Depeche Mode Logs

Year	Major Release	Minor Release	Solo Release
1981	Speak & Spell × This is probably the most unique album out of their entire discography, as it was mostly written by Vince Clarke, who started the band before leaving immediately after it released. Therefore, there is a particular focus on catchy melodies and light-hearted lyrics that would be more expected from Clarke's subsequent projects like Yazoo or Erasure. While hardly an album to define the band by (although there are definitely people from the era who only know the band from this work), it still undeniably feels like a Depeche Mode record. Whether that is due to Dave Gahan's deeper, stated vocals, or the few songs Martin Gore had his input in, such as one of my favorite instrumental tracks from DM, Big Muff (despite the stupid title), I still find a lot of enjoyment out of it. I first got into Depeche Mode around 2015, although I never truly dived into their discography until 2018, with this album being the first I listened to from start to finish. I was certainly taken aback by some infamous tracks like "Boys Say Go" and "What's Your Name?" (you can find out for yourself), but still found an odd sense of nostalgia for tracks like "Dreaming of Me" (although I know it wasn't on the original UK release), or an appreciation for the simplicity of songs like "Photographic" and the obvious hit "Just Can't Get Enough." I purchased the album on vinyl at a Barnes & Noble about a year or so later, mostly to have a large print of the cover art, which is still a striking image to look at today. The message in it is very on the nose, but just the absurdity of a swan in a plastic bag in front of a glowing red backdrop, for a lack of a better term... goes hard. It looks closer to a heavy metal cover than a synth pop cover, though, so it provides a bit of whiplash. Despite the album being such an odd duck (is that an attempt at a pun?) in Depeche Mode's catalog, I still find it is a good place to start when discovering the rest of their stuff. It has laughable tracks on it, even for the early '80s,' yes, but it also has extremely competent compositions made from a system of synthesizers, which were mostly used by prog rock bands as added textures in their compositions up until this point. While they weren't the first band to use synths in such a way, they certainly helped popularize their use throughout the rest of the decade.
1982	A Broken Frame × The first 'true' Depeche Mode album, in some aspects, with Vince Clarke out of the team and writing credited to Martin Gore. I'm still not sure of Alan Wilder's input on the album, but it seems he was at least present near its release to help provide additional instrumentation for the recordings. Nevertheless, the more traditional dark tones expected from DM define the majority of this album. The choice in synths for this album are noticeably darker and lower in tone than on Speak & Spell, which help give each track a murky, cloudy feeling, exemplified by the cover art, now perfectly fitting for the music its representing (although it still looks like it could be on a heavy metal record). Some tracks spend time setting a mood for themselves, like "My Secret Garden," standout tracks "Nothing to Fear" and "The Sun and the Rainfall," and even b-side "Oberkorn (It's a Small Town)." Unfortunately, a portion of this album regresses into some of the poppier themes of Speak & Spell, without the charming or forgiveably cheesey lyrics provided by Vince. Some of these tracks are "The Meaning of Love" and "A Photograph of You," which are personally hard to sit through, and always skipped upon listening, due to being a pure mood-killer. "See You," despite its relative popularity, is another track I associate with the two aforementioned, although, it isn't as annoying. Still probably one of my least favorite singles from them. Some of the compositions feel a bit rushed as well, with notes that I assume aren't necessarily 'wrong' to play within the key of the song (don't quote me, I'm not skilled in music theory at all), but definitely come off as 'harsh' when played in sequence. This isn't helped by the cheaper sounding trumpet sounds used quite often on the album, although I wouldn't call them inherently bad. Sometimes, the harsher melodies help elevate the eeriness of the tracks, such as in the case of "Monument," "Satellite," and "Shouldn't Have Done That," each containing lyrics that I understand to allude to mental self-destruction, depression, and the outcome of child neglect, respectively (although they may certainly be understood through other lenses). As devisive as this album is, I can't help but still return to it on a consistent basis, perhaps because the mood it sets through a majority of its runtime is so unique to itself. It's successor, Construction Time Again, offers a similar feeling, but it also relies more on industrial samples, where A Broken Frame is still within the realm of tuning synthesizers. As a result, this experience is a bit more 'electronic' in comparison. Still highly worth a listen, just requiring a bit of patience for the times it falters.
