Subiektywnie o ciekawej i godnej polecenia muzyce - classic music, rock progresywny, art rock, prog metal, jazz & fusion oraz pokrewne gatunki. Hourglass is the second solo album by Depeche Mode's singer Dave Gahan. It was released by Mute Records on 22 October 2007 in Europe, and received generally favourable reviews. Most critics complimented its electronica sound, while some criticised it for sounding too similar to Depeche Mode. Super Eurobeat 170 Rar.
This has presumably been a strange and exciting decade to be a member of Depeche Mode: Seven years during which dark, blustery electro-pop has come back as a mainstream force, especially in their native UK, and sometimes in exactly the terms they were supplying it 15 or 20 years ago. They've noticed this, surely.
Perhaps it's why, after sidetracking into a minimal, techy sound on 2001's Exciter, they ran right back to blaring, grainy bombast on 2005's Playing the Angel. And perhaps it's why, after a solo debut that differentiated itself from DM by putting a guitar up front, singer Dave Gahan has veered back toward the drama you expect of him. The problem is that while Hourglass has Gahan sounding a lot more assured and competent as a songwriter, it's also too much what you'd expect of him. Holed up in a New York studio with Depeche Mode's touring drummer and guitar player, he's constructed a Pro-Tooled set of dark rock grooves and electronic buzzing that won't shock anyone who's heard him or his band since, say, Songs of Faith and Devotion-- it's tasteful, professional, and as sophisticated as you'd expect from veterans. Quickbooks Pro 2007 Canada Download. But it's also the kind of rote music that has very little purpose on its own. It's the kind that needs a very good singer-- and a very good songwriter-- to give it a reason to exist.
Gahan isn't that guy right now, and his presence here seems as rote as the music. He's addicted to the grand, prophetic register he's been singing in for years now, but he's not so good these days at making it seem like there's a reason for him to stay in that place. Lyrics about religion and self-doubt may be Depeche Mode's stock in trade, but none of them necessarily support the sinister breathing and chest-beating drama Gahan goes for-- drama that seems awfully routine here, like a product he's manufacturing. It's a feeling that infects a lot of the tracks here, among which even the better ones can be too transparently professional, faultless but inessential. 'Endless' looks to recapture the 00s with a minimized glam beat, the same T Rex shuffle that's put acts like Goldfrapp on the charts-- but Gahan seems to be copping his hook from Depeche Mode's 'I Feel You', and all the sensual atmosphere he's pumping out feels more like branding than substance.