Billboard CD reviews: Depeche Mode, Tinted Windows

ARTIST: DEPECHE MODE

ALBUM: SOUNDS OF THE UNIVERSE

NEW YORK (Billboard) - While most of its '80s electro-pop contemporaries have faded into semi-obscurity, Depeche Mode continues to produce darkly atmospheric tracks about love, lust and death that have the vulnerability and immediacy of a shared secret.

The chirps and bleeps that marked the band's debut, "Speak & Spell," gradually gave way to emotionally raw, expansive songs under the guidance of songwriter Martin Gore. After nearly 30 years, the trio -- now comprising Gore, Dave Gahan and Andrew Fletcher -- still imbues every aspect of its 12th studio album, "Sounds of the Universe," with imagery and sonic flourishes that make its music fresh and familiar. "Corrupt" and "Wrong" wouldn't be out of place on "Violator" or "Music for the Masses"; they possess the taut, Gothic glamour of those albums. Gahan handles provocative lyrics with his usual swagger. Some of the album's less successful songs -- "Little Soul," for example -- are also its sunniest and most languorous, and lack the dramatic tension that has been Depeche Mode's calling card. Despite the departure of Alan Wilder in 2005 and tales of intraband combustibility, "Sounds of the Universe" captures an act with enough passion and inspiration to teach the artists it has influenced a few new tricks.

ARTIST: TINTED WINDOWS

ALBUM: TINTED WINDOWS (S-Curve Records)

Although the roster of the newly formed act Tinted Windows is a bit of a head-scratcher -- middle Hanson brother Taylor Hanson, Fountains of Wayne's Adam Schlesinger, former Smashing Pumpkin James Iha and Cheap Trick drummer Bun E. Carlos -- it all seems to make sense after one listen to the supergroup's self-titled debut. "Whoa whoa" and "come on, come on" choruses abound on a set that's packed with radio-ready pop tunes that will stick in your brain for days. The power-pop punch of songs like "Kind of a Girl," "Messing With My Head" and "Take Me Back" make up for the girl-woes lyrics that leave much to be desired ("Since you said goodbye/I just want to die"), while the cool, laid-back vibe of "Cha Cha" and the open-wide chorus of "Nothing to Me" set the perfect soundtrack to summer.

ARTIST: JESSE WINCHESTER

ALBUM: LOVE FILLING STATION (Appleseed Records)

In a year that already has seen several overdue comebacks -- among them folkie Tom Rush, erstwhile Manfred Mann vocalist Paul Jones and MG's founder Booker T. Jones -- legendary songwriter Jesse Winchester's may prove the most significant. Since the late '70s the author of such classics as "The Brand New Tennessee Waltz" and "Biloxi" has averaged about one studio album per decade (his last was 1999's "Gentleman of Leisure"), which makes the arrival of "Love Filling Station" reason to celebrate. Recorded in Nashville and abetted by some estimable talent (including Jerry Douglas on lap steel), it swings easily between country/pop material like the sentimental, '50s-ish "O What a Thrill" (previously covered by the Mavericks) and the jaunty, Western swing-flavored "It's a Shame About Him," plus a handful of well-chosen covers, notably Ben E. King's "Stand by Me." Throughout, Winchester's keening upper register remains as delicious as a honey-coated confection, while the occasional raspy inflection conveys a touch-of-gray elegance.

ARTIST: BERNIE WILLIAMS

ALBUM: MOVING FORWARD (Reform Records)

First things first: "Moving Forward," the second album by former New York Yankees centerfielder Bernie Williams, is the product of a musician with real chops, not a celebrity dilettante. Once again, the guitarist serves up a pleasing mix of light jazz and pop numbers, including a remake of Jon Secada's 1992 hit "Just Another Day," with Secada himself on lead vocals; the pretty instrumental title track; and "Go for It," featuring the jazz guitarist Mike Stern. Williams is a committed student of his instrument, but he's also savvy enough to cater to his tri-state area Yankee fan base, giving them a lovely version of "Take Me Out to the Ballgame" and a recording of Bruce Springsteen performing "Glory Days" at a charity benefit, with Williams on lead acoustic. But while the Springsteen track will help move a few more copies, it's an awkward way to end an album that otherwise keeps the spotlight properly trained on Williams himself.

