling through the song. They’re clearly fed up with what’s going on and this can speak to those who feel the same. It’s a blistering track that’ll get your fist pumping for change by the end of it. Its political nature sets the tone for most of what’s to come.

I was never really sold on lead single “Where’s the Revolution?” Though I really like the dark, futuristic synth music, this song doesn’t thrill me or get me going like their other material. It has a well-meaning message: get off your ass, stop complaining, and make a change. Still, it never really got me excited for the album. And the bridge where they repeat “The train is coming/get on board/the engine’s humming” made me roll my eyes. They couldn’t be serious with that part, right? I get the metaphor they’re going for, but it’s too on the nose and comes off as awkward. Though it’s not my favorite, I do appreciate the song for its lyrics like “Who’s making your decisions/you or your religion” that, again, reflects what’ we’ve been going through on a daily basis.

According to Gore, most of the album was written over the course of two years, yet it sounds like it was written for the Trump take over. While the commentary they offer is appreciated, it does get tiring. The band has touched on political issues in the past with songs like “People Are People” and “Everything Counts,” but they’ve never done it to the extent they do it here. Just because they usually don’t make political statements in their songs doesn’t mean they shouldn’t ever do it, but the way the band goes about it isn’t necessarily subtle. The biting track “Scum” finds the band attacking someone and begging them to “pull the trigger” that instantly makes you think of Trump. It’s one of the more memorable tracks even though some parts are disjointed, which can be off-putting. The slow burning “The Worst Crime” looks at what’s happening and blames it all on misinformation and stupidity that we’re all to blame. These songs aren’t bad, but after repeated listens you get tired. After a while you think we get it, we’re fucked. Can we dance now?

Luckily, not everything is focused on the political climate of the world. Things properly pick up with the infectious “You Move.” The song hooks you instantly with its heavy groove and sexy vibe. The lyrics fit more in tune with past Depeche Mode topics: unbridled lust, love, and temptation. The track is one of the few that gets you excited and makes you want to dance. Sounding like a leftover from Delta Machine, “So Much Love to Give” gives the album a much needed energy boost. The upbeat synth and the memorable hook makes it a fun diversion from the blackness the album is steeped in. Providing a bit of optimism, lyrics like “You can forsake me/try to break me/But you can’t shake me/no” shows it’s not the end yet; we still have a fighting chance. “Poison Heart” isn’t all that upbeat, but it’s another notable cut from the record. It lures you in with its stuttering, Blues inspired riff and opens with Gahan’s throaty vocals singing “You have poison in your heart/I’m sure of it.” A track about a nasty relationship coming to an end, it’s nothing spectacular, but it stands out from the other heavy tracks.

Honestly, there isn’t a song I outright hate on the album. Sadly, most of them aren’t that notable or are just a drag. “Poorman” has a harrowing opening filled with doom laden music and eerie harmonies of “Heeeey” that sound like ghostly apparitions. It’s another politically charged song about corporations only looking out for themselves, which we pretty much know. It’s not bad, but doesn’t really add much to the album. “Cover Me” is another slow song with somber music and gloomy lyrics about not reaching that other life. It actually makes me think of the end of the world. The highlight here is the dreamy, atmospheric music that gets an extended play near the end. Again, not terrible but nothing stellar. “Eternal” and “Fail” are both Gore solo spots that are decent, but again, nothing amazing. The former has a similar vibe to “I Want You Now” with Gore expressing his love, while sounding sinister and diabolic. The latter is another song damning where our society is and condemning all of us ending the album on a depressing note.

So is the album as bad as some critics said? Not really, but it’s not as great as some are claiming either. I appreciate the band’s efforts to comment what’s going on in the world. Some of the lyrics on those songs are poignant and thoughtful.  That being said, at times it does feel like you’re being bashed in the head with these messages. I applaud the band for going out of their comfort zone and showing that they’re willing to try different things. That’s a least a plus for this album. But it can be a bit tiring at times, which could be how they’re presented as slow, brooding tracks that drag on and on. It leaves you feeling hopeless at times. Putting political messages aside, most of the songs don’t pack the same punch and excitement of their other material. Even the tracks on their last album were more exciting. There are a handful of memorable tracks, but most of them don’t hit that sweet Mode spot even though they’re well meaning. Many of the songs I can’t picture myself listening to again outside of the record. Like many of their modern records, it’s solid and has some great moments. But does it live up to expectations? Not really.

