Ultra review, New Musical Express |
DEPECHE MODE
Ultra (Mute/all formats)
Seventeen years together, 30 million albums sold, and here
comes another to crank the profit margin one notch higher. Except
this time, it's not _just_ another Depeche Mode album, because if
it were it wouldn't arouse such ghoulish fascination. 'Ultra' is
more than that, it's the culmination of a festering melodrama
that could have resulted in death, but in the end settled for a
near-fatal heart attack and some lengthy cold turkey.
This album is at least partly the product of one of the most
harrowing rock'n'roll sagas in recent memory. It's the tale of an
unassuming quartet transformed into a colossal financial machine
designed to bring gravitas to the masses: four cherubs from
Basildon who were lauded as deities in America - only to discover
they couldn't handle it. Kinkier than U2, but not as perverse as
Nine Inch Nails, Depeche Mode spent the early part of the '90s
driving their juggernaut of angst across the States in an
increasingly frenzied attempt to obliterate all memory of their
early career. And it proved startingly successful, because when
the time came to start recording this album they had transformed
beyond all recognition: they'd become farcical Sunset Strip
burnouts.
Singer Dave Gahan was hauling his body around LA shooting it
full of heroin, coke and water, Alan Wilder had acrimoniously
quit the band, and everyone else was back in London trying to
write new material. As backgrounds to writing albums go, this was
one of the most traumatic. Yet the result is not a sleazy electro
classic, but a near replica of past achievements. 'Ultra' is
neither an 'Exile on Main Street' orgy of sprawling excess nor an
introspective of personal tragedy - and suffers because of it.
That, however, shouldn't be any surprise. Gahan might have
lived the life, but Martin Gore wrote the songs - and before
Gahan went AWOL, this was meant to be the most ambitious project
yet. He might have been initially inspired by the no-smiles
austerity of Kraftwerk and DAF, but this time around he intended
to make an album that encompassed an entire century's worth of
music, everything from blues and gospel right through to country.
There's not much evidence on Ultra, however, that such a
grandiose scheme ever got off the ground. For all the crackling
ambient synths and treated guitars, this is a perversely
_comforting_ Depeche Mode record. The choice of collaborators is
impeccable (Can drummer Jaki Liebezeit plays on 'The Bottom
Line', Anton Corbijn did the cover and producer Tim Simenon added
the contemporary hip-hop sheen), but the music remains as
creepingly familiar as ever. There is no dramatic reinvention,
and as such we're left with an album that's every bit as flawed
as its predecessors.
If these songs are about Gahan's decline as seen through
Gore's eyes, then they're written in such blank and generalised
terms as to be almost worthless as insights into his condition.
As usual, Gore's songs feed us a revolving roster of crying
souls, burning bodies and martyred lovers - and, as usual, it's
vaguely intriguing, but hardly essential listening. Indeed, the
inclusion of a jazz pastiche entitled 'Jazz Thieves' tells you
much about the sort of album that Gore has constructed.
Still, once you've acclimatised to the absence of documentary
distress and radical innovation, there's plenty of scope to
admire Gore's typically gloomy preoccupations and gleaming,
hi-tech song structures. 'Barrel of a Gun''s brutal dissection of
addiction, the plaintive steel guitars of 'The Bottom Line' and
the scuffed beats and thudding cacophany of 'Useless' are all the
result of Depeche Mode's ever-expanding awareness of their craft
and their darkly sophisticated use of technology.
But it's still all to clinical. Issues are skirted, poetry is
attempted and we're left clutching another instalment of
stadium-orientated angst, at a time when we were expecting
reflective intimacy. The needle rarely comes anywhere near this
record: four years away and you'd never know anything had gone
wrong. This just sounds like business as usual. Against all the
odds, 'Ultra' _is_ just another Depeche Mode record.
See you at Madison Square Garden in six months then. (6) [out
of 10]
James Oldham
New Musical Express, April 9th 1997
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