Depeche Mode – Playing The Angel

Possibly the worst sounding CD in my collection. I’m not as bothered about the DR numbers on modern masterings as some are, but this one takes the biscuit. It’s just a racket from start to end. In a way I’m glad that I don’t like the albums songs as I never play it. But if I had an album that I was really into and it sounded like this does, then I’d be a very unhappy customer.

The first studio release in 4 years Depeche Mode's 11th album 'Playing The Angel' proved that once again they were unlikely to stay in one creative spot. Deciding to involve Ben Hiller - a man fresh off of working for the likes of Blur, Doves & Elbow - in the production process allowed the band's use of hard & smooth room to breathe and garner many memorable moments throughout its runtime.
From the distorted siren call of 'A Pain That I'm Used To' (a track that is sure to make you jump out of your skin on first listening) we are welcomed into the new chapter of Depeche Mode's career. Continuing the trend of confidence from the previous album the trio manage to break out a style not heard since the likes of 'Songs Of Faith & Devotion', making expert use of guitars over their well honed electronic lilt.
There is little doubt that the singles are the strongest tracks in 'Playing The Angel'. From its first teaser in the wildly sollum 'Precious' to the fantastic earworm 'John The Revelator' these tracks rise above the calmer sea of deep cuts like 'The Sinner In Me' & 'I Want It All' to give a perfect rise & fall that compliments each in turn.
Perhaps not the strongest piece in their vast back catalogue but welcome all the same, 'Playing The Angel' is a great example of Depeche Mode adapting to the ever changing electronic genre, making use of the misty 00's atmosphere made famous by the likes of I Monster, FC Kahuna and Boards Of Canada. It may need a couple of listens to really get into it, but the album is worth obtaining on the singles alone, and if you're a fan of Depeche Mode (even only casually) 'Playing The Angel' is seen to some as essential listening.

Songs are so-so - nice enough, but doesnt matter due to the fact that the album is sonically ruined and effectively unlistenable (see other comments related to horrible mastering/loudness war)

The DVD with the 5.1 and PC Stereo Mix really makes the difference and gives you an idea how it could or should have sounded. If you can manage to transfer it to MP3 or Flac, you'll hear it within the first 20 seconds.

This is the worst Depeche Mode release I have ever heard. I like maybe one song and I'm so disappointed I bought this.

One of the best DM albums. Even the songs Martin Gore sings are less painful then they usually are. This album has way more balls then some people would like. If you are into the horribly cheesy Ultra and Exciter you will want to stay away from this one but if you want your DM with some industrial and goth edge to it then check this out.

This album is not even worth having!! It is album with songs you will never when you have heard them. None of them will get stuck on your mind!!! By now DM should have lay of their hat and leave the music scene to someone else?? The two first albums were a revolution at the music scene and some albums after that but now they are an average band that has no soul or stick from other bands. Make us a favor and quit now so other better bands can take over!!!

This album suffers greatly from it's mastering at such high loudness levels which gives the music a very artificial and flat sound. Looking at the waveforms of the songs shows virtually every one pushed up to maximum levels throughout resulting in all peaks clipped, producing little subtlety and no relenting from a wall of noise.

A foghorn deluge opens one of the worst culprits in A Pain That I'm Used To followed by the equally unforgiving John The Revelator, both decent enough songs but with no space to breath and little variation in levels throughout, just noise. Later tracks seem better until a sharp stab of bass seems to overcome everything, a noise from the background seems to suddenly jump wildly in volume (The Sinner In Me) or the chorus is just pushed so high that you want to turn it down (Suffer Well/Precious/Macro).

Precious is the most accessible and commercially popular song but not the easiest to listen to due to the overbearing height to which everything is pushed. The intricacies of sound are often very much lost. Being two of the quieter songs, I Want It All and Nothing's Impossible, should, in the context of the album, be a respite from the loudness but, in the latter’s case especially, it is almost as if the sound is muffled as well as being muted with vocals pushed far back in the mix which muddies the track.

The album credits show the mastering to be by Emily Lazar of The Lodge and, from experience and research, that name seems synonymous with the "Loudness War" (http://www.sharoma.com/loudness_war.htm / http://www.stereo.net.au/forums/index.php?/topic/15278-shame-list-bad-redbook-cd-transfers/ ). BT's album, These Hopeful Machines (http://discogs.cinepelis.org/BT-These-Hopeful-Machines/release/2188060 ), is one example that suffers due to Lazar's over-loud mastering and resultant compression of sound levels and detail.

It is a shame that this album wasn’t treated more sympathetically, it would have made for a far better listening experience. Some good songs and good vocal performances are hidden away in the sonic boom.