| フォーマット | CDアルバム |
| 発売日 | 1997年04月15日 |
| 国内/輸入 | 輸入 |
| レーベル | Reprise |
| 構成数 | 1 |
| パッケージ仕様 | - |
| 規格品番 | 46522 |
| SKU | 093624652229 |
構成数 : 1枚
合計収録時間 : 01:00:04
Depeche Mode: Andrew Fletcher, David Gahan, Martin Gore.
Additional personnel: B.J. Cole (pedal steel guitar); Doug Wimbish (bass); Keith LeBlanc, Gota Yashiki (drums); Danny Cummings, Victor Endrizzio, Jaki Liebezeit (percussion); Daniel Miller.
Personnel: David Clayton (keyboards, keyboard programming); Daniel Miller (synthesizer); Jaki Liebezeit (drums, percussion); Gota Yashiki, Keith LeBlanc (drums); Danny Cummings, Victor Endrizzio (percussion); Kerry Hopwood (programming).
Audio Mixers: Paul Conboy; Q.
Recording information: Eastcote, London, England (01/1996-02/1997); Electric Lady, New York, NY (01/1996-02/1997); EMI Abbey Road Studios, London, England (01/1996-02/1997); Los Angeles, CA (01/1996-02/1997); RAK, London, England (01/1996-02/1997); Strongroom, London, England (01/1996-02/1997); Westside, London, England (01/1996-02/1997).
Photographer: Anton Corbijn.
Unknown Contributor Roles: Alan Fletcher; Dave Gahan; Martin Gore.
With Alan Wilder now gone, ULTRA is Depeche Mode's first album as a trio. But in many ways it marks a return to form for the band. Producer Tim Simenon gives ULTRA a rich, lush sound that rejects the straight-ahead rock and analog experimentation of VIOLATOR and SONGS OF FAITH AND DEVOTION. Instead, ULTRA moves deftly between the sparseness of Depeche Mode's legendary early work and the complex, hard-edged sounds the band came to experiment with. The wide dynamic range allows for seamless interplay between thick, atmospheric keyboards; snaking intertwining programming lines; and an expansive palette of guitar textures.
"The Bottom Line" features a blend of sweet pedal-steel guitar (played by session great B.J. Cole) and plaintive, soaring synth sounds alongside two DM trademarks: ominous, low-end synth and David Gahan's reverb-soaked baritone. "Barrel Of A Gun" is driven by raspy distorted vocals and a wild, throbbing backing track. "It's No Good," with its insistent hook hidden in bitter industrial longing, gives the band its deftest pop song in almost a decade. For all that this band has picked up in 17 years, it hasn't forgotten where it came from.
録音 : ステレオ (Studio)
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