Cons A bunch of forgettable tracks with no direction, no purpose, and no real creativity...
The Bottom Line Depeche Mode released a string of outstanding albums through the 1980s and early 1990s. I guess that is why I expected more out of Ultra.
Full Review
Depeche Mode were already musical veterans when they released 1997’s Ultra. The synth-pop band was founded in 1980 by four British blokes: Vince Clarke (who was soon replaced by keyboardist Alan Wilder), Andrew Fletcher (keys), Martin Gore (guitar), and David Gahan (vocals). This lineup earned Depeche Mode their largest audiences and biggest hits.
Beginning with a synth-pop sounds like Culture Club, The Cure, New Order, and a-ha among others the band became a big success though they remained somewhat “underground” in the United States. That all changed as the decade drew to a close and Depeche Mode’s sounds changed to something darker and more moody. The combination of 1987’s Music for the Masses, 1990’s Violator, and 1993’s Songs of Faith & Devotion made them one of the biggest alternative bands in the world. The singles were impossible to ignore and are now regarded as classics of the era. Personal Jesus, Enjoy the Silence, Strangelove, Everything Counts and Policy of Truth backed up the band’s considerable fame.
Like so many other acts, Depeche Mode slipped away during the early 1990s. Rock and roll (or more specifically “grunge”) had overtaken pretty much everything else on radio. All the kids who used to like to be depressed to the likes of Depeche Mode were suddenly wearing flannel and Doc Martens and had fallen in love with crunching guitars and grubby frontmen—no more synths for those kids. Immediately after the rise and fall of grunge, music was left without any direction. It was the perfect moment in time for the band to return. The remaining three members (Wilder split in 1995) recorded and released 1997s Ultra.
It was a craps shoot whether Ultra would sink or swim. According to Billboard it did well and crested at the #5 position. Singles Barrel of a Gun, It’s No Good and arguably Home also made an impact on charts and radio. Unfortunately the truth of the matter was that Ultra isn’t all it was purported to be. There are moments when the music is outstanding, times when it sounds dated and other times when I can’t help but hit “skip.” Considering the high quality of earlier Depeche Mode albums, Ultra is a disappointment. In general it is painfully mediocre.
My favorite song is easily the cool, calm, and edgy fourth It’s No Good. The thumping synths alongside Gahan’s calm, mature voice work wonderfully. The mid-tempo track comes complete with catchy lyrics, a nifty melody, and a memorable chorus. There is nothing better on Ultra than It’s No Good. I can’t say that there are not other songs that are attractive. Hit single Barrel of a Gun opens the album on a high note. There are definitely hints of nine inch nails style industrial interspersed with a heavy dose of rock and roll and a dash of shimmering dance beats. While I like the way it sounds and I love the thumping rhythms, I find that it weighs the album down. It’s an oddly plodding, mid-tempo offering to have in the first position.
The other decently entertaining moment come later in the disc. Home is a strange and fascinating song. It combines the electronic elements one would expect from the band with a vaguely “adult contemporary” sensibility not to mention an orchestral arrangement to back Gore’s voice. It’s a lovely, sparkly, beautiful song and definitely one of the album’s best. I also like the strange, instrumental wanderings of Jazz Thieves and the vaguely country-western Freestate. The problem I have with the remaining songs is that they really don’t go anywhere. The Love Thieves, Useless, Uselink, Sister of Night, and Insight are among the worst offenders. Lacking direction, emotion, and life I’m not impressed by the bulk of Ultra.
Depeche Mode has always been a special band even when they are at their lowest point creatively. There are certainly moments on Ultra that make me remember how special and talented they really are. It’s unfortunate that the whole album can’t be a reminder, but nobody is perfect all the time. Alas, I’m left with positive memories of It’s No Good, Home, Freestate, and Barrel of a Gun. Depeche Mode fans were likely pleased to have a new album after four years of waiting, but I can’t help but think that Ultra is lacking that special spark.
Rating: 2.5/5 stars (rounded up…I guess…)
Track List:
01. Barrel of a Gun
02. The Love Thieves
03. Home
04. It’s No Good
05. Uselink
06. Useless
07. Sister of Night
08. Jazz Thieves
09. Freestate
10. The Bottom Line
11. Insight
12. Junior Painkiller
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