Depeche Mode ‎– Delta Machine

Columbia ‎– 88765 46063 1, Mute ‎– 88765460631
2 × Vinyl, LP, Album

Tracklist Hide Credits

A1 Welcome To My World
Written-By – Martin L. Gore
A2 Angel
Written-By – Martin L. Gore
A3 Heaven
Written-By – Martin L. Gore
A4 Secret To The End
Written-By – Dave Gahan, Kurt Uenala
B1 My Little Universe
Written-By – Martin L. Gore
B2 Slow
Written-By – Martin L. Gore
B3 Broken
Written-By – Dave Gahan, Kurt Uenala
B4 The Child Inside
Written-By – Martin L. Gore
B5 Soft Touch / Raw Nerve
Written-By – Martin L. Gore
C1 Should Be Higher
Written-By – Dave Gahan, Kurt Uenala
C2 Alone
Written-By – Martin L. Gore
C3 Soothe My Soul
Written-By – Martin L. Gore
C4 Goodbye
Written-By – Martin L. Gore
D1 Long Time Lie
Written-By – Dave Gahan, Martin L. Gore
D2 Happens All The Time
Written-By – Dave Gahan, Kurt Uenala
D3 Always
Written-By – Martin L. Gore
D4 All That's Mine
Written-By – Dave Gahan, Kurt Uenala

Companies, etc.


  • A&RDaniel Miller
  • Design, Photography ByAnton Corbijn
  • Engineer [Assistant At Jungle City]Dan Tobiason
  • Engineer [Assistant At Santa Barbara Sound Design]Tomas Deltoro-Diaz, Will Loomis
  • Engineer [Engineered By]Ferg Peterkin
  • Engineer [Mix Engineer]Rob Kirwan
  • ManagementJonathan Kessler
  • Management [Depeche Mode Office]JD Fanger*, Venusnote Ltd.*
  • Management [For]Baron Inc.
  • Mastered ByBunt Stafford-Clark
  • Mixed ByFlood
  • Mixed By [Mix Assistant]Drew Smith
  • Other [Special Thanks] – Alex Pollock, Andrew Thompson, Andrew Zweck, Anton Corbijn, Ashley Newton, Barbara Charone, Benny Tarantini, Byron Carr, Carleen Donovan, Cathy Madrid, Daniel “The Brat” Barassi*, Dave Bett*, Dom Camardella, Edgar Berger, Erika Alfredson, Gordon Williams, Guy Moot, James Spano, Joakim Johansson, John Fleckenstein, John Gianquitto, Josh Smith, Justin Pritchard, Lars Murray, M.J., Marek Lieberberg, Mark Ashelford, Rick De La Croix, Rob Stringer, Ronnie “Chopper” Harris, Ros Earls, San Phillips, Saul Levitz, Scott Greer, Sian Roberts, Ted Goetz, Will Everitt, Will Hinton
  • Performer [Depeche Mode Is]Andy Fletcher*, Dave Gahan, Martin Gore*
  • ProducerBen Hillier
  • Programmed By [Additional Programming], Recorded By [Vocal Recording]Kurt Uenala
  • Programmed By [Programming]Christoffer Berg


Released in a matte gatefold sleeve and printed inner sleeves. Includes mp3 download coupon.

Sticker on front cover (applied on the shrink-wrap):
"BRAND NEW RECORDING. Also Includes A High Quality 320kbps Digital Download Of This Album. 88765460631"

Durations do not appear on the release.

℗ & © 2013 Venusnote Ltd., under exclusive license to Columbia Records, a division of Sony Music Entertainment / Distributed by Sony Music Entertainment. Dystrybucja w Polsce: Sony Music Entertainment Poland Sp. z o.o.

