Ok I’ll admit it; I’ve never owned a Depeche Mode cd until today. But bear with me; I’ve always respected them for their musical talent when I hear them while amongst friends. But now that I have a medium to express my musical appreciation correctly, I feel that I will give credit where it’s due, and present to you a professional review of Depeche Mode’s twelfth studio album, Sounds of the Universe.

But first, as always, let me give you insight on the history of what some call the most successful and unwavering new wave band of all time.

In 1980 across the pond in Basildon,Essex, England, at St. Nicholas School Youth Club, a group of blokes from other bands No Romance in China, The Plan, Norman and the Worms, and The French Look played a show together. I won’t go too deep into the details, but it created the base band that we now know as Depeche Mode.

Originally, the lineup had Vince Clark in the band, who would later be replaced by Alan Wilder. Sadly, both members ended up leaving the band in the (1981 and 1995 respectively)  leaving the power trio of original members Dave Gahan, Martin Gore, and Andrew Fletcher. Dave is the group’s memorable Baritone singer, with Martin on guitar, bass, keyboard, and backup vocals. Andrew also plays the bass, with additional work on the synthesizer.

Over the years, the band has sold over 100 million albums worldwide, which to give you a bit of a scale, is something close to a third of the United States owning one of their albums (which makes me feel better that I didn’t own one until today). They first went platinum in the US with the 1984 album Some Great Reward. After that, triple platinum with 1990’s Violator, with another platinum in ‘93. The guys have done their homework, and have mastered the formula to make good music that can make the people obsess over them.

Today, the twelfth of such masterpieces was released; Sounds of the Universe. Produced by Ben Hillier who worked on the 2005 album Playing the Angel for Depeche (also has produced for Blur, The Horrors, and Natalie Imbruglia), we are again seeing the bands simple genius come out in full effect.

The first track, In Chains gave me a “this shit should be in a movie” feeling after about four minutes into it. This track also alludes to what will be the theme of talking about our love for woman, and their mesmerizing gestures and appearances.

The bass line in track 6, In Sympathy got me hooked to this song almost immediately. Usually the bridge and main verses don’t usually sound so simple and perfect in most music, but again, we are talking about seasoned professionals.

Spacewalker is the ninth track, and deserves its name, due to the alarmingly familiar synthwork of an 80’s space flick, or maybe something out of one of my favorite PC games, Deus Ex. The song is purely instrumental, and has earned a place in my sci fi playlist (yes I have a sci fi playlist…it’s inspiring for my sci fi novel writing, so shut up).

Track 3, Wrong, will be in a movie in the next few years; I’m calling that right now. The song is about just doing all the wrong shit all the time. Also, let it be known that the B-Side of this track is the ONLY song in Depeche Mode history that David Gahan and Martin Gore have both collaborated on, with Gore composing the music, and Gahan taking care of the lyrics.

My favorite track however, is the thirteenth and final track, Corrupt, for a gang of reasons. First off, I’m a fan of the standup bass wood clicking sound. This is also very much a Depeche Mode “sounding sound” reminding me of various snippets throughout their history (tempo, beat and whatnot). Mainly though, it’s the theme of the song that is just delicious. The song talks about meeting a girl and doing what the song says…corrupting her.  Here’s a sample:

I could corrupt you
It would be easy
Watching you suffer
Girl, it would please me

But I wouldn’t touch you
With my little finger
I know it would crush you
My memory would linger

You’d be crying out in pain
Begging me to play my games

Don’t forget to listen to the song all the way through (to about 8:15), as the hidden mini track, Interlude #5 is an outro to the album, to a reworked instrumental to the earlier track Wrong.

To bring us home though, I’ll go ahead and call myself a new listener to the band. I think that as a new listener, this is a very good band to chill around the house with, as some songs are just instrumental and easy to relax to. The gratifying part of this is that you aren’t missing out on too much, and I think that’s the feeling that the band is going for.

