Depeche Mode is not New Order, although you could be forgiven for mixing them up, I suppose, if you're not paying attention, or just looking at their keyboards, or maybe their career arcs. Actually, Depeche Mode's unlikely, meteoric rise to super-fame and subsequent plateau most resembles The Cure's: minimalist, early '80s experiments give way to mid-'80s "alt-culture" idolatry, then early 90's chart-topping mega-success, and finally a semi-retirement based on recycling (with varying degrees of success) the motifs of their earlier output. But there's a reason New Order gets their own section on my record shelves, while D-Mode languishes on the '80s shelf: they've always been a little, well, obvious for my taste, I guess, with their Peoples are Peoples and Personal Jesuses and I Expect to Find God Laffff-ing. Plus, what may be their artistic peak, 1990's "Enjoy the Silence," was basically a New Order homage, at best. But, weirdly enough, Sounds of the Universe, their 12th and latest album, achieves an intriguing complexity by looking to the lessons of early New Order, i.e., being a little obscure might not be such a bad thing.