A1, A3, B1, B2, B4, B5, C2 to C4, D3: © 2013 EMI Blackwood Music Inc. and Grabbing Hands Music Ltd. All rights on behalf of itself and Grabbing Hands Music Ltd. admin. by EMI Blackwood Music Inc. (BMI).
A2: © 2012 EMI Blackwood Music Inc. and Grabbing Hands Music Ltd. All rights on behalf of itself and Grabbing Hands Music Ltd. admin. by EMI Blackwood Music Inc. (BMI).
A4, B3, C1, D2, D4: © 2013 EMI Blackwood Music Inc. and JJSR Productions Inc. All rights on behalf of JJSR Productions Inc. admin. by EMI Blackwood Music Inc. (BMI) / Chocolate Robot (ASCAP).
D1: © 2013 EMI Blackwood Music Inc., Grabbing Hands Music Ltd., and JJSR Productions Inc. All rights on behalf of itself, Grabbing Hands Music Ltd., and JJSR Productions Inc. admin. by EMI Blackwood Music Inc. (BMI).

Recorded at Sound Design (Santa Barbara, CA) and Jungle City (New York, NY)
Mixed at Assault & Battery 2 (London)
Mastered at Pierce Rooms Mastering (London)

Barcode and Other Identifiers

  • Barcode (Text): 8 87654 60631 0
  • Barcode (Scanned): 0887654606310
  • Matrix / Runout (Runout Side A): BD02762-01 A1
  • Matrix / Runout (Runout Side B): BD02762-01 B1
  • Matrix / Runout (Runout Side C): BD02762-02 C1
  • Matrix / Runout (Runout Side D): BD02762-02 D1
  • Label Code: LC 00162
  • Rights Society: BIEM/GEMA

Other Versions (5 of 55) View All

Cat# Artist Title (Format) Label Cat# Country Year
88765 46062 2, 88765460622 Depeche Mode Delta Machine(CD, Album) Columbia, Columbia, Mute, Mute 88765 46062 2, 88765460622 Europe 2013 Sell This Version
SICP-3783~4 Depeche Mode Delta Machine(2xCD, Album, Dlx, Ltd) Sony Records Int'l, Mute SICP-3783~4 Japan 2013 Sell This Version
88883708372 Depeche Mode Delta Machine(CD, Album) Columbia, Mute 88883708372 Russia 2013 Sell This Version
88765460622 Depeche Mode Delta Machine(CD, Album) Columbia, Mute 88765460622 Brazil 2013 Sell This Version
88765 46062 2 Depeche Mode Delta Machine(CD, Album) Columbia, Mute 88765 46062 2 Malaysia 2013 Sell This Version


Reviews Show All 17 Reviews

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April 12, 2019
Depeche Mode 2LP "DELTA MACHINE"...

Ich bin wirklich glücklich dieses Album von Depeche Mode in meiner Musikkollektion zu haben, denn es enthält 2 Titel welche meiner Meinung nach defintiv super klingen, es handelt sich dabei um "HEAVEN" und "SOFT TOUCH/ RAW NERVE"!

Depeche Mode haben Alben wie "CONSTRUCTION TIME AGAIN" (1983), "SOME GREAT REWARD" (1984), "BLACK CELEBRATION" (1986), "MUSIC FOR THE MASSES" (1987), "101" (1989) und "VIOLATOR" (1990) veröffentlicht und es sind genau diese Alben, welche ich mit dieser Band in Zusammenhang bringe. Diese Alben habe ich alle auf CD/ SACD in den neueren Auflagen, welche meiner Meinung nach (digital) absolut gut klingen, bei vielen heutigen CD Produktion fliegen einem ja fast die Ohren weg, weil es zu laut, bzw. zu gleich laut ist und das schmerzt dem Gehörsinn ungemein, speziell wenn man längere Zeit hört, dass bezieht sich aber nicht nur auf Depeche Mode, sondern auch auf eine Vielzahl von Musik der heutígen Zeit.

Ich glaube auch, dass das der Hauptgrund ist, warum heute wieder viele Leute LP´s anstatt CD´s kaufen, denn die sind herstellungsbedingt weniger laut und müssen mehr musikalische Dynamik aufweisen, speziell bei den 331/3 U/min LP´s, obwohl eine CD rein theoretisch klanglich einer LP vorzuziehen ist. Eine LP ist generell zwar schöner, als eine CD, aber eben auch teurer, was meiner Meinung nach der Hauptgrund der Musikindustrie ist, die heutigen digitalen Medien in den "Loudnesswar" zu schicken, da die Umsätze doch eher gesunken sind.

