Egy franciáról angolra fordított cikkből (a HOME Fórumról ollóztam)
1 - Going Backwards: the intro to the guitar recalls not in its melody but in the sonority Personal Jesus, with its bluesy side. The atmosphere behind is quite threatening. The electro rhythm is made percussive, with a clear battery (one can detect there Never let me down again, behind the atmosphere an unwanted hair). Beautiful and effective entry.
2 - Where's the Revolution: good you already know and have digested. I do not add, except to say that this limpid piece, as powerful as it is, is not necessarily in the tone of the album.
3 - The Worst Crime: first vertex of the disc. The guitar chords are soft and create a strange atmosphere. It feels like a film by David Lynch. A lot of reverb in the background. If Chris Isaak was remixed by Nine Inch Nails it would do something like that. Except that it is DM and it illuminates the album.
4 - Scum: We stay in the strange, but very noisy and cluttered. Simian sound predominates. "Pull the trigger" invective Gahan with his very trafficked voice, even more so than in Barrel of a gun. I can not imagine going to live. She reminds me of U2's Mofo approach in Pop. Perhaps because of this, she ends up in the head.
5 - You Move: the slight stopping is confirmed. This song leaves with a pretty heavy rhythm and a very 80's synth sound limits bontempi. Surprising, but the last rising part with the whole set becomes quite consistent. Without packing either.
6 - Cover Me: the slap, the masterpiece of the album. Do you like the huge "Clean"? Here is his offspring in 2017. The song leaves however on bases "country-goriennes", but behind the storm rumbles. The dressing takes shape and it is sublime. The end never ends, and Ford (thanks to him) prolongs the pleasure, as at 6 in the morning when it is necessary to go to bed but that the dj hangs you like a master. I read that Dave would be the author, I can not confirm having not seen the booklet. But in this case, he definitely wins his author's stripes in the group with this one.
7 - Eternal: first incursion of Martin to the song. It feels like an industrial church, with this organ that resonates with the machines. There is a suspicion of Pimpf in it, we even think drops fall from some great rewards. The final climb is superb.
8 - Poison Heart: new lynchian atmosphere, with riffs, clear battery that give hard air to the song. But this one lights up to end in a powerful ballad. Quite disconcerting, but ambition in the process.
9 - So much Love: Third pic of the album, with his start at The Fly (U2 again, I know ...) This will be THE tube of the record, very Music for the masses in the mind. The rhythm is frenetic on its verses, not Behind the Wheel but not far. The guitar is also discreet but effective. Then comes the electro touch, very Soulwax remix. Paradoxically, it does not keep its promises on refrain. We kept a classic moment, we have a headline. That's not bad.
10 - Poorman: Atmosphere 80's, very keyboards. At the same time the mind is bluesy, with voices in chorus. The maelstrom finally sweeps away 30 years of musical evolution in the group. This "return to the future" is really happening in its second part, the song gains coherence and the end is really cool.
11 - No More (This is the Last Time): Dave, otherwise very well so far, imposes his voice. But the song lacks relief, except on his little synthetic gimmick. A little flat.
12 - Fail: Second incursion of Martin. And what an incursion! The sound oscillates between Masses and Violator, Martin spreads his lament. The second part of the song sees the fordian prod wins. Rarely, Martin will have sung a title so pesky. "Our spirit is gone," he says. Lie ! On the contrary, the whole album has only demonstrated to what extent the DM Spirit is alive and well
