Monday, 5/12/97 Soundbites
Depeche Mode "Ultra" (Mute/ Reprise) After a three-year break
full of angst and drama, the seminal synth-pop band from Britain
are back with "Ultra," the album that probably should have been
released between their megahit, "Violator," and 1993’s rocking
"Songs of Faith and Devotion." Minus synth mastermind Alan Wilder,
Depeche Mode have found a sound that falls between their older
keyboard-goth and the guitar-driven sound they’ve been developing
with their last two albums. The hour-long "Ultra" will both bring
you back to junior high, back in the days of "Music For the Masses"
and "Violator," yet bring you up to 1997 with a tunes that reflect
the electro-rock now reigning the radio stations. The band, now
about 16 years old, have clearly been influenced by the alternative
rock revolution of the ’90s but have also kept those long, swirling
synthesizers that have kept us depressed since puberty. Does this
fusion work? Yup. The album kicks off with the creepy and crankin’
"Barrel of a Gun," a song that basically sums up the last two years
of lead singer Dave Gahan’s personal life ("Whatever I’ve done,
I’ve been staring down the barrel of a gun"). Songs like "Insight"
and "Useless" also incorporate the new sound, complete with current
synths and guitar riffs full of swagger. Then there are the songs
that sound like classic Depeche Mode. The new hit single, "It’s No
Good" is Depeche Mode at their best, especially with Gahan’s vastly
improved and more emotional vocals. "The Love Thieves" also
captures Gahan’s enhanced range and that great old sound. There are
three "Twin Peaks"-esque instrumentals on the album, all
deliciously dark and shadowy. Not to be outdone, Martin Gore, the
band’s songwriter and background vocalist, takes the lead
microphone for a couple songs. "Home" is a soulful tune typical of
the songs he usually sings, as is the electronic "The Bottom Line."
"Freestate" features some twangy, grittier guitars with Gahan
contrasting it with a quieter croon, giving it an erotic aura.
Depeche Mode haven’t caved to the electronica fad that everyone’s
raving about, probably because they are the ones that began it back
in 1981. Instead, they’ve morphed their sound between keyboard
dementia and GenX alt-rock. They’ve improved musically and
"reinvented themselves," as any 16-year-old band must, but they’ve
still managed to keep components of their music which have
attracted listeners for the past two decades. They’ve even become
more passionate, thanks to Gahan, who’s dropped some of the
pseudo-arrogance in his voice for a vulnerable, more mature singing
style, much like that of his right hand man, Martin Gore. An album
that compliments their "Violator" sound, "Ultra" keeps Depeche Mode
just as fresh and stark as they were when they wore lipstick and
were into S&M. For nostalgia’s sake, let’s hope they never
cheer up. Mike Prevatt B+ Save Ferris "Introducing Save Ferris…"
(Starpool/ Epic) Orange County has long been regarded as a breeding
ground for successful rock bands like Social Distortion, Sublime,
No Doubt and The Offspring. Save Ferris, much like the above bands,
started their ascension by building a powerful fan base at home,
then garnering major national attention and airplay. They combine
the best elements of ska, swing and punk and make it easily
understood what a live show could be like on "Introducing…" which
is their first EP (they’re currently working on their debut album
for Epic). Putting aside the obvious comparisons to No Doubt, Save
Ferris’ lead vocalist Monique Powell displays her own commanding
presence by playing up the Swing vibe on "For You," while Eric
Zamora’s saxophone and Jose Castellano’s trumpet are tight and fit
right in to the groove laid by the drums, guitar and bass.
"Superspy" is another gem that captures the possible greatness this
band could achieve. The one drawback this EP might have for some is
the fact that it’s raw, but this doesn’t mean it’s bad. In fact,
Save Ferris’s best work is ahead of them, and this first EP
captures the short-lived but probably most creative period in a
band’s life, the first year. It’s good to see bands still playing
to have fun instead of trying to copy someone else, and actually
getting the attention they deserve. "Introducing Save Ferris" is
only 19 minutes long, so you can get a taste of what’s coming next
time. Listen and get your party shoes on. Michael Nazarinia B+
Adriana Evans "Adriana Evans" (PMP/ Loud) Adriana Evans’ music is
from a bygone era. Her songs seem like they should be found on some
classic soul compilation. But certain subtleties reveal Evans to be
a contemporary artist, like the break-beat on "Swimming" and the
snippet sample of "Mary Jane" on "Seein’ Is Believing." Adriana
Evans is a soul singer living in the hip-hop generation. Like
Erykah Badu, D’Angelo and Maxwell, Evans avoids the cliche of
sampling classic hip-hop songs. Instead of canned music, there are
real instruments providing the musical backdrop. This artfully
crafted musical backdrop gives Evans the opportunity to shine.
She’s a singer with a great range and exudes a smooth confidence on
each track. On "Reality," her voice floats as effortlessly as the
accompanying vibraphone melody. And the sweet ballad "I’ll Be
There" is a welcome breath of fresh air from today’s
sexually-charged R&B . "Adriana Evans" is one of those albums
that completely stands apart from its contemporaries. With songs
that do not fit neatly into urban radio formats and play lists,
Adriana Evans’ album may be one of the best albums you’ll never
hear. It is composed of 12 very good songs, but the lack of a
stand-out single may mean that radio will not pick up on it. So
whenever you get the chance, get to some store that lets you listen
to CDs before you buy them. After giving "Adriana Evans" a listen,
it’ll surely make its way into your own CD collection. Nelson
Saldua B+ The Caulfields "L" (A&M) Looks like another guitar
band has been called up from the minors and into the big leagues of
the Major Record Label. The Caulfields arrive on a scene of
virtually nameless alterna-pop outfits all striving to win the same
audience. Yet these bands seem to cancel each other out, for their
basic, pretty talentless sound isn’t what’s "in" at the moment.
Since they all sound basically the same, they’ll be lucky to even
make the college radio circuit. The Caulfields are no exception.
But let’s not seal their fate just yet. Sticking to home-spun,
guitar-driven tunes, the band’s sound isn’t horrible; rather it’s
actually listenable and hummable. Their happy-go-lucky rhythms
aren’t as nauseating as some guitar-pop newcomers, and they even
have a few songs that are distinctly good. But most of their songs
do sound exactly the same. Tunes like "Atlas Daughter" and "Figure
It Out" remind you of the songs they put on during the credits of
movies that skip the theatrical release and go straight to
Blockbuster Video. A whole album of marginal pop songs isn’t what
the masses are looking for. Hell, they’re even skeptical when it
comes to the good stuff. In an age where the catchy hook or loop
can mean three million records sold, the Caulfields really don’t
stand much of a chance among the current modern rock successes. But
that’s not what’s most important. Their unpretentious, lively sound
will enlighten a select crowd. Despite the simplicity and the
monotony, the Caulfields aren’t so bad. Let’s not totally rain down
on their parade. Mike Prevatt B- Soundbites run Mondays and
Wednesdays. DEPECHE MODE "Ultra"