Also noch einmal: "HEAVEN" und "SOFT TOUCHE/ RAW NERVE" sind für mich d-e-r Kaufgrund für die "DELTA MACHINE" 2LP von DEPECHE MODE gewesen.

...danke allen Lesern, vielleicht hilfts beim Kauf - aber wer weiß das schon immer so genau... Mike



August 3, 2014
edited over 5 years ago
After a year and a half, I still do not know what to make of this record.
Great title, great artwork and a bunch of songs that could be much better.
The best tracks for me are: "Angel" and "All That's Mine". Real DM school here, back to old times!
My greatest frustration was production decision on shoving an overloud distorting guitar on "Soothe My Soul" chorus.
Mastering is much better than previous 2 albums. I hope they keep turning the volume down for more dynamics!

All I know is that I will definitely stop collecting DM material if Ben Hillier is back again.


July 29, 2014
Well - last year when I listened it first I did not get into it.
I thought it's a piece of boring, uninspired dullness that no-one ever really needs these times. It thought, guys, quit DM and leave your glorious past as is, without distracting your glory with new oeuvres.

Maybe the expectations. Even though I thought I don't have any expectations anymore from their records post 'Ultra'. Maybe because I know them from their first release and I felt disappointed by the most stuff the last decade. But still I always gave them a try... call it melancholic nostalgia... heroes MUST be GOOD... whatever.

It took me some re-iterations of 'giving it another try'.

And now - more than a year later I went more calm to give it a complete run again - three times in a row. A short break. And then I let the vinyl roll the whole evening 'til three o'clock in the morning.

I LISTENED without prejudice then. And I admit to say that it grew and it settled and it touched me and now, now I need to say that I am quite impressed by this record. Very difficult to explain and not sure what happened inbetween. So today I find it's a strong album.


April 22, 2013
edited over 6 years ago
My first impression is not good. It has all the trademark dismal DM mood, which has become a tiring, full-on paranoia at this point. It's a dark album, but what DM album isn't?

The biggest problem is that it's also dull. Very few tracks grabbed me. Too many similar tracks. It's even less interesting than Sounds of the Universe.


April 22, 2013
The vinyl version has a awesome sound and good songs on it!
I definitely recommend this album!


March 30, 2013
edited over 3 years ago
"Violator" is both, a masterpiece and the curse of DM - although I remember at the time, I didn't like it on first listen. Especially "Personal Jesus"... but then, it started growing on me. The sound was heavier, but they kept their electronic pulse and treated it with great care. Maybe it was still the bloody 80s, Alan Wilder, François K. and/or Flood, cannot tell - "Violator" was the perfect record, made at the right time. I respect them for not repeating the formula with "Songs of Faith and Devotion" onwards, but to this day, while SOFAD remains by far their most mature (and also most "rock-ish") album, Depeche began to fade in and out of their own focus. Not that they made any wrong moves - with "Ultra", "Exciter" and "Playing the Angel", the post-Wilder trio continued to grow, but they also continued to drag along.

My personal problem with DM is their ongoing visual aesthetic predictability ever after, that's remained for 20+ years, ever since they started working with Anton Corbijn. I agree that Corbijn's assistance at first was a necessary injection of fresh blood (and I love his sharp grainy b/w photography) - Corbijn truly helped repairing the group's public image (teenage posters, videos, memorabilia, etc.) at the time - but the sleeve for "Violator" was/is the very last visual experiment that truly worked, perfectly encapsulating the beauty of the group's morbid and subversive side with that of a mainstream, omnipresent electro-supergroup.