For the old fans, I don’t think this is a compromising album, that make you say “Oh well their old stuff was good, but this sucks”. But at the same time, it’s fresh enough to negate you from saying “This shit is just like the old shit. Snore.” We had similarly positive results with other 80’s band re-ups with Duran Duran’s album Red Carpet Massacre from a few years back, and also with The Cure’s 4:13 Dream, which I’ve already reviewed. But I’m just a humble servant to the music world. I leave the rest in your hands.

Until next time my friends,

~Flak

Call me daft if you wish, but Robert Smith is a hero. Why? Because he is one of the few musicians from my childhood to withstand the test of time, whilst keeping his persona intact. And I’ve always admired the celebs that have an amazing career and life, while being able to (mostly) keep out of the spotlight of shame.

If you haven’t figured out by now who Robert Smith is, he’s the lead singer of the British band The Cure. Remember them from the 80’s? They are the ones responsible for bringing us such delightful songs as Close to Me, Boys Don’t Cry, Disintegration, Friday I’m in Love, Lovesong (yeah 311 didn’t write that one folks),Why Can’t I Be With You?, Lullaby, Fascination Street, and The Love Cats… The latter four being my favorites of long time past.

Smith is the only constant member of the band, since its inception in 1976. This time around though, the line-up consists of Robert Smith on the mic (also the guitar, bass and keyboards when needed), Simon Gallup (another musical hero of mine) on bass, Porl Thompson on Guitar, and Jason Cooper on the drums. The boys from Crawley, England released their 13^th studio album, in 2008 entitled 4:13 Dream.

Apparently, 4:13 Dream was originally intended to be a two-disc album, having a whopping 33 songs recorded songs for the release. Robert Smith said that this album would mostly comprise the upbeat songs, and that the darker songs would maybe be released on another album. This is good for two reasons I believe: First, I believe that there is music for every mood, and that The Cure has done a surprisingly good job at making me feel more upbeat (take The Love Cats for instance on the album Japanese Whispers), and second because this means that we have not seen the end of The Cure.

Through the bands MySpace page, the band announced that in the four months before the album was set to be released, every thirteenth day of the month, a single would be released. This would coincide with the album’s title. Unfortunately, the album was pushed back from September 13^th, to October 28^th by Geffen Records, killing the amazing idea. But to make up for this, on September 13^th, the band released the EP Hypnagogic States. This EP was a cd of the remixes of the four singles released in the previous months.

From left to right: Gallup, Cooper, Thompson, and Smith...with the lipstick..

Anywho, I’ll end my usual digression and get down to the nitty. Here’s what I can say about the album from a general standpoint: Old fans of The Cure will feel right at home, as the band keeps its same vibe of calm but complicated, while showcasing that the band hasn’t stopped moving forward since its creation almost 30 years ago. Robert Smith still has that wild singing structure that hasn’t made a compromise for, despite the flak he may have gotten over the years for it.

For the new listeners, I can say that this is as good a time as any to get into The Cure, and still feel like you are a fan of times past. Why you say? According to Robert, 4:13 Dream is chock full of songs that were written over a decade ago, that didn’t make the cut for other albums at the time (such as Sleep When I’m Dead, originally written for the album, The Head on the Door in 1985). This way you can feel at least semi nostalgic, and not lie to you and your friends when you claim “Yeah I’m a fan of their old stuff too”.

Some people feel as if this cd was taking the safe road in its production, but I think this is just as Cure-ish as anything. As my fellow writer Gunfart said, “So this album is basically The Head on the Door part 2”. The production seemed much better than past albums in my opinion, probably because I’m used to listening to the 80’s songs of theirs, and frankly, recording technology has advanced just a bit.

