and here come the blues as we reach the halfway mark, and presumably it's Gore on the electric guitar. This is far from pompous or austere, and is entirely unlike anything Depeche Mode have ever done before. The track works precisely because of its considered use of space, and a wheezing, fruity workout.
Musically it (aptly) is all fractured electronics like Four Tet or something, bleep bah bah boop boop. There's a great breakdown of drums and a one-note keyboard line before a properly snide and nasty finale, something bad going down in the drill hall.Īnother change here, starting with a percussive, awkward tone and Gahan is in croon mode - in fact, you could even imagine this coming from Thom Yorke as he sings "here I am king / I decide everything / I let no-one in". It's really starting to feel as if some of the VCMG sonics have rubbed off on Depeche Mode. the final contract expires soon / we've come to the end". The throbbing electronics do not spend too long away! Here, there's a really solid analogue burble, simple martial drum machine and a 'ping ping' as Gahan's vocals again build things up into an excellent, typically Depeche chorus.
Actually, the great thing about 'Heaven' is that it sounds like the sort of song U2 ought to be writing if they weren't constantly spinning songs out of a gigantic cloud of wind. Still, it's not too much of a passion-killer as far as the sequencing goes, though fans of the tougher side of Depeche Mode will not be left hoping for more. It felt a little too focussed at the mainstream American radio market, a little too much Lennon twisted into the piano, a little of Radiohead's 'Karma Police', and it's fair to say it is a marked contrast to that opening salvo. I must admit I wasn't sure about this as a single. 'Angel' sounds like Depeche Mode, but also nothing like Depeche Mode have ever sounded before. Gahan's histrionic gospel is great - "the angel of love is upon me" and lines about a "preacher on Sunday" suggesting a conflicted soul. If there is any guitar here, it's heavily processed beyond the point of recognition. It begins even heavier than 'Welcome…', the hardest textually since the Einsturzende Neubauten-inspired work with Gareth Jones during the mid-80s, and possibly more so. This is the preview track that first announced Delta Machine via a video tour around the Depeche Mode studio a few months ago.
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