Playing the Angel by Depeche Mode (CD, Oct-2005, Sire Records USA)

So, it’s been four years. How about a new Depeche Mode album?

Martin Gore, David Gahan, and Andy Fletcher are now all in their forties and the “happy fun” days of “Just Can’t Get Enough” are gone. Now, with each member going through mid-life troubles, the short description “pain and suffering in various tempos” written on the back cover really applies. I know that might sound odd, seeing as most people think of Depeche Mode as being the leaders of “depressing pop.” I’ve personally never bought into that. Mode has always been moody – but where most sense depression, I’ve always found lustful passion and sensual darkness.

Either way, knowing what both songwriters (yes, there is more than one on this DM album – the first time since Vince Clark left the band all those years ago) have been through in recent years, helps to give a clearer understanding of why this album is full of “pain and suffering.” Gore, the band’s heart and soul, has been going through a messy divorce and the album’s best (and possibly saddest) track “Precious” is a reflection of that, as the song is written to his children as an apology for the pain they are going through. Other songs reflect Gore’s constant search for spiritual enlightenment. “The Sinner In Me” gives a sense of what he thinks of himself, while the very catchy “John the Revelator” shows an anger towards standard Christian beliefs (which is not new to DM to one that remembers “Blasphemous Rumors”). There is also the standard pain-of-the-heart with “Lillian” and “The Darkest Star.”

David Gahan is suffering in a much different way from Gore. Emboldened by “Paper Monster,” Gahan’s solo album (completed during the band’s latest hiatus), Gahan demanded the ability to write songs for this new album or he would quit the band. Originally, he wanted a 50/50 split of songs with Gore, but a compromise of three songs for the album was reached. And, to be fair, Gahan’s songs fit very well in the album. After kicking his addiction to heroin and alcohol, his songs have more hope and sensuality and add a decent mix-up from the catharsis Gore seems to be going thru. The difference between the two is noticeable, as Gore is a world renowned songwriter while Gahan is relatively new to this side of DM’s music. As a result, Gahan’s songs have a simpler and earlier Depeche Mode feel to them.

The music is a return of sorts to DM’s roots. Long known for being one of the first “all electronic” bands, in recent years, they had started to move across the room from the synthesizers and towards the more traditional instruments. But for Playing the Angel, the synths are back in force. Gore does a masterful job of mixing the new computerized sounds with the more traditional keyboard. The result is uniquely Depeche Mode and they continually show why they are the godfathers of techno.

That is not to say there are not a few misfires on the album. “Suffer Well,” written by Gahan, is pedestrian at best – invoking little of the emotion DM is known for. And “Macro,” written by Gore, tries hard to channel Violator’s “Waiting for the Night,” but fails due to Gore’s voice sounding strained and forced.

Overall, I found Playing the Angel to be Depeche Mode’s most accessible album since Songs of Faith and Devotion. Whether or not it’s able to produce the hits of those 90’s albums remains to be seen, but if you are a fan, I think you are going to enjoy this. And if we all play our cards right, in another four years, we’ll get another one.