As far as my favorite tracks are concerned, the intro track Underneath the Stars was amazing, with pure instrumentals for the first two minutes. The guitar on track 7, The Hungry Ghost was very comfortable for me, and carries the song beautifully. Track 11, Sleep When I’m Dead may have been written for an album over 20 years ago, but it’s right at home on this album. I didn’t know it was an old song until after I was in love with it, but my feelings have not strayed. The 12^th track on the album, Scream, was interesting, because I felt like it had a Middle Eastern tone in it. Weird I know, but I was diggin’ it and don’t disagree. Still though, the song that made this album one of the best of the year for me is track 8, called Switch. For me, it managed to be upbeat, dark, and beautiful all the same time. The lyrics are some of the best Robert has written, and are the definition of feeling, without leaving you asking what it’s about. Listen for the subtle piano played by Smith throughout the song, to remind you that as “sick of being alone with himself” as Robert is, the song is something I don’t plan on being sick of anytime soon.

4:13 Dream is what making a legacy is all about. Old bands like The Cure are keeping it more fresh and exciting than the failed marriages of Southern California, with twice the work. Go grab this album; it may very well save you. You can thank me later.

~Flak

Music is the cornerstone of many a writer’s inspiration and the Behind the Hype staff is no exception.  A few of us music nerds decided that we would compile our pompous list of albums so that you might benefit from our nerd nuggets of musical wisdom.  It follows no standard format, as we all like to do things our own way.

DISCLAIMER:  None on the Behind the Hype staff has been paid any sum of ducketts in order to persuade you to like and/or buy any of these albums.  We happen to love them by choice…but if anyone wants to throw money at us after the fact…knock yourself out…and we like cash…or a giraffe…and we already have tons of porn soooo…a giraffe covered in cash would be best.

Dr. Jonathan C Goodvibes’ Picks

Cat Power: Jukebox
This is the best collection of covers you’ll hear for some time to come, even if you don’t know it. Chan Marshalls beautiful and haunting voice weaves and hovers through the record, interlacing every song with a whiff of smoky melancholy. The killer track (and I do mean killer) on this album has to be the icy Blue. Cat Power, with her Dirty Delta Blues Band manage to inject blooming warmth like a shot of bourbon set against Joanie Mitchell’s chilling lyrics. Her reinterpretation of Hank Williams anthemic and oft-quoted Ramblin’ Man (titled here as Rambilin’ (Wo)man) strips from the lyrics all masculine unapologetic bravado and swaddles it in feminine grace and sensuality. These two songs are typical of the rest of the album. Covers are either really fucking bad or really fucking great and their great because they manage to be more than ham-fisted pantomimes or interpretations that are way off the fucking mark. You can tell Chan really loves these songs and after you hear Jukebox, you’ll understand why.

Xu-Xu Fang: The Mourning Son
Xu-Xu-Fang is a band I have had the agony of following for over two years with the end result being Two EP’s which is not anywhere near enough to satiate my appetite. The sweet and rich morsel that is The Mourning Son , however, should be enough to indulge your rock sweet tooth. Sit back, relax, light a joint (don’t forget to put on the album), and drift off into the world Xu-Xu-Fang invite you into. The psychadelia-infused textures and rich soundscapes will pull you in like a dragnet. Though short in length, tracks such as These Days and Good Times have Gone Away will choke and drown you while Thunderhooves allots you the recovery time to breathe and pray the rock gods for more.

Mogwai: The Hawk Is Howling
Mogwai, pioneers in the instrumental rock movement prove once again their worth and show they are in no fucking way running out of steam with The Hawk Is Howling. Songs like I’m Jim Morrison, I’m Dead , Batcat, and Scotland’s Shame trudge and march ever forward with sludgy resolve across the instrumental rock landscape. Though the band personally sees their previous release Mr. Beast as their best work, I feel this is not only one of the best rock albums of the year, but their best work to date. Every song undulates with dramatic peaks and troughs making the entire album feel like an unavoidable massive wave that catches you in its momentum. Songs, let alone albums like this are hard to come by. Mogwai once again prove how infinitesimal we are by making giant fucking music that shadows us and sweeps us in.