Songs of Faith and Devotion – Depeche Mode

Release Year: 1993

Rating: 8/10

If you’ve been following the blog long enough, you know I’ve had a bad relationship with this album. Although it was a critically acclaimed follow up to Violator, I could never get into it. After repeated listens I thought it was boring, save for a handful of songs. While looking through my albums, I came across this one and thought maybe I was being too harsh. Maybe I wasn’t ready for it at the time. It did take me years to fully appreciate albums like The Cure’s Pornography. So I decided to give it one more and shot. Turns out I was wrong about this record.

What initially turned me off to this album was how it didn’t sound like the Depeche Mode I was used to. Where was the thrilling synth? Where were the danceable, yet sexy songs? They don’t completely abandon their electronic side, but they favor a rock oriented sound here. This is best heard on the opening track “I Feel You.” It’s the most straightforward rock song in their catalog. It has this great, sexy bluesy riff that wails while Dave Gahan coos “I feeeeeeeeel you/your sun it shines.” The music keeps building getting more intricate as the song goes on. Even though it’s pretty sensual, it still shows a harsher direction not previously found in their music.

I liked “Walking In my Shoes,” which starts with a jangly piano leading to hushed electronic sounding beats. Similar to the previous song, the music here sets up a darker landscape for the album. That says a lot for a band whose music is peppered with grim themes. This song also starts the numerous religious references on the album, which return on the next track “Condemnation.” I’m still not crazy about this song. I can appreciate it, especially since it sounds more like a gospel track, which was unique for the band at the time. It also boasts a great vocal performance from Gahan who sounds anguished and near tears while singing. There’s a lot of heartache and emotion behind it, which can be said for all the songs here. While I like the idea, I just don’t like the style.

What I found most interesting about the album is how morose and hopeless it sounds. Depeche Mode has never been shy with exploring dark feelings, but there’s usually some upbeat song to break up the mood. “Rush” is the closest it gets to something upbeat and danceable on this record. The rest of the tracks seem mired in misery. Even when addressing topics like love and needing someone else it sounds desperate, such as on “One Caress,” an excellent solo moment from Martin Gore. When listening to this album, you feel this sense of impending doom.

This morose mood continues on tracks “Higher Love” and “Mercy In You” where Gahan sounds like a vampire wanting to feed on the mercy in someone. Another stand out track, “In Your Room” is pretty sensual thanks to the intricate, lush music, but it still has dark connotations with references to slaves and being held captive by a lover. Though it’s more rock oriented, like most of the songs here, the sexy mood, intricate music, and Gahan’s powerful vocals make this a classic Depeche Mode track. It’s one I’ve always enjoyed from the album.

“Judas” is notable for beginning with bagpipes to set a heavenly atmosphere. Gore’s on vocals here, so as usual, he has a way of making things sound creepy even if it’s not intentional. But for some reason, the song doesn’t hit the sweet spot like other Gore tracks. “One Caress,” which features his on vocals is actually the better of the two ballads. It begins with a riff that sounds like the opening of “Never Tear Us Apart.” This song stands out for the string composition. It adds this stark, dramatic vibe to the music. Though the song is about how good the touch of a loved one is, it still sounds unsettling with the music growing more and more intense. He’s sounds so desperate for it, it’s like he’s on edge and he’ll do anything to get that one caress. It’s a similar eerie vibe that worked for “I Want You Now.”

Unlike most of their past releases, this one is really slow, cathartic, and dark. Their music has always been moody and gloomy, but this one is downright heartbreaking. Considering the inner turmoil of the band and Gahan’s heroin problem, it makes sense why so many of the songs are gut wrenching. Some of the songs seem like they’re about Gahan. “Get Right With Me” starts out dark and creepy, but throws listeners for a loop with a random record scratch. It’s kind of off putting since it doesn’t fit the song, but it doesn’t last very long. The lyrics seem to talk about someone laying down what it’s going to take to get back in someone’s good graces: “Friends, if you’ve lost your way/ you will find it again.” This could be a reference to Gahan losing his way via drugs and Gore remaining hopeful he’ll get clean.It was a tough album to make according to the band and it shows in these songs.

