Catching up with Depeche Mode

Synthesizers, cute lyrics and wild hair and makeup seemed to be the recipe for success for many early techno-pop imports from Britain in the early '80s.

Most groups during this time were one-hit wonders, spewing out meaningless hits that secured their future places in countless "Where Are They Now?" specials.

"They fly in the face of pop trends," said Greg Miller (sophomore-English), a longtime fan. "They had one of their biggest hits during the grunge era by using techno-oriented music. Now that that's popular, they've turned away from it again."

Synthesizers and meaningful lyrics are Depeche Mode's weapons of choice and the group uses them brilliantly, each group member working with one another to produce social, religious and even economic commentary in their songs.

"Listen, if Depeche Mode were a movie, Martin (Gore) would write and direct. I'm the actor; I bring life and a heartbeat to his creations. And (Andy Fletcher) would be the backbone to the whole operation," lead singer Dave Gahan is quoted as saying on the official Depeche Mode World Wide Web site.

Most people became aware of the group following the 1990 release of its commercial breakthrough Violator. This album spawned the hits "Personal Jesus," "Enjoy the Silence" and "Policy of Truth."

Miller said he began listening to the group immediately following Violator's release and cited that album as one of his favorites. But the group's subsequent releases are what Miller believes truly showcase its talents.

Songs of Faith and Devotion (1993), which debuted at No. 1 in the United States, and the group's latest offering Ultra (1997) are proof that the band has finally gotten itself together, despite Gahan's personal problems.

"If you listen to Songs of Faith and Devotion you can really hear the personal feel of the album," Miller said. "The lyrical content and the songs truly fit Gahan's voice and personal battles."

But the band's latest album, Ultra, has been its most accomplished, Miller said, showcasing the emotional battles of the formerly heroin-addicted Gahan.

It is Gahan's deep, throaty voice paired with the emotive lyrics of keyboardist Gore that has always made the group so distinct. But before the group began enjoying commercial success in this country, it produced an outstanding body of work that is worth listening to.

Construction Time Again (1983)

Once the band's founder Vince Clarke left for greener pastures, Gore and Gahan were free to experiment with a more ominous sound and darker lyrics. This album produced the hit "Everything Counts," a commentary on the music industry, and is truly the beginning of the band's current identity.

Catching Up with Depeche Mode (1985)

Catching Up with . . . does just that -- it catches listeners up with the group's offerings up until 1985. The disc starts out with the bouncy pop "Dreaming of Me" and continues on that wavelength with the fun song "See You." The second half of the album gives listeners a peek into the dark brooding days which were still to come.

101 (1989)

Recorded live while the group was on tour, this album is also basically a collection of greatest hits, with a twist. Many of the songs are longer, and some are even changed from their original album format, the way only a live concert can do.

For instance, the beautiful "Somebody" is enhanced immensely on this album as Gore's voice and lyrics sound almost heavenly backed up only by a simple piano and the occasional scream from the audience. A far cry from the synthesizer and sample-backed versions on other albums, 101's version of "Somebody" is alone reason enough to listen to this album.