1983	Construction Time Again × The album that I would probably claim to be their first 'masterpiece.' Make sure to take my claims with a handful of salt due to my music tastes. The early industrial influences are here at perhaps their strongest, with plenty of metallic samples throughout (because the boys were really starting to get frisky with samplers). The song that uses these sounds to their maximum is "Pipeline," the track to give the album its title within its lyrics. It's slow, but Martin's echoed vocals backed by sequenced sounds of hammer swings and bouncing balls (hehehe, I said ba-gets shot) really feel like a breakthrough in song composition for the time. The rest of the tracks here are comparitively more upbeat, and really pound your ears with loud kickdrums and snares, still with the deep, bass-y synths to provide a compliment to Dave's voice, which is sounding much less nasally than it did in A Broken Frame. Some of my favorites are "Two Minute Warning," "The Landscape is Changing," "And Then...," and undoubtedly "Everything Counts," the last of which will hopefully never get old to me, even if it is one of their more overplayed tracks. Some of the weaker tracks are "More Than a Party" and "Shame," but its more due to their lyrics not holding up to the standard of the others. The former has the line "they take all the ice cream so we've got none," which sounds a bit more childish than the ages of the band, even if that was partially the point in the context of the song. "Shame" fails to find lines to follow up previous ones, and relies on repeating itself too much. They both hold up sonically within the context of their lyrics, but are just the weakest of the bunch. Overall, the album has a very progressive message, which I'm sure will piss off any alt-right nutjob reading this because they didn't realize their favorite '80s band were pretty vocal lefties this whole time. Topics shedding light on labor, corporate greed, oppressed communities, and the destruction of the environment are highly prevalent here, perhaps only rivaled in their transparency by their 2017 album Spirit. As a result, the album still holds true today, and is likely to continue aging like a fine wine until human society decides to stop making enemies with itself. Definitely a 'Top 5' for me, but I understand if others aren't as big on it as I am, because DM's output would continue to mature and evolve from here on.	Get the Balance Right! × To my knowledge, this single was released as a result of Martin Gore and newcomer Alan Wilder throwing ideas at each other. Both the A-Side and the B-Side ("The Great Outdoors!") feel like the bridge between A Broken Frame and Construction Time Again, because they literally were. The title track itself still utilizes synth-focused basslines, although it is backed by some more present drum machine work and metallic samples. While the lyrics don't always hit, the chorus is still catchy enough and fits the darker tone of the rest of the track. The B-Side, "The Great Outdoors!," on the other hand, is an almost ambient piece, using reversed melodies, chime samples, and some sort of wind-pipe sample or synth. It ultimately starts of light, but gradually grows more textured and complex. The melody itself is extremely pleasant and satisfying to listen to, and I don't see enough people mentioning this track when discussing Depeche Mode B-Sides.
1984	Some Great Reward × This album fights with its predecessor, Construction Time Again, quite often in my head for its position in my head's top 5. I purchased a CD copy along with Ultra at some point around late 2018 or early 2019, and both have been in semi-regular rotation ever since, even if I never realized how much the latter would grow on me. This isn't about Ultra though. Much like CTA, this album relies on a heavy usage of industrial samples, although this one fits closer to a pop focus with tracks like "Lie to Me" and "Somebody." Hit singles "People Are People" and "Blasphemous Rumours" have pop sensibilities in their compositions, but darker topics in their lyrics. Comparatively, other single "Master and Servent," the aforementioned "Somebody," and "Something to Do" begin Martin's trend of fitting risque, sexual topics into songs. The former was even promoted with a music video with the crew sporting leather and latex while playing with chains and other related objects, leaving little to the imagination on what they were discussing in the lyrics. I think the album is at its strongest when focusing on its darker tones in the instrumentation, such as in "If You Want," a later song on the album. The album slightly falters in the middle with "It Doesn't Matter" and "Stories of Old," which lack any real attachment to the mood on the rest of the album, and are a bit too slow for my liking. Times when I grow tired of them is when CTA comes out on top, but I still hold that this album is close to a masterpiece from them. Also, you ever realize how close "Something to Do" sounds to the boss theme in Pikmin 2? Somebody should make a rip of that for SiIva, since I'll never get around to making it myself.
