Track 13 (total length 8:58) contains a hidden track (track 13.3), an untitled instrumental version of Wrong.
Recorded at Sound Design, Santa Barbara & Chung King, New York. Mixed at Chung King, New York. Mastered for Marcussen Mastering, Hollywood, CA.
"In Chains", "Wrong", "Fragile Tension", "Little Soul", "In Sympathy", "Peace", "Spacewalker", "Perfect", "Jezebel" & "Corrupt" published by EMI MUsic Publishing Ltd, licensed by Grabbing Hands Music Ltd. "Hole To Feed", "Come Back" & "Miles Away / The Truth Is" published by EMI Music Publishing Ltd, licensed by JJSR Productions Inc / Universal Music Publishing Ltd.
I don't get why so many people hate this album. I love it. (Similar situation like with the eponymous The Cure album lol). In Chains is a thrilling opener. Wrong is a creepy masterpiece. This song is so intense and gloomy (especially with the music video). Peace is for me among the most beautiful DM songs ever. Come Back (probably my favourite song here) is amazingly powerful, rock-inspired tune that listening to is a pure joy. Jezebel is IMO (as of now) the last great DM song with Martin Gore singing. And Corrupt is a great passionate ending to this very good album.
Ok, I decided to "relisten" some DM albums which I had forgotten about, namely everything from Ultra - up to now. Maybe I had not listened correctly or not enough.... but that was it not. Indeed these "newer" DM albums are really boring and PTA is irritating with it digital clipping (glad some others find this too)...Ultra was fine compared to this here for example...there is not ONE song which grabs me. And many seem "skip" material and this was DeMo... And btw. if you listen very good you can hear some small samples in the background from 80ties albums hehe This here and PTA and Exciter (Ex-Sleeper?) get all only 2 points.
I'm here to put up a case for the defence of Ben Hillier, who seems to have been blamed by a lot of DM fans for the supposed paucity of the 3 DM albums he produced. First of all; Hillier did not write the songs, so if you consider the songs on those albums, below par, then you really ought to look at Messieurs Gore and Gahan. Ask yourself: as a producer, what is one supposed to do with a track like "Another hole to feed"? It's hard to believe that Gore didn't have anything he considered more worthy of inclusion on the album than this! It appears to me, that the 2 warring factions have come to an arrangement, whereby Gahan is guaranteed to have 3 of "his" compositions included on all DM albums, regardlesscof whether there's better material or not. This is not a problem when he's supplying material like "I want it all", "Cover me" or "Come back" - yes I'm apparently alone in thinking it one of the better tracks on SOTU - but "Another hole to feed" must surely be a contender for the all time low point in the DM canon. I'm a big admirer of all 3 albums, and I feel that this is to a large degree, due to Hillier's attention to detail. There are lots of little touches, which as unlikely as it might seem, draw the ear; I'm referring to things like the percussive sound ("wood block"?) that comes in at around the 2:02 mark on "Secret to the end". From "Playing the angel", the single "Precious", sounds to my ears, at least, like an absolute classic Depeche mode single, that puts "Enjoy the silence" to shame. To my astonishment, many even seem to be blaming Hillier for the flawed mastering of these records. Give the poor sod a break! If I have a complaint about these albums, then it is that there is too much in the way of undisguised guitar, but then this is something that has become a constant in DM's music, ever since "Songs of Faith and Devotion". I appreciate that Gore considers himself a guitarist, first and foremost, so perhaps he could record unplugged versions of DM songs - which he could give away as free downloads - and get it out of his system, leaving the albums relatively guitar free?!
I feel a bit sorry for all these dissapointed die hard fans out there. I think that beeing dissapointed from a new Depeche Mode record is part of the game for fanboys from the early days. A bit funny and obvious i think. For me this is for sure a brilliant record from start to finish. Great songwriting and very intersting soundwork - would love have an instumental version of this album.
I had so high expectations for this album. The leading single Wrong is just brilliant but it's very easy to see why they picked it. The album has no other singles on it. It barely has any good tracks at all. Half of the album is listenable and the rest you forget the moment you've heard them.
Why Gahan should have three tracks on it when one of them (Come Back) is worse than any of his solo work is beyond me. There are some good extra tracks on the box set that could have turned this into a decent record.
It begins quite alright. In Chains is a slow but decent opener. The Gahan track Hole To Feed is quite catchy and Wrong is just outstandingly good. Fragile Tension, In Sympathy and Perfect all sound way to similar and uninteresting. Miles Away/The Truth Is at least has some experimenting with the drum sound. The album closer Corrupt is another of the "good" tracks.
I've tried really hard to like it but together with Ultra this really is a crap record coming from this band. Vintage equipment alone won't make a great songs.
I must admit that the "In Chains" got me form the first second and made me open to the complete album. I was completely disappointed by "Playing The Angel" (for me one of their worst albums) and thus curious (and frightened) about what this album would sound like.
For my taste they finally found their way back and connected well to their earlier sound that I personally have missed a lot since the release of "Songs of Faith and Devotion". For me, "Violator" is their best album and I find that SOTU follows that sound pretty well. Not to get me wrong - I don't want a copy of "Violator", but of all albums since "Songs of Faith..", SOTU is the one that continues the sound of "Violator " and "Music for the Masses" best. Maybe it's just that I hang on to these old analogue synth-sounds, but on the other hand it's the sound that DM stands for. It's the sound that was defined by DM to a better part and that is also typical for Mute Records.
It's just good to me to find out that with this album Depeche Mode is Depeche Mode again.