It would be presumptuous to believe X’ers have some type of special distinction as a generation when it comes to music. After all, one of the key tenets of being an X’er is the rejection of being special. When we lost the game, we lost. There was no trophy. We simply took the juice box and went home to contemplate how or what it might take to get better. Or in other words, Evolve.
One recent afternoon, it was time to begin a workout in the garage gym which meant a trip to the Box O’ CD’s. A carefully curated treasure trove of musical delicacies from decades past that harbored something sentimental or a memory from a time when listening to every song from your favorite artist was not just a click away. For this reason, it is always fun to decide what aural parade of nostalgia was going to make this new version of Sweatin’ to the Oldies palatable.
On this day, it was the 1997 release: Ultra, from Depeche Mode, or simply The Mode if you possess any Waver sensibilities. At first glance of the track list only a few songs jumped out as memorable, but the case was cracked, and one hinge was missing which meant it was played copiously in its time of release. Thus, the compact disc made its way into the 26-year-old JVC shelf stereo that featured a 6+1-disc changer and dual cassette decks. A classic in its own right.
Depeche Mode was clearly the penultimate band when it came to the Synth-driven sound of the 80’s. Even those who did not identify as a fan of The Mode could not escape the rhythmic beats of Master and Servant or the dreary vocals of Blasphemous Rumors if they spent any time at their local roller rink. Whether you were waiting to skate with that cutie from gym class to the musical stylings of Rick Springfield or Poison, Depeche Mode was in the musical mix, and it was good.
As Ultra began playing to an audience of one something became increasingly clear, this was not The Mode of the 80’s. David Gahan and company, although I suspect it was driven heavily by Martin Gore, had Evolved. Gone were the simplistic synth-driven tracks and in their place were layered entries with a harder edge lead by some pretty stout rock-tinged guitar playing.
Depeche Mode had successfully accomplished what so many musical acts and individuals for that matter had not done. They had Evolved their sound and skill set into something that matched the times and musical tastes of an ever-increasing finicky audience. Perhaps finicky is not the right word, dare I say it?
An aging audience is probably more accurate. As 1997 rolled around those who discovered The Mode as the band grew in popularity 15 years prior were no longer bumping around the local mall looking for a slice of pizza and a phone number. This audience was now eyeballs deep into young adulthood and all of the trappings that came with it.
It must be said at this point that Ultra did not represent anything earth-shattering in the guitar department. The Mode now producing lush sonic landscapes were not laying down virtuoso style guitar solos like Reb Beach in Winger’s heyday. Instead, the quartet now functioning as a trio tried their hand at adding this new stringed element with what I would argue as more than a modicum of success.
For starters, the opening salvo opens like many Depeche Mode tracks. It lulls you in with a synthetic sound with a rhythm that some might say if they were on Bandstand that you could dance to it, albeit slowly. But then, something happens, and they introduce a guitar element that could not be described as audacious but certainly Bold would be a fair assessment. The guitar is slightly angry, just like David’s vocals as he shares the predicament of staring down the barrel. As I added a nice jump in weight to the bar for set 3 this was a welcome surprise.
By 1997, The Mode clearly had seen their share of adversity and triumph and it was on display for the world to see. If the first track gave us a look at adversity then the opposite appeared to be true when the album reaches its 2nd track, The Love Thieves. Once again, they appeal to their core audience with a moody opening but then the Evolution finds its way to the forefront. Only this time, the guitar takes over and it presents a treble laden riff that approaches something close to hypnotic. If that were not enough the guitar returns later in the track to ensure you have successfully been put under their spell with a simple six-string presentation punctuated with dollops of sound emanating from the keys.
Some may say Depeche Mode sold out, or they lost sight of their roots. Others may resent them for not clinging to what made them famous in the first place. Just ask Def Leppard about the reception that awaited their much-awaited Slang album. Or perhaps The Mode should be looked upon as an example of how time waits for no one. As young X’ers learned on the sports fields of our youth, you either evolved your skill set and lived to play another day or you took your juice box and went home.
It is true, time waits for no one. Reaganomics and the rise of the technology-centered life got us here, but it will not get us there. The mid-year approaches and it is easily half time in the game of Life. So, learn to play the guitar, become a blogger to satisfy your creative side that you always knew was there but were too tired or too busy to pursue. Consider learning to write computer code or just listen to your old CD’s while you get in shape to play with your grandkids.
Or not.
Whatever.
I will be in the garage gym listening to some Dead or Alive.
- CPH
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