1985		Shake the Disease / It's Called a Heart × The singles I believe were released to help satiate fans waiting for the follow-up to Some Great Reward in the lead-up to Black Celebration the next year. "Shake the Disease" is one of my all-time favorite Depeche Mode tracks, maintaining a dark atmosphere with its methodical drums broken by a sound I imagine was sampled from running a metal object over a fence-like surface. Its use of multiple layers of sampled and synthesized pad sounds in melodies that give the feeling of a downward motion back the lyrics that imply somebody's insecurities, and the music video (directed by the excellent Peter Care who worked with another of my favorite bands, Cabaret Voltaire) brings that image to life using the technology available at the time. Unfortunately, the B-Side, "Flexible," is quite bad, sounding like a poor attempt at making a country song with cheap FM synthesizers. It's mood is also the complete opposite that of the A-Side. "It's Called a Heart" is a comparatively more tame track to "Shake the Disease," basically giving the stereotypical pop message of "don't break my heart." The main focus of this track is on the contemporary bass synths that make the most of the melody. It's far from a favorite single of mine, but I wouldn't call it bad either, just sort of generic. Its B-Side, "Fly on the Windscreen," is instead a song that would show up later on Black Celebration with some extra production. This original mix feels like it focuses more on the beat of the track, sounding a bit hip-hop at times, especially with the bass line lying under the mix. The lyrics remain within the realm of DM though, so we fortunately don't have to hear Dave start rapping (not that he'd be the worst candidate to do it (also this is a jab at the band and not at rapping)). It's a song about death, and the disgusting aftermath of it, a la the "Fly on the Windscreen," which is a great advertisement for what was to come in the next album.
1986	Black Celebration × A noticeably moodier album compared to its predecessors, not that they weren't already a bit moody to begin with. It still provides an industrial sound to its instrumentation but feels like it contains more reverb and decay, evoking a feeling of sitting in a dark, empty room, which I believe is the feeling they were going for here. While I used to really enjoy this album, I've gotten a bit mixed on it over time due to tracks like "Sometimes," "It Doesn't Matter," and "Dressed in Black" being a bit uninteresting lyrically and sonically. The remainder of tracks are very standout for their discography, however, containing some of my all-time favorites from DM, like "Black Celebration" and "Here is the House." This is probably one of DM's most sexually-charged albums, with some songs relating to Martin's personal desires or using sex as an allegory to discuss other topics. "A Question of Lust" is quite forward in its delivery of wanting a loving but stable relationship, but "A Question of Time" encourages waiting for one's maturity because there are definitely pests out there that are willing to do bad things. "Stripped" is outwardly sexual in its lyrics but holds an underlying message that comments on media consumption. "New Dress" comments on the media outlets themselves, often overlooking important issues or purposefully promoting certain beliefs. There are a lot of layers here that I still have yet to unravel, I'm sure. Like I said above, I don't revisit this album too much anymore, as I feel like I skip through too many of the slower tracks. When I do set aside time to sit down and listen from start to finish, however, I have a much more positive opinion on it. It's probably one of their best mixed albums too, where I don't feel the vocals overpower all the instruments like some of their albums after this one are. It's definitely not in my top 3, but maybe in my top 5.	But Not Tonight × Because it works as an amazing close to the US release of the Black Celebration album (and probably regions other than the UK, such as Japan because they love their bonus tracks), this song really got snubbed when it was reduced to a B-Side in its home country! I probably should've just included it with the Black Celebration discussion, but this is my list so who cares! This song was enough of a hit to have a music video made for it, so they must have realized at some point that it was a really heartwarming and catchy tune.	1 + 2 (Recoil) × Alan Wilder's first solo project while still a part of Depeche Mode, and he wants you to make damn sure you remember that! This 'album' (feels more like an EP for its length and style) is mostly a 33 minute ambient and industrial mix where samples from Dave and Martin's vocals ranging from A Broken Frame to the most recent album, Black Celebration are played periodically. I remember hating it the first (and only) time I listened to it back when I was still in high school, but listening to it today after years of more experience in music, I actually dig it quite a bit! The vocal chops used don't ruin the compositions like "Stripped" B-Side "Breathing in Fumes" does, although both "1" and "2" are very reminiscent of that particular track, which makes me wonder if that was originally a Wilder experiment. There are also a couple Kraftwerk samples I can pick out. The usage of certain synth patches to provide ambience or melody sometimes remind me of early Autechre as well, which makes me wonder if that duo was particularly inspired by this album and its successor, Hydrology. For the average DM fan, I can't see most liking this album, but for those who are interested in the electronics and production that goes behind each release, I think this is a decent insight to that. Because it is such a short release though, it's definitely most cost efficient to pick it up with Hydrology in its later combined release.