Cold War Kids: Loyalty To Loyalty
In twenty years when you’re explainin’ to some piss-ant baby balls twenty-something why his favorite whatever-the-fuck kids are listening to in the future ain’t got the stayin’ power of a true rock band because it ain’t got the voice of a generation expressing frustration, alienation, boredom, a cryptic inherent joy in the sadder things in life and a graceful unapologetic undercurrent to an acceptance of want of vice and vice as a fucking virtue, you’re withered hand will point at some futuristic floating space-jukebox blasting Against Privacy, Something Is Not Right With Me, I’ve Seen Enough, and maybe even Every Man I Fall For if you’re feeling particularly nostalgic and negligent towards your beer. But nobody’s heard of ‘em in the future, you old coot! “Shit, if they were so fucking important, why haven’t they got a reality show yet?”, and that’s when you know you’re way too fucking old.

The Walkmen: You & Me
This is certainly the best piece of work from The Walkmen oeuvre. Those looking for the raw and precise power of Bows and Arrows might find themselves disappointed. Though no song on the album is as fast and adrenaline-inducing as The Rat, Tenley Town (which was on A Hundred Miles Off), the songs on You & Me draw their power and evocativeness from subtlety and grace. On The Water, Donde Esta La Playa, and Red Moon are personal favorites and are among the best examples of the creativeness and tight musicianship of one of the best bands. Truly a great American rock band.

Spazarella’s Picks

Murder By Death: Red Tooth and Claw
Having finally heard this band shortly before the release of this album, I was so blown away by the force of Red Tooth and Claw that I doubt I’ll ever stop getting goosebumps when I listen to it.  Passion drips deliberate from every instrument, hand and vocal cord and as the songs progress, the listener is propped on the edge of their seat from beginning to end.  The cello, the drums, the guitars, and the echo of Celtic sorrow, Tom Waits and Johnny Cash, this is not an album to relax by, but rather much closer to a mission statement or a call to arms, facing a bare landscape with nothing but love, loss, family and purpose.  You can’t help but be moved, in fact I dare you not to feel the ferocity to your very bones.  Get in your car, find a long stretch of empty road at sunset, and breath in this album.

Elbow: The Seldom Seen Kid
Why doesn’t everybody know about Elbow?  This band is awesome (as you can see I am struck dumb without decent adjectives as a result)!  Guy Garvey’s lyics and howl are heartbreaking and fill the part of your heart that you like to keep blue.  Don’t fight it, embrace it and throw on Elbow.  The second track The Bones Of You, sweeps you off your feet and for some may carry you into memories “five years ago and three thousand miles away”.  Grounds For Divorce, The Loneliness of a Tower Crane Driver, Some Riot and Friends of Ours are the highlights.  I expect An Audience With The Pope goes under appreciated but lyrically it reminds me of the charm of classic lyricists like Cole Porter and Johnny Mercer.  I find the album’s appeal universal. Anyone who’s heard it in my car wanted more.

Calexico: Carried To Dust (Bonus Track Version)
My first exposure to Calexico was unfortunately their most uncharacteristic album Garden Ruin, and not until hearing the collaborative album with Iron & Wine was I want to give them another chance.     Carried To Dust is a consistent and charming arrangement that releases my shoulders from their usual rack.  The individual tracks melt one into the other easily and though this Tucson, Arizona based band always seasons their sound with flavors of their region (and that hollow weeping guitar that seems to bounce right off of the canyons and into your ear) it by no means defines their sound.  Alt-Country comes close, but I hate labels…it’s fucking good.  Tracks that speak to me the most, Victor Jaras Hands, Two Silver Trees, Man Made Lake, Falling From Trees.

