To date, Depeche Mode’s high water mark has always been 1990′s Violator LP but their 1984 effort, Some Great Reward, can also be considered a milestone in their career. The fact that it was recorded in partly in Berlin may have heightened the influence of electronic trendsetters Kraftwerk but the main reason why this record is, for me at least, a turning point in their back catalogue is where it hones the dark yet catchy signature sound that they are known for today. Much of the lyrical content turns away from the politics and social commentary (such as Construction Time Again‘s Everything Counts) towards a stance that is more personal and introspective; this increased emotion is juxtaposed with a crisp, almost industrial synthesised sound that is very much a product of its time but somehow still feels fresh nearly a quarter of a century later.
The opener Something to Do paints a bleak, urban cityscape with its talk of a “Grey sky over a black town,” and a breathless pace that depicts an urgency to leave this bleakness and greyness behind. Lie to Me slows the pace but there are more metallic clinks and electronic samples to accompany Martin Gore’s sharp and insightful lyrics. People Are People is the only point of the album that really strays from the personal and romantic themes; its observations of prejudice in modern society may lack subtlety and sound almost preachy in this day and age but its status as a fan favourite is still justified. It Doesn’t Matter is another slow and romantic number that makes excellent use of the artificial and almost cold synthesised instrumentation as a contrast to the warmth and introspection of the subject matter (it also spawned a sequel of sorts for the Black Celebration follow-up LP) but Stories of Old makes particularly effective use of the rhythmic precision of the synths.
The second half offers perhaps the most interesting material of all, not least Alan Wilder’s songwriting contribution in the form of the haunting If You Want that proved he could write lyrics nearly as well as he could arrange the melodies. Martin Gore’s keen ear for a catchy lyrical hook is the most obvious though in the racy Master and Servant, which is one of the band’s most daring portrayals of romantic/sexual relations of their career. The pseudo-S&M sound effects blend effortlessly with a driving beat and blatant innuendo to give a quintessential Depeche classic. The same can be said of Blasphemous Rumours, a much darker and fatalistic track that tells of teenage tragedy with a sense of irony that, perhaps, few other bands could get away with. “I don’t want to start any blasphemous rumours/but I think that God’s got a sick sense of humour…” proclaims David Gahan in his now-famous Essex baritone, which ought to come across as contrived but somehow doesn’t; it is quite jarring for a band aiming for the charts to take on such a chilling and downbeat topic.
From a personal point of view, Depeche shine brightest of all with their ballads, of which Somebody is undoubtedly one their finest examples. In a contrast with the layered industrial and electronic pallette of sounds in the songs that surround it, this particular track is driven entirely by Gore’s plaintive vocals with the instrumentation stripped down to little more than a piano and prerecorded background crowd noises that actually serve to heighten the feelings of loneliness and longing. It ably sums up how the record succeeded at pushing the boundaries musically in the cutting-edge sampling and studio-craft while still maintaining the radio-friendly pop sensibilities that ensured their continuing success.
In Summary
As a whole the album is the point where the tentative synthpop direction, still retained after Alan Clarke’s departure, became the more serious, thematically dark but occasionally playful approach that they still exhibit today. The melding of synthesised percussion and industrial leanings with very human and sometimes tender subject matter is as clever as it is unlikely; as important as it is in the history of the band, it is also one of their most consistent and innovative studio efforts that I’d strongly recommend.
Track listing
- Something to Do
- Lie to Me
- People Are People
- It Doesn’t Matter
- Stories of Old
- Somebody
- Master and Servant
- If You Want
- Blasphemous Rumours