Of course, by accepting Corbijn's visual side of things (already during "Black Celebration"), DM started to play safe more and more, and in a way it somehow started to affect (or present) their music part of the story as well. Gone is the grandiose epic photography/design (previously courtesy of Brian Griffin/Martyn Atkins), gone is the tasty subversiveness and morbidity of their pop-appeal in that context... what remained was just the dull "darkness" of a cliché that is "sex, drugs & rock'n'roll". In their case, it's been coined a phrase "Pain and suffering in various tempos". Even though I didn't lose my respect for most of their ongoing music adventures, and continued to listen to everything post-Violator (although more of curiosity than anticipation), their previous album "Sounds Of the Universe" was an insult and remains the one I love to hate tremendously, and blame it for everything monstrously predictable about DM in recent years.

As I said, while "Violator" encapsulated the beauty of DM of the time (and the rose symbol was the pinnacle of this audio-visual success), SOTU encapsulated the sadness and what turned into an unimaginative audio-visual (electro-blues) franchise ever since SOFAD - and the one that made me really suspicious about "Delta Machine" (especially when I saw the sleeve design, which even managed to overshadow the dull visual dilettantism of SOTU - and of course, the moment "Angel" and "Heaven" leaked online, I felt very sad - considering the whole of the new album, these two songs remain the weakest of the lot, despite their "energy", "blues" and/or "soul" factor).

Surprisingly, however, the new album managed to resurrect some of the grace DM had back in their ultimate glory days - unlike SOTU, "Delta Machine" is a decent return to form, just as it is a sort of a farewell (from Mute to Columbia, to start with). They grew old, and they don't hide the fact, admitting they gave their best, learning from past mistakes by falling into music industry traps around them - got badly hurt at one point but stood up and fought their own demons along the way. The pathetic side in terms of "soul", "love", "angels" and "heaven" became too audible, but musically they still struggle/manage to keep some of the balance between DM they once were and DM they are now.

Four tracks from the new album are amazing ("Secret To the End", "My Little Universe", "The Child Inside" and "Broken" which is dangerously close to a Marc Almond's "A Lover Spurned" re-write, only without trumpets and with delicious hint of "Blasphemous Rumours"), while the rest is, let's say, respectfully "generic" minimal electro-rock DM stuff of recent times. Whether it's good or bad thing, each fan will decide for himself.

My personal impression is, some of this could have been an even better offering if released as Martin's solo album ("The Child Inside", the album's finest moment, is the most beautiful example and one of his best songs to date, where the electro-blues thing shines with inmost beauty), although Dave's vocals are impressively strong and resonant all the way through the album. Of course, neither Martin nor Dave, will ever manage to escape from eachother, let alone the DM stigma - it is a deserved institution with loads of past masterpieces and their decent immitations to choose from.


March 26, 2013
edited over 6 years ago

Depeche Mode ‎– Delta Machine

Upon first listen via iTunes streaming, I was a little underwhelmed. Then the vinyl dropped on my turntable and I played it through three times in a row.
This is a fine LP and has many different vibes going on. The strangest thing for me is the order of the songs. I feel like the album gets stronger as it gets near the end. The first song seems a little out of place on the album, and especially as an opening track.
The production has more weight the the previous two, with the low end being mastered much better.
Another interesting element is that some of the best songs on this LP were not written by Martin, rather, they were written by Dave. The best track on the LP "All thats mine" was written by Martin and Dave. It has a classic feeling that I generally hope for with each "new" DM album.

Other stand out tracks are "Slow", "Broken", "My Little Universe", "Should Be Higher", "Alone" (a super good track) and "Happens All The Time" (written by Dave and one of the best songs on the album).
In my opinion, the track "Sooth My Soul" is really bad. It has this uber pop feeling that does not sound like DM, and out of place within the context of the entire LP.
Over all, "Delta Machine" is a solid LP that demonstrates that these masters of their craft still have the spirit of creation riding within them.

"All That's Mine" and "Happens All The Time" should have been comercial singles for this lp. They are the best tracks by strides and miles of everything else on this LP. They would have been a good bridge to the younger generations who are not familiar with DM's music.


March 25, 2013
I'm not sure what to make of it. Multiple playings will allow the cream to rise, but I fear the charting in the US will be all in one week and disappear as usual.


March 24, 2013
Am i wrong or is this record just quiet? Who did the mastering? A deaf one?