Editors Note: Chances are, you will be reading a lot on this blog about Depeche Mode in the coming weeks, particularly since it appears that multiple contributors will be catching the tour on multiple dates. If you have a problem with this, get over it. We take Depeche Mode very seriously in Los Angeles.

I have a confession to make. For the past two months, I have been privately basking in the glow of knowing that I have the Depeche Mode's latest disc, Playing the Angel. Really, I wanted to brag, but had to refrain because I didn't want anyone to start bugging me about making copies, which I couldn't do even if I wanted. Anyhow, if you pick up the latest copy of Outburn Magazine, you can read my official review. You can either order the magazine online or look for it at your local magazine rack. Since I can't publish that review anywhere and since I don't want to inadvertently plagiarize myself, here are some track-by-track notes. I think the release date is Tuesday, October 18, 2005.

The whole story starts with yours truly receiving a package from her editor, which seemed odd because I thought I had received all of the cds I had requested for review. The band was called Black Swarm. The cd was entitled Dark Force. The label was Mute. I figured it must be some new electronic cd. Two days later, I put the disc into my cd player. It opened with a buzzsaw. Interesting, I thought. Post-buzzsaw, the song got all dark synthpop, similar to something you might hear at the local EBM dance night. I noticed the vocals.

Why the hell would Mute sign someone who sounds exactly like Dave Gahan when the label has Depeche Mode?

I listened further. I had heard Dave Gahan soundalikes before, but not like this. This was scary.

I picked up the press release, which I normally don't do until I finish listening to the cd in full. I jumped up onto my bed.

"HOLY SHIT! I HAVE THE NEW DEPECHE MODE!"

This is no exaggeration, dear reader. Those who know me personally, know that I have a tendency to scream fanatically when Depeche Mode enters the picture.

Reviewing the latest cd by one of your all time favorite bands is a terrifying experience. There is the fear that you might hate it, the fear that you might be too forgiving and the fear that there is no way that you can say everything that needs to be said about this band for whom you have learned every intimately nerdy fact within the context of a 230 word count. My first draft was closer to 600 words. I literally spent more time editing the review than trying to find new ways to say this cd is pretty cool, which has never happened before in my past eight years of writing reviews for magazines.

But what about the cd?

That first song with the buzzsaw intro is called "A Pain That I'm Used To." It is, perhaps, the quintessential Depeche Mode stadium song with an enormous chorus that brings back images of Gahan prancing around in white jeans and a black leather jacket in 101.

"John the Revelator," the second song on the album is listed as a traditional track, but, for some reason, some of the lyrics sound different in DM's version. Creative license, I suppose. Either that or I never paid attention to the lyrics before. Followers of the band might recall the use of gospel singers on the post-Violator albums and that aspect is again present on this number. Personally, this is one of my favorites on the album. It packs a dancefloor punch without being too obvious and proves to detractors that there is a bit of soul lurking underneath those tight jeans.

"Suffer Well" starts off with the bleeps of a minimal techno piece, but the bleeps soon move to the deepest layers of the piece. I wonder if the guys have been listening to Kompakt records lately. This is one of the three Dave songs on the album. You will probably read more about that everywhere else. This is the first album where Dave contributed songs, it has something to do with the success of his solo album.

"The Sinner in Me" moves slow, plodding, dark and twisted like a Project Pitchfork song I remembered dancing to at all of the spooky clubs back in 1997. You could choreograph an excellent bat dance to this one: Step one: turn, two; drop contact, three; bend forward, four; do odd yoga move to get back against ground, five; stand up while sitting in lotus position, six; prep, seven; pirouette, eight.

"Precious" is the single. Most likely, you have already heard it. I just want to mention that my friend, Shok, said that it reminds him of Bronski Beat's "Small Town Boy." That's a nice reference. There is a story behind this song. You can read it if you find my actual review. Most likely, it will end up in every Depeche Mode interview this time around as well. It was in the press release.

"Macrovision" is a Martin-sung number. It oozes Black Celebration. Black Celebration is my favorite Depeche Mode album.

While one might hear the title "I Want It All" and think that Depeche Mode might actually be covering Queen, one might also be wrong. It's a Dave song. It has a static-snare driven beat that one might have referred to as trip-hop back in 1998. However, in 2005, we might need to think of another term.

"Nothing's Impossible." Remember the goth club reference earlier in this entry? Well, "Nothing's Impossible" is more goth than that. Dave really outdid himself with the song. It is, by far, the best of his contributions and one of the best portions of the whole album. If you have ever danced to Marc and the Mamba's cult-classic "Black Heart" while wiping glitter from your eye, you will cry MAC-eyeliner tears over this. The beat is almost identical. It is stunning.

"Introspectre" is an interlude in the vein of side two of Music for the Masses.

"Damaged People" has Martin written all over it. It could be "World Full of Nothing" Part Deux. How many Black Celebration references have I made in this entry? Are you getting the picture?

"Lilian" is my favorite on the album. The melody reminds me of "Sea of Sin," the b-side for "World in My Eyes." Those of you who grew up in LA might remember how "Sea of Sin" became this massive KROQ hit despite the fact that it was just a b-side. (Those were the days.) I have set my expectations high for "Lilian."

The album's finale is noted as "Change" on the press release and "The Darkest Star" on the cd. I think the latter might be the correct title. (FYI, the album's title comes from this song.) It's slow and moody and sort of ties the whole album up into a nice little conclusion.

Knowing that diehard Modies need no encouragement to get this album, I would like to mention that this is going to have a heavy appeal towards fans of Black Celebration, Music for the Masses and Violator, in particular. If you are a passing fan of the band, or really don't know much about them, get those three album and this one. You'll have fun drawing connections between the albums.