1987	Music for the Masses × Like Black Celebration, an album that I used to be much more into back when I first heard it compared to the current day. For similar reasons, there are some AMAZING tracks on here but also some of their worst or blandest tracks in my opinion: those being "Little 15," "I Want You Now," and "Pimpf." Those select tracks all follow a more 'orchestral feel,' something that is present in other tracks but at full force here. I don't find them to be compositionally interesting ("Pimpf") and the lyrics are either suspect ("Little 15," almost a contradiction to "A Question of Time") or just shamelessly horny with moaning sounds all over ("I Want You Now"). Thankfully, the rest of the album is solid, utilizing the orchestral influences to enhance the scope of songs like "Never Let Me Down Again," which is a contender for my favorite DM song ever with its open-ended narrative and the weight of all its instrumentation. "Strangelove" and "Behind the Wheel" cover similar topics hinting at sexual preferences, and both sound sensual in the use of their rhythm and instruments. They are some of DM's catchiest singles, which makes their popularity earned. "Sacred" follows the two in production, although its lyrics are much more vaguely connected to sexual themes, instead disguised in a religious theme. The other non-singles of the album, being "The Things You Said," "To Have and to Hold," and especially "Nothing," are each excellent deep cuts within the DM catalog. "Nothing" would have been the perfect closing track to this album, being one of the longest and most relentless in its heavy bassline. It's a damn shame it got usurped by "Pimpf" of all things right at the end. Because I think highly of most of DM's output, this album is up there, but it's sort of low in the 'best of.' That's my opinion though. I know many love this album to death and I highly respect them.		Hydrology (Recoil) × Another album of Wilder's I became much more positive on upon a second listen. While I used to group it with 1 + 2 as just another recycling of old DM samples, I couldn't have been more incorrect. If any outside samples are used here, they are from niche sources I have no idea of. Compositions remain very ambient and score-like, but utilize more piano in the case of "Grain." While not my favorite track on the album, it's still pleasing enough to listen to throughout its runtime. "Stone" and "The Sermon" rely more on electronics throughout their compositions with many patches being familiar to those who had been listening to the main band for a couple years. The former is probably my favorite, although it feels like it ends a bit too abruptly with a much more intense section of the song that just fades out. "The Sermon," on the contrary, ends on a variety of samples from recordings of ethnic-sounding songs. Overall, this album is an interesting listen, one that is a bit more competent than its predecessor, but I think I'd still prefer that one if given the choice.
1988
1989			Counterfeit EP (Martin L. Gore) × For the first time ever, in preparation for writing my thoughts on this release, I decided to listen to all the original versions of the songs Gore covered for this EP to get an idea for what he changed or seemed most influenced by. I've listened to this covers EP many times without any prior experience of the original tracks, so I want to change that today. The first track, "Compulsion," was written in 1982 by an extremely niche artist from the UK, Joe Crow, who was a part of a just as niche punk band called The Prefects. It seems to be his most notable track, although I still wouldn't call it well-known. I think I'd be lucky to find someone who even knows Gore's cover although it's many times more popular than the original. Crow's original is a lot rougher in its sound and delivery, using a harsh sounding synthesizer for its melody, but has a sincereness Gore manages to carry with his more trained vocals and higher production (not to mention the time of release). Synth patches here and on many other tracks are very reminiscent of those on Music for the Masses, DM's most recent album. "In a Manner of Speaking" is the second track originally from 1985 and seemingly the most popular of US band Tuxedomoon. The original is extremely minimal, with little but repeated guitar plucks and vague lyrics sung above it all. Despite its light scope, I'm interested in this band's delivery of the track itself and would like to check out the rest of their stuff at some point. Very avant garde. Gore's interpretation is noticeably more produced and serious in its composition. It's almost uncomparable to the original with its layering of synthesized basslines and strings. Both are worthwhile listens. "Smile in the Crowd" was a track by The Durutti Column in 1983, a band I have yet to dive into much but am interested in as well. The drums are bassy and surround your ears, while a few muted guitars play differing melodies in the background. It's a very quiet but pleasing track to listen to, but Gore's rendition is much louder in its production. Drums have more reverb and don't feel as eloquently panned and the guitar parts have been replaced by a twangy-sounding synth. Like the drums, the 'guitar' is much more in the forefront of this mix than the original. I much prefer the original but don't think that the cover is bad, just a different take. I've never heard of Comsat Angels before writing this, but they really remind me of Siouxsie & the Banshees and The