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Dephe Mode; Delta Machine


In 2013, 33 years into their career, Depeche Mode’s chosen medium of electronic music is still generally what people think of as futuristic. Computers are largely to thank, but really it is just a general progression of technology evolving so fast that it is amazing musicians and producers can keep up at all. Within this musical category that spans from John Cage to Skrillex, when groups tap into a signature sound, it is very much theirs, as it is unlikely that the technology was available to previously. Sometimes, the downside is that these same artists are reluctant to evolve their sound with the technology, as it is their signature aesthetic that brings home their paycheck.
Depeche Mode didn’t have a signature sound when they began. Their first single, “Dreaming of You,” sounds more like Devo than what Depeche Mode would be a few short years later, with each release seeing the sun setting below the horizon and leaving their sound in a perpetual night, never coming back. 1984’s Some Great Reward was Depeche Mode’s arrival at their own sensual and dark voice, bolting down their pop melodies with industrial effects and found sound, giving an organic and palpable undertone to synthetic music despite the fact that the “real” sounds were often from mechanical items.
Either way, it made them huge. On albums Black Celebration and Violator, the English group appealed to fans of the new wave and dance music that reigned in the ’80s, later roping in gothic and alternative crowds, too. Martin Gore’s songs from the band’s prime still hold weight, testaments that even in the midnight bleakness, a hook is a hook, especially when delivered by devilish frontman David Gahan in a sultry baritone—a reminder of the night’s stars best seen while lying on your back.
It’s hard to hear this history in Delta Machine, Depeche Mode’s 13th and arguably worst album. Yes, the sun never rose again in Depeche Mode’s music, but the darkness now is muted as well. Depeche Mode of this millennium has gradually settled in between, like a tired city muddied with light pollution, with the difference between their previous offerings of the Ben Hillier trilogy redeemable in their inconsistency because of the occasional stroke of brilliance.
Only one song on Delta Machine features said “stroke,” though the singles do earn passing grades. “Heaven” sounds like a Victoria’s Secret commercial, manufacturing a lusty spell with economy. Gahan, Gore (with soulful backing vocals that sound so much like a lady that doubt still lingers) and Andy Fletcher connect as a unit like most bands do automatically, but this is now an attribute to point out for Depeche Mode. Yes, when the rest of the album connects three players with rice paper joints, a song with an actual backbone is something to celebrate—errr, black celebrate.
“Soothe My Soul” is a step down from this low watermark, probably inspired by the exercise (either a dribbled basketball or laser tag aerobics) and arriving at a point in the album that even OK songs seem like death row reprieves, a chance to ice your forehead after slamming it against your wall with such frequency.
Most of Delta Machine plays like fake musical, the type written in a sitcom to mock real musicals. “Angel” sounds like a cabaret performed at drag show in South Carolina, with Gahan’s low register so smoky that it’s phlegmy. “The Child Inside” is a cleared-throated encore of the same set. “Secret to the End” transports us to a schoolyard for a finger-pointing taunt, an uncomfortable listen that shifts into “My Little Universe,” seemingly written about a car. A car with the turn signal left on for eternity. The lyrics don’t really discredit this theory.

Whitby Goth Weekend Festival

April 26th 2013 & April 27th 2013 Whitby Goth Weekend ( On Friday) Voltaire, Doctor and the Medics, Zombina and the skeletones *official*, Pussycat and the Dirty Johnsons (On Saturday with ) clan of xymox , Skeletal Family , The Danse Society , @Deviant . Feauturing an after show party by @Wendy House


Bauhaus' Peter Murphy pleads not guilty to hit and run and drug possession charges Read more at


( news Images by: Getty)
Frontman issues a statement saying he will be playing all future shows as planned
Bauhaus' Peter Murphy has pleaded not guilty to hit and run and drug possession charges after being arrested in Glendale, California on Sunday (March 16).
According to Glendale News, the singer of the British goth rock group pleaded not guilty to all charges relating to his arrest at the weekend including driving under the influence of drugs or alcohol, hit-and-run driving and possessing methamphetamine (commonly known as crystal meth). Murphy did not appear at the Los Angeles County Superior Court on Tuesday (March 19) but entered his plea via his attorney. He has since been released from jail on his own recognisance, though the judge has prohibited Murphy from driving "anywhere" under "any condition."
A statement on Murphy's Facebook page reads: "All charges that were originally filled as felonies were lowered to misdemeanours and Peter was released with with no bail or restrictions. Even on the lower charges Peter has pleaded not guilty. He wishes to thank everyone for their support and can't wait to start touring."
A statement from his lawyer on the same Facebook page continues: "The amount of Alcohol in Peter's Bloodstream was measured at 0.01 way under the 0.08 which is legal. This is the lowest amount of alcohol that is able to register on a breathalyser. We cannot say anything more right now as after pleading NOT guilty to all charges Peter now must say no more until this matter is resolved."
Yesterday, it was reported that Murphy had been arrested after allegedly injuring another driver after crashing a car in Glendale, Southern California before fleeing to Los Angeles, where he was held up by an eyewitness until police arrived. 
Bauhaus released five albums over their career – the first being 1980's 'In The Flat Field' before 1981's 'Mask', 1982's 'The Sky's Gone Out' and 1983's 'Burning From The Inside'. Bauhaus first broke up in 1983, with Peter Murphy embarking on a solo career and other members forming Tones On Tail and then Love and Rockets. The band reunited for a 1998 tour, and again from 2005. They released their last album 'Go Away White' in 2008. 
Earlier this year, Peter Murphy announced that he would be setting out to perform Bauhaus material on a 49-date US and European tour to support the band's 35th anniversary. He is due to play five dates in the UK in June.