Rock/Pop
CDアルバム

Ultra

4.5

販売価格

¥
2,290
税込
還元ポイント

廃盤

在庫状況 について

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)

  1. 1.[CDアルバム]
    1. 1.
      Barrel of a Gun

      アーティスト: Depeche Mode

    2. 2.
      Love Thieves, The

      アーティスト: Depeche Mode

    3. 3.
      Home

      アーティスト: Depeche Mode

    4. 4.
      It's No Good

      アーティスト: Depeche Mode

    5. 5.
      Uselink

      アーティスト: Depeche Mode

    6. 6.
      Useless

      アーティスト: Depeche Mode

    7. 7.
      Sister of Night

      アーティスト: Depeche Mode

    8. 8.
      Jazz Thieves

      アーティスト: Depeche Mode

    9. 9.
      Freestate

      アーティスト: Depeche Mode

    10. 10.
      Bottom Line, The

      アーティスト: Depeche Mode

    11. 11.
      Insight

      アーティスト: Depeche Mode

    12. 12.
      Junior Painkiller

      アーティスト: Depeche Mode

作品の情報

メイン
アーティスト: Depeche Mode

その他
プロデューサー: Tim Simenon
エンジニア: Q.(uentin・Rollet)

オリジナル発売日:1997年

商品の紹介

Rolling Stone (5/1/97, pp.53-54) - 3 Stars (out of 5) - "...Songwriter Martin Gore has plenty of dark passion to document....moody, pulsating ballads such as `The Bottom Line' and `The Love Thieves' are ideal vehicles for Gahan's brooding baritone and for the band's ever-increasing sense of tender intuition..." Spin - "'Barrel of a Gun' is classic Depeche Mode: down-plus tempo; Gahan's tortured baritone squeezing the lemon of Martin Gore's teeny-bop, S&M lyrics; guitars, synths, and drum machines deliberately emasculated like so much ground meat." Spin (5/97, pp.110-111) - (6 out of 10) - "...Simeon's pristine production...fits Depeche Mode's need to conceal their age in sleekness. Rather than co-opt drum'n'bass, they do what they've done since VIOLATOR: merge machine aesthetics and corporate machinery into a punkishly forbidding indolence..." Entertainment Weekly (4/18/97, p.66) - "..combines up-to-the-second synth effects...with ripping melodies--all supported by the grim sonic architecture that long ago made DM the darlings of many a sour teen. Imposing spires of synths, industrial rivets of percussion, churchy organs, and grave vocals erect an edifice of reverent dread..." - Rating: B+ Q (1/98, p.112) - Included in Q Magazine's "50 Best Albums of 1997." Q (5/97, p.118) - 4 Stars (out of 5) - "...ranks alongside...BLACK CELEBRATION as their darkest album to date....dry, dislocated, burnt-out and sometimes beautiful songwriting....Gone are the big, roguishly aggressive hooks, replaced by industrialised trip-hop beats...and widescreen spaces..."
Rovi

メンバーズレビュー

2件のレビューがあります
4.5
50%
50%
0%
0%
0%
DMのFUNには「痛み」を感じるアルバムになると思います。個人的には賛成なアルバム。「playing the angel」の次作になっても納得出来そうに思う。何処まで深化し続けるバンドなんだろうかとつくづく感銘致します。
2006/03/01 mizさん
0
ぼくがこのアルバムで感じたのは、化合する前の元素のイメージ。サウンドが決してシンプルな訳ではない。しかし不思議と曲の核がリスナーの目の前にあらわれる。アコースティックでプレイしているような奇跡のテクノポップ

2006/02/20 heychampさん
0

読み込み中にエラーが発生しました。

画面をリロードして、再読み込みしてください。