Chameleons, which means I definitely need to familiarize myself with the rest of their output! "Gone" from 1981 was an excellent listen for that reason. Gore's cover is obviously more electronic and has a greater focus on the lyrics. I feel the new delivery clashes a bit too much with the mood of the original, which the instrumentation does a fair job at replicating. Nothing will beat the goth rock take of the original, though. Sparks is at least one band I can say I'm more familiar with. I've heard "Never Turn Your Back on Mother Earth" (from 1974) in passing quite a few times in my life, just never realizing who composed it until today along with a lot of their other hits. Definitely another band I'd love to dive more into for having a very colorful discography. While the original is overall consistently uplifting in its delivery, Gore's interpretation adds a slight sense of unease to the composition that grows to be more hopeful near the end. Probably one of my favorite covers on here aside from "Compulsion," although the original is still great on its own. Lastly, "Motherless Child" is more of a general folk song from my understanding, covered by numerous artists for decades since its inception during times of slavery in the US. Gore's rendition honestly sounds a lot like "The Rhythm Divine" from Yello in its production (you can count on me to make Yello references whenever I can), using similar orchestral samples and minimal drumming. Vocals seem to be the focus on most covers of this song, but that makes sense in context to the original. Not too bad, other than the harsh stings of a synth that are played during the bridge sections. Counterfeit is overall a well-made production for Martin Gore's first solo project. It shows a diverse set of his influences and how he can hope to do them justice or add his own spin. While he would likely have encouraged listeners to seek out the original artists back at the time of its release, I feel that purpose is still prevelant. I was certainly impressed by all the bands/artists he covered here and intend to listen to them more! Now that I'm done here... Please don't expect me to write this long of reviews for the rest of these entries... This was a special case!
1990	Violator × Will I get mobbed if I say that I find this album a bit overrated? Such a contrarian, I know. My mom is very proud of me. Flood's production work is very obvious here, finding a perfect blend between warm synths and danceable grooves, making tracks like "Word in My Eyes," "Halo," and "Enjoy the Silence" such delights to the ears and body. The latter, likely their most popular track (at least from the '90s and onwards), also hits with an open narrative that can pretty much be interpreted any way the listener feels is most applicable to them. The track's legacy speaks for itself, and it's definitey a favorite of mine. "Policy of Truth" is probably my favorite track, with reverb-heavy drums, overdrive synths, and an emotional feel that is right up my alley. The lyrics resonate quite a bit with me too as somebody who used to be an arrogant child obsessed with religion and pursuing 'the truth.' Songs like these helped me understand how I probably came off to others (a snitch) and how to better myself and form a more realistic outlook. "Blue Dress" is another song I've learned to appreciate over time. While I could easily dismiss it as just another one of Martin's horny ballads, I think the 'Blue Dress' standing in for any sort of sexual desire works well in characterizing people who may be otherwise seen as deviant in their preferences. "Sweetest Perfection," "Waiting for the Night," and "Clean" are less deep in lyrical content, but each extremely pleasing in their ambient but full production. Now, for the controversial opinion... wipes hands together Personal Jesus is nothing but American-bait garbage that is only as popular as it is because it solely appeals to said audience, even if it wasn't 100% intended by the band to do so. On its own, it's a serviceable song that only slightly feels out of place on the otherwise much moodier album. Another song that's about sex, if you can believe it (not that Americans hearing it on the radio can tell). However, it's presence here in the States has utterly ruined my enjoyment, because it's become one of those tracks like Gary Numan's "Cars" or Radiohead's "Creep" that ignorant fuckers throwing >$100 on concert tickets will be upset if they don't play for the next 30 years and so on. In another similar case to Numan, Marilyn Manson covered the song and gave it more unneeded attention from an audience who knows nothing else about the band. I'll never gatekeep somebody from one of my favorite pieces of media, and do not intend to do so with my rant here, but I still want to write this rant into the void so it exists somewhere. If you are only familiar with a small portion of an artist's output, or one entry in a movie/video game series, whatever the fuck it is, either keep an open mind when trying out something new from them, or don't act like a toddler and loudly complain when you're not given what you specifically want. Attending concerts and running into you fuckers is annoying, and it ruins the enjoyment of everybody who actually gives a shit. Save your money and stay home, or go drown your sorrows in the pub next door. ... Anyways... Violator is a good album. My opinion has obviously been tarnished by outside factors, but I'd still consider this high up on my list of preference.