ARTIST: ROBERT BRADLEY'S BLACKWATER SURPRISE

ALBUM: OUT OF THE WILDERNESS (Quarter 2 Three Records)

There's no better purveyor of the swampy waters of roots music today than pianist-songwriter Robert Bradley. He and his band Blackwater Surprise mark their studio return after a six-year absence with the agreeably soulful "Out of the Wilderness." It's his fifth outing since 1994, when the blind busker was plucked off Detroit's streets to document his rough-hewn tunes teeming with homespun lyrical acumen. Reunited with keyboardist Bruce Robb, who produced 2003's "Still Lovin' You," Bradley brightens the CD with his effervescence, grooved choruses and gravelly voice, reminiscent of James Blood Ulmer. He pays homage to his home state on the country-inflected "Alabama"; gives it up to Ray Charles on the "Shaft"-like, reggae-tinged "Americaland"; and dances through the R&B and rock of "Everybody Wanna Party," a perfect summer anthem. There's not a moment of contrivance, just pure, spirited fun.

ARTIST: ZOE

ALBUM: REPTILECTRIC (EMI Records)

Since its release in Mexico last year, "Reptilectric" hasn't strayed far from the top of the Mexican album charts, for good reason. Zoe stands out among its peers in the Latin alternative scene, thanks to darkly sophisticated songwriting and epic mixtures of the acoustic and electronic. The act evokes a Ziggy Stardust-like theme of an isolated pod of a human floating across space, though one who's looking to connect through signals and satellites. With the help of the noted British producer Phil Vinall, Zoe has created music to match its lofty concepts. Standouts include the title track, with its crashing guitar and lonely piano, and "Ultimos Dias," an uptempo tune with soaring new wave synths.

ARTIST: ART BRUT

ALBUM: ART BRUT VS. SATAN (Downtown Records)

The English rock act Art Brut has established itself as the class clown of the indie scene, creating lightweight punk songs with a sarcastic edge. For the band's third effort, it recruited illustrious Pixies frontman Black Francis as its producer and decided to get (a bit) serious. "Art Brut vs. Satan" finds singer Eddie Argos battling many demons, from a hangover on "Alcoholics Unanimous" to an awkward morning-after on "What a Rush." While Argos' shout-singing retains its comic charm, the band's songwriting has evolved since the two-minute headbangers of its 2005 debut, "Bang Bang Rock & Roll." The seven-minute closer, "Mysterious Bruises," is Art Brut's most ambitious song to date, and a funky guitar hook and thoughtful lyrics make it a highlight. Francis' production has noticeably tightened the band's sound, as Freddy Feedback's bass bounces crisply alongside dueling riffs. Art Brut may never shed its screwball charisma, but "Satan" is a successful step in a mature direction.

ARTIST: VARIOUS ARTISTS

ALBUM: THE SOUL OF HIP-HOP, VOLUME I (Stax Records/Concord Music Group)

Building sonic bridges between the past and the future, hip-hop has steadily sampled its way from trendy fad to global force. Playing a major role in that transition: the venerable Memphis label Stax Records. Its deep well of soul, R&B and funk courses throughout the work of such forward-thinking rap/hip-hop acts and producers as Public Enemy, Ice Cube, DJ Quik and DJ Hi-Tek. Featuring classic and little-known tracks by Isaac Hayes, David Porter, the Emotions and others, this 14-track collection doubles as a fascinating aural history demonstrating how the past inspired the hip-hop generation. One example is the Dramatics' 1971 song "Get Up and Get Down," which has been sampled by a diverse lineup ranging from LL Cool J, N.W.A and Redman to Raekwon featuring Ghostface Killah -- proof positive that old school can still be cool.