So, do I still hate this album? No, now I realize I wrong about it. It’s not boring and dull. While it’s still not my favorite, I realize it’s a solid, introspective entry in their catalog. The songs may be different with their rock oriented sound and heavier vibe, but they remain gripping, thoughtful, and well-crafted like their previous efforts. Even if all the songs didn’t catch my attention the overall depressing mood of the record did make me reflect on what the band was going through at the time. With the sonic shifts and darker themes, it’s one of those albums that needs time for some to fully appreciate it. And I’m glad I can view the album differently. I don’t think I can say the same for Venus Doom.

Playlist: Give ’em the remix

Remixes can be tricky to handle. In the wrong hands it can sound nothing like the source material it’ll put off listeners. Other times it sounds too much like the original making it pointless. But when done just right, a remix can turn a great song into an even better one. Whether it speeds things up to make it a dance hit or slows things down to place it in a new genre, there are a lot of remixes out there way too many to gather in this list. So this month’s playlist takes a look at some of my favorite remixes.

“19-2000” (Soulchild Remix) – Gorillaz

This is a remix of the Gorillaz’ second single and it’s much better than the original. Known for its simple hook of “got the cool shoe shine,” the version from the band’s debut album was very slow featuring sleepy music, lush beats, and very light percussion. The song got most exciting during the aforementioned hook. It’s not bad, but it sounds like the band are on the verge of drifting off while singing. But this remix by Soulchild wakes up the song, turning it into something fun, bouncy, and energetic. You can even hear bits of “The Humpty Dance” in the mix. Everything about it outshines the original and turns it into something you can’t stop dancing to.

“Heartbreaker (Remix)” – Mariah Carey

Mariah Carey’s “Heartbreaker” was already a success reaching the top spot on several charts. But the song blew up more when she dropped the remix in 1999. Featuring DJ Clue, Da Brat, and Missy Elliot this remix turns the Carey pop hit into an R&B/hip hop infused jam. Using a sample from Snoop Dogg’s “Ain’t No Fun (If Homies Can’t Have None)” the song is catchier than before with Carey singing even more breathless than she did in the original. It’s sleek and just the right amount of funky making it one hundred times cooler than original. The song was so successful Carey continued doing remixes for singles, like “Loverboy,” but it didn’t match the success of this one.

“Ignition (Remix)” – R. Kelly

I’ve never been a fan of R. Kelly, but even I have to admit this song is too damn catchy to hate. The song became so popular, charting at number 2 on the Billboard Hot 100, that it’s hard to remember what the original sounded like. Whereas the original was a slowjam meant to put someone in the mood, this one is all about partying. What really makes the song is irresistible hook. It’s one of those songs where you’ll know all the words after only hearing it three times. Apparently, the original version of the song was going to be on his then upcoming album Loveland, but the album was leaked causing R. Kelly to rewrite and remix most of the album and turn it into The Chocolate Factory. Maybe it was a blessing in disguise.

“The Way I Am (Remix)” – Eminem Feat. Marilyn Manson

In the late 90s/early 00s the two biggest controversial figures in music were Eminem and Marilyn Manson. Surprisingly, the two formed a friendship with Manson appearing at the rapper’s concerts and even making a cameo in the original “The Way I Am” video. This remix brings the world of rap and rock together. Eminem spits rhymes over the crunchy guitars and intense rock music taken straight from a Manson song. The music perfectly captures Manson’s creepy essence. To make things even better Manson sings the hook in his gravely voice. He also provides some eerie moans throughout the track. It’s a stellar remix that makes you wish the two continue working together. Maybe on the next album? We can only hope.

“Rock With You (Frankie Knuckles Favorite Club Mix)” – Michael Jackson

This mix takes this Michael Jackson hit and turns it into something you can actually dance to. Frankie Kunckles keeps the smooth R&B vibe of the original for the most part. He layers glistening pianos, some synth, and upbeat percussion on top of the track to get you grooving. There are even some further vocal arrangements from Jackson that aren’t found in the original. Clocking in at over seven minutes, it’s definitely something made with the club scene in mind, but the remix is so good you won’t find a problem jamming out to it in your house. The remix is actually quite popular and is often the basis of many Michael Jackson mash ups, which also prove to be great fun.