1991
1992			Bloodline (Recoil) × What feels like Alan Wilder's first proper solo album under the Recoil title. The production is similar to Depeche Mode's two albums prior to this one, Music for the Masses and Violator, although there is still a higher focus on ambience, industrial samples, or prominent basslines as often seen in previous Recoil releases. There is an artist feature on almost every track (not obvious unless you have a physical copy or are familiar with those featuring), ranging from Douglas McCarthy from Nitzer Ebb, Toni Halliday from Curve, and even Moby (at the beginning of his career, thankfully). A vocal sample from the late Bukka White on his track "Shake 'em on down" is also used for the basis of the track "Electro Blues for Bukka White." This is a massive departure from the instrumental or heavily-sampled sound of Wilder's first two releases. Bloodline is one of my favorite electronic projects to revisit. Every track is long, cohesive, and builds over its run, often outpacing most DM tracks and, as a result, feeling more suited for dancing/clubbing, which may be blasphemous to some DM fans. I wouldn't say this album surpasses DM's catalog as a whole, that would be ignorant, but it does certainly compare to some of their best output and shows just how vital Wilder was to those years. The entire album was self-produced, which makes his contributions to the main band all the more apparent. My favorite track is probably everybody else's favorite: "Edge to Life," thanks to its relentless, funky bassline and panned vocals that I wish could go on longer than it does. I also have a massive appreciation for the possible bonus track "Freeze" that was added into later issues of the album, which is much closer to the piano work done on Hydrology. All tracks are worth a listen on a good pair of headphones.
1993	Songs of Faith and Devotion × This is the album that would in some cases end an era for the band as well as begin a new one. This was the album to break most members to the breaking point and was Alan Wilder's last contribution before leaving indefinitely and occasionally returning to his Recoil project. Despite that, Depeche Mode's direction would in my opinion retain its forward momentum despite the growing gap in the years between releases. As is often the unfortunate case, many albums that are made under such stressful conditions oddly come out the most interesting and defining for the artists, this one included. It is one of my favorites, as well as many other's. Electronics are still a major part of this album's sound, but the use of guitar, piano, and analog-sounding drums are much more prevalent. Some tracks are heavily influenced in rock, such as "I Feel You," while others fit the 'Faith and Devotion' portion of the title, like "Condemnation" and "Judas." Overall, there is a heavy industrial influence in the drum patterns that are most present in "Get Right With Me," "Rush," and two masterpiece singles "Walking in My Shoes" and "In Your Room," all being some of my favorites in their entire discography. "One Caress" feels like yet another needlessly 'epic' horny song attempt by Martin Gore (reminiscent of some of Music for the Masses' weaker tracks) filled with violins, strings, etc., but it isn't cringy enough to ruin my experience obviously. My absolute favorite tracks are "The Mercy in You" and "Higher Love," which each take their compositions in a very serious direction, filled with emotion by Dave Gahan's extended vocals. The day I can hold notes like he does will be when I'm finally satisfied with my life. I really love this album, but I don't think I can listen to it too many more times too close to each other without getting a bit burnt out. It's still one I'd highly recommend without having any prior knowledge to the band though. One of their most well-regarded for good reason.
1994
1995
1996
1997	Ultra		Unsound Methods (Recoil)
1998		Only When I Lose Myself
1999			Liquid (Recoil)
2000
2001	Exciter
2002
2003			Counterfeit^2 (Martin L. Gore)
2003			Paper Monsters (Dave Gahan)
2004
2005	Playing the Angel
2006		Martyr
2007			Hourglass (Dave Gahan)
2007			subHuman (Recoil)
2008
2009	Sounds of the Universe
2010
2011
2012			Ssss (VCMG - Vince Clarke and Martin Gore)
2012			The Light The Dead See (Dave Gahan & Soulsavers)
2013	Delta Machine
2014
2015			MG / MG EP (Martin L. Gore)
2015			Angels & Ghosts (Dave Gahan & Soulsavers)
2016
2017	Spirit
2018
2019
2020
2021			The Third Chimpanzee EP (Martin L. Gore)
2021			Imposter (Dave Gahan & Soulsavers)
2022
2023	Memento Mori