{"id":39592,"date":"2006-01-05T00:00:00","date_gmt":"2006-01-05T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/goth-electro-tribute-to-depeche-mode\/"},"modified":"2006-01-05T00:00:00","modified_gmt":"2006-01-05T00:00:00","slug":"goth-electro-tribute-to-depeche-mode","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/goth-electro-tribute-to-depeche-mode\/","title":{"rendered":"Goth Electro Tribute To Depeche Mode"},"content":{"rendered":"

<\/p>\n

“Goth Electro” is exactly what this album is,
\nunfortunately.<\/p>\n

This record is a tribute by the underground goth
\ncommunity to Depeche Mode, a band that has fueled the musical
\ncareers of so many of these anti-socials. Though DM has become a
\nmajor influence in shaping today’s synth-goth music scene, it is
\nnot essentially a “goth” outfit per se. Its tunes, dark and
\nburdened with discomfort, are never too dismally suicidal or
\nmanically depressed to be actually called “gothic.”<\/p>\n

But this collection of songs is gothic, and that’s
\nthe problem with it. The fabricated bleakness of these alternate
\ninterpretations of DM classics is twice as gothic, but not half as
\nmelancholic or affecting. The excessive gloom is simply wasted on
\ndesecrating the great DM numbers that inspired these covers.<\/p>\n

With the exception of a few, most of the bands on
\nGoth Electro<\/i> have tried to “gothify” DM numbers, and have
\ncompletely destroyed the true essence of what the originals are.
\nFor example, the beautifully simple “But Not Tonight” in all its
\nhumanness is turned into a goth-fest, with its dismally
\nover-produced vocals that fade in and out, and lack the kind of
\nyearning on the original song that is made so human by Dave Gahan’s
\nvocals. The same is with the semi-upbeat “Get The Balance Right;”
\nthe overly dark version doesn’t do any justice to the original at
\nall, and makes listening to it a painful experience.<\/p>\n

There are quite a few bands on this record that take
\nthis desecration to another level altogether. For instance,
\n“Everything Counts” and “Lie To Me” sound horribly remixed, with
\nunnecessary adornments in the form of classy club-beats and synth
\nembellishments added to them, which completely engulf the
\nearnestness of the originals. “Enjoy The Silence” suffers the worst
\ninsult of all on this record; first, it has been turned into a
\ncheesy 90’s techno number in the manner mentioned above. In
\naddition, its magnificent words are never sung on this version.
\nAmid the brutal electro-barrage, all this rendition has that even
\nnearly resembles the original is the unforgettable tune that plays
\n— in a seedy 90’s trance-music fashion — throughout the duration
\nof the song, and is the only form of recognition of this badly
\nraped track.<\/p>\n

In this album of terrible covers, there are a few
\ntracks that do offer some saving grace. The cover of “Policy Of
\nTruth” by DISOWN, laden with guitar hooks, transforms a techno cut
\nto a rock number, and though still gothic, sounds refreshingly
\ndifferent from the rest of the album. The covers of “Stripped”
\n(Shiny Toy Guns) and “Never Let Me Down Again” (Switchblade
\nSymphony) are different form the rest of the album too, since there
\nis no untoward attempt to douse these tracks into unwanted
\ngloominess.<\/p>\n

Covering a track is an art in its own and a great
\ncover changes the appearance of the song, without destroying its
\nessence; a cover is just a re-interpretation, not a surgery.
\nGoth Electro<\/i> is a great example of how an album of covers
\nshould not be done. This album is not recommended, especially for
\nDM fans, as not listening will save them some humiliation.<\/p>\n

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