Ultra was released in 1997 during what was easily the most turbulent period in Depeche Mode’s history. Following the departure of Alan Wilder and Dave Gahan’s well-documented personal struggles, many people thought the band was finished. Instead, they returned with a record that was dark, bruised, and surprisingly resilient. It’s a “comeback” album that doesn’t try to hide the scars – it wears them proudly.

The sound moved away from the stadium-rock leanings of their previous record and back into a more textured, “heavy” electronic space. It’s atmospheric and often quite sparse, incorporating elements of trip-hop and industrial blues. There’s a lot of space in the production, which gives the songs a haunting, cinematic quality. It’s the sound of a band rebuilding themselves from the ground up, and that sense of vulnerability makes it one of their most compelling works.

“Barrel of a gun” is an incredibly intense, distorted lead single that announced their return with a bang, while “Home” is one of Martin Gore’s most beautiful and soulful moments. “It’s no good” is a classic Depeche Mode dark-pop anthem that proved they hadn’t lost their touch for a melody. Ultra is worth revisiting because it’s so rich with mood. It’s a slow-burn album that reveals more with every listen, proving that some of the best art comes out of the most difficult times.