Depeche Mode: Some Great Reward
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.
Although their previous album Exciter had great soothing atmospherics and some of their most tender and sensitive ballads to date, it never really lived up to its title and looked rather weak compared with their earlier work. Four years later, Playing the Angel shows a Depeche Mode who are decidedly back on form.
When you hear the name ‘Depeche Mode’, it sometimes gives mental images of blokes with mullets, shoulder padded blazers, those bizarre hexagonal electronic drum kits all manner of 80s symbols that we’d rather forget. Well, it used to do that with me, anyway. However, when I started listening to their stuff, I realised that this band had moved way from the cheesy electronic sounds and gone for a more dark, atmospheric vibe, while still keeping catchy, foot-tapping melodies. Violator was written some time after this change occured.