Girl Talk: Feed The Animals
The first time I heard DJ Girl Talk was the album Night Ripper and I was in absolute shock at how such a simple concept could light me up and make me so hot and ready to dance!  The follow-up album was a little…miss-guided and featured too much self glorification and I was prepared for the DJ to fall into the sad category of flash in the pan, but Feed The Animals broke down the door and may have actually trumped Night Ripper…though I still haven’t decided.  Mashing the craziest combos of hit after hit from so many different corners of the pop and hip-hop landscapes it’s continually stimulating to the brain, ear and feet.  Suffice to say if you need a damn good party album and/or goin’ out and getting pumped, you need look no further, only use with caution…you may struggle profusely to replace it in the future.

Shelby Lynn: Just A Little Lovin’
Though not a popular choice, having an affection for Shelby I am partial to her work and I thought this album was an appropriate choice for her.  A cover album of Dusty Springfield classics, she breathes heartbreaking life into painfully honest lyrics.  Shelby, much like Dusty, takes her musical strength from her misery and so I thought the album a very fitting tribute.  Few people could be more or equally qualified.  Anyone Who Had a Heart gains a depth that it never evoked before.  With the exception of the smiley I Only Want To Be With You and sultry Just A Little Lovin’, the album breaks your heart but makes you come back for more, just like the heroine of her tales.  Anyone who’s ever loved will see themselves reflected in the weaknesses.  If not, it provides excellent solace in sorrow.

Cat Power: Jukebox
Oh yeah, Dr. Goodvibes and I fought over this one!  I think it’s only fair then to give a variety of perspectives to reiterate what an awesome album it is.  Some might quack that a cover album does not deserve such fanfare, however C.P. makes each song very much her own.  Ramblin’ Woman is an anthem typically hear from the male perspective and finally and refreshingly approached by a woman that at least sounds like she knows what it means.  Silver Stallion is my favorite and the rest of the album just slides into the sultry corner of every persons mind.  For men, she’s the one, and for women, she’s the hero.

Adele: 19
Damned good and Damn fun!  I’m not going to spend too much time on her but to say, don’t fight it and just listen.  Don’t listen to who she’s compared to, just listen.  Vocal talent:Check, Lyrics: Check, Great Production: Check, Variety: Check.  My faves: My Same, Best For Last, Melt My Heart To Stone, Tired.

The Spazz’s 10 Hot Tracks That Get A Nod (from albums not already covered):

• Tricky: Coalition
• The Black Keys: Strange Times
• Kings of Leon: Closer
• Eagles of Death Metal: Wannabe in LA
• Coldplay: Lost!
• Portishead: Carry On
• Sia: Little Black Sandals
• Vampire Weekend: Oxford Comma
• Hooverphonic: Expedition Impossible
• Santogold: L.E.S. Artistes

Gunfart’s Picks

Old people love redemption.  Hell, we crave it.  So when our personal heroes stray like lost dogs and find their way back, I have nothing but respect and gratitude for their return to fortune.

Nick Cave and the Bad Seeds:  Dig, Lazarus, Dig!!!
The albums title has 3 explanations points behind the title.  Can you argue with such confidence? After angst filled side project with Grinderman, the Australian “Man in Black” returns to lesson the good folk with a new lineup and a return to a more familiar form.  Expect an angry walking bass line with a dialogue to match.

Favorite Tracks:

• Dig, Lazarus, Dig!!!
• We Call Upon the Author
• Midnight Man

The Pretenders: Break Up the Concrete
“Boots of Chinese Plastic” Herald the new beginning.  I have not heard material so fresh and alive since Pretenders II.  The riffs and attitude are new, unexpected and wholly welcomed.  At times it sounds like Dave Alvin joined the band and they jammed at the Knitting Factory.

Favorite Tracks:

• Boots of Chinese Plastic
• Don’t Cut Your Hair
• Break Up the Concrete

James: Hey Ma
Their first release in nearly 7 years, it’s a quiet, melodic cannonball aimed to disarm all of their previous deceased contemporaries and distant themselves from their successful but pandering experimental albums.  Many listens reward greatly in its sublime humor and buried melodic shenanigans. Although constantly compared to The Smiths, this album is more reminiscent of early Waterboys recordings. A powerful affirmation that their best work is yet to come.