“Rope (Deadmau5 Mix)” – Foo Fighters

Deadmau5 flips this song on its head switching it from hard rock to an electronica dance hit. It’s not just a DJ adding some synths and bleeps over the Foo Fighters hit. He turns it into a completely different song only keeping Dave Grohl’s vocals in tact. It sounds like an unlikely pairing, but it works so well, breathing new life into this Foo Fighters song. With dripping bleeps, a pulsing beat, and wild music Deadmau5 makes the song his own. The two even joined forces to perform the track on the 54th Grammy Awards.

“More Human Than Human (Meet Bambi in the King’s Harem Mix)” – White Zombie

Rob Zombie never shies away from remixing his biggest hits, but this is the strongest remix to date. “More Human Than Human” was already a beast of a song, but this version makes it a hundred times creepier. The music is grittier, sounding like a record got scratched in the mix during the intense opening and Zombie’s vocals are distorted to sound more robotic and inhuman, which is a perfect fit for the song. The whining guitar riff of the original is still in tact, but the rest of the music is heavy, dirty electronic music that gets you groovin’. This does everything a good remix is supposed to do: keep elements of the original intact, but build on to make it better.

“No, No, No Pt.2” feat Wyclef Jean – Destiny’s Child

Before “Survivor” and “Say My Name” this was most people’s introduction to Destiny’s Child and Beyonce. When the song dropped in 1998, it received massive radio airplay and eventually reached number three on the Billboard Hot 100. But what about part one? The first version of the song, which was their debut single, is a slow R&B track that’s more sensual in nature. Think of it as a song to get busy to. Though it was moderately successful, it wasn’t until Wyclef Jean added an upbeat hip hop flavor and sped up the song that it became a hit. Listening to them both today, this version is still better than the original.

“Strangelove (Tim Simenon, Mark Saunders Remix)” – Depeche Mode

There are various remixes of this Depeche Mode single, but this one is among the best. This mix takes the mid-tempo song and turns it into a club hit. The music is more energetic and fast paced with additional synth and electronica elements added to the mix. There’s even a bit of a tribal vibe when the percussion kicks up. But one of the coolest things about the song is how there’s a nod to their song “People Are People.” It’s brief, but very satisfying for all Mode fans. It’s a great remix that plays around with the classic track, but still keeps everything that made it so good in the first place in tact.

“I”m Real” (Murder Remix) – Jennifer Lopez ft. Ja-Rule

Remember that time during the 2000s when Ja-Rule was popular and was featured in what felt like every song? Before he disappeared off the map, he joined forces with J.Lo for this slick remix of her pop single “I’m Real.” Whereas the original was a generic dance song with rapid beats and a forgettable chorus, this mix slows things down making way for a cool R&B/Hip Hop groove. Even though Ja-Rule’s singing is appalling, it doesn’t ruin the song. The track is from her remix album J to tha L-O! The Remixes and is actually the third best selling remix album of all time. The album also spawned successful singles “I’m Gonna Be All Right” and “Ain’t it Funny.”

“Happiness in Slavery (remix)” – Trent Reznor, Chris Vrenna, and P.K.

Trent Reznor is no stranger to remixes. Not only has he done them for other artists, but he leaves his music in the hands of others spawning several remix albums based off his studio releases. There are two different remixes of “Happiness in Slavery” on the Fixed EP, but this one is the best. It keeps very little from the original track aside from a bit of the guitar riff and Reznor screaming “Slavery!” in the background. Otherwise, the song is completely new and still just as terrifying. Though it’s more gritty and electronic centered than the aggressive original, this version still manages to be terrifying with the intense mechanical music and various screams heard in the background. There are very little lyrics, just a brutal continuation of this awesome NIN track.

“Tourniquet (Prosthetic Dance Mix)” – Marilyn Manson

This version of Marilyn Manson’s “Tourniquet” is very much in tune with the original even opening with the main scratchy riff from the original. This version keeps the same eerie vibe from the original, but amps it up with intense percussion and what sounds like gritty electronic music. Somehow it slows things down even more than the original making it a more drugged out experience. But what’s most notable about this remix is the new vocal take from Manson. He doesn’t unleash his scream on this version and lets his playful, growling vocals take over. It’s definitely the highlight of the forgettable Remix & Repent EP.

Which remix is your favorite? Which ones did I miss? Let me know in the comments!