Favorite Tracks:

• Hey Ma
• Waterfall
• Boom Boom

The Cure: 4:13 Dream
I was not a fan of Bloodflowers, but consider this latest undertaking “The Head On the Door” Part II.  Sweeping, breathless and a permanent reminder of Robert Smiths pop genius. It plays like your favorite movie projected unto a blowing bed sheet behind your Mother’s house.

Favorite Tracks:

• Underneath the Stars
• Switch
• The Perfect Boy

Elvis Costello & The Imposters:  Momfuku
I saw him open for The Police at the Hollywood Bowl – he blew them away!
A very spontaneous and unexpected record. (Yes, I own the vinyl).  It sounds like some of these songs could have been written during his Get Happy days.  Steve Nieve, his longtime keyboardist of choice, really shines through this bare-knuckled, stripped down arrangement.

Favorite Tracks:

• No Hiding Place
• Turpentine
• Stella Hurt

Flak’s Picks

The Sound Of Animals Fighting: The Ocean and the Sun
Why I love it: Because Chris Tsagakis is one of my favorite drummers, and it contains members of Circa Survive, RX Bandits, and many others.
Why you should get it: If you want to hear what it sounds like when animals fight, you won’t be disappointed.

Jason Mraz: We Sing, We Dance, We Steal Things
Why I love it: Because it’s as if he is a genre of his own. I felt strangely compelled to sing the album out loud whilst driving.
Why you should get it: The fact that he can freestyle in French at his shows should earn him a listen.

Madonna: Hard Candy
Why I love it: Timbaland, Justin Timberlake, AND Pharrell Williams guest star as producers.
Why you should get it: Because Madonna can still make a killer dance album. Admit it.

The Mars Volta: The Bedlam in Goliath
Why I love it: Because they are the remains of my favorite band, At the Drive In, and they scored Thomas Pridgen, another one of my favorite drummers.
Why you should get it: If nothing else, tracks 3, 4, and 5. Drummers will love it even more.

Sia: Some People Have Real Problems
Why I love it: Because she talks about real shit, and is one of the few great things to come from Britain.
Why you should get it: Because she’s the one who sings that song in the last episode of Six Feet Under.

Radiohead: In Rainbows
Why I love it: The two disc set is one of the best things they have ever made. This is the first contract-free album they have released.
Why you should get it:Thom Yorke deserves it, due to the fact that he NEVER sleeps, to make sure the album is amazing. He loves us!

The Raconteurs: Consolers of the Lonely
Why I love it: It made me a fan of Jack White from the White Stripes.
Why you should get it: Beautiful breakdowns and fans of Jack will be interested in his side work.

Lil Wayne: The Carter 3
Why I love it: Lil Wayne is the best rapper alive.
Why you should get it: Lollipop, A Milli, need I say more?

Ne-Yo: Year of the Gentleman
Why I love it: because I thought R&B died with D’Angelo.
Why you should get it: Closer is a bomb track. Plus, this guy is writing for all the hip hop and R&B greats.

Protest the Hero: Fortress
Why I love it: I rarely find a hardcore album that I love, but these dudes are talented.
Why you should get it: The singer can actually sing, not just scream.

The Roots: Rising Down
Why I love it: Black Thought is one of my favorite MC’s
Why you should get it: Because The Roots have that gorgeous organic hip hop feel.

The Cure: 4:13 Dream
Why I love it: I have been a fan of the cure for many years, and like Gunfart will say, it’s like this album is The Head On the Door part two.
Why you should get it: These guys didn’t skip a beat since the 80’s. If you loved them then, you’ll love them now.

TV on the Radio: Dear Science
Why I love it: 80% Soul, 10% Funk, 10% Rock, all talent.
Why you should get it: Because you should listen to actual musicians for a change. The Jonas Brothers can only take you so far.