Depeche Mode have been together about as long as U2. They've made 12 albums that have sold more than 100 million copies. They've topped charts in numerous countries. They've packed stadiums around the globe. They're the godfathers of today's dance-rock movement. Their lyrics are dark, decadent, and a decidedly deviant at times. Their lead singer was even a junkie who nearly offed himself.

If they were any other band, they'd be rock gods on this continent. But inexplicably, DM continue to fly beneath the radar of most North Americans. In fact, we bet your average Yank or Canuck can't name all three bandmembers. Or their last album.

To answer the latter question, it was 2005's Playing the Angel. And it was a consistent if unspectacular effort, with singer Dave Gahan, chief keyboardist and songwriter Martin Gore, and ... um, you know, the other guy, programming a dance mix of equal parts edgy synth-rock and spiritual rebirth (thanks in part to Gahan's clean lifestyle and newfound talent as a songwriter).

That brings us to Sounds of the Universe, which basically picks up where Angel left off. Gore supplies moody grooves, meticulously assembled tracks and more uplifting lyrics (due to his own recovery from alcoholism). Gahan brings his baritone croon, along with a trio of tunes. Andy Fletcher -- right, that's his name! -- well, we have no idea what he does. But it seems to work; these 13 richly layered cuts make it clear that DM are a long way from being DOA.

Not that many on this side of the Atlantic will care.

In Chains 6:52

In the beginning, there was a tone. And Gore said, let it build into a sensuous groove full of ringing synths and bleepy accents, peppered with wah-wah guitar slashes. And it was good.

Hole to Feed 3:54

The first of Gahan's three co-writes is this ominously bouncy little thumper that smoulders and percolates, but never kicks into second gear.

Wrong 3:13

With its leisurely swagger, buzzy bass line, creepy arpeggiated synth melody and catchy title refrain, it's only right that this is the disc's first single.

Fragile Tension 4:08

A revving slide guitar and a throbbing organ laid atop a subdued electronica beatbox supply the tension. Gahan's swooning, soaring vocals provide the fragility.

Little Soul 3:32

The first full-on ballad comes with woozy dissonant chords, dusty textures and a sing-songy melody line that add up to a generally unsettling vibe.

In Sympathy 4:54

After a little soul, here's a little dark disco, from the four-on-the-floor beat and swoopy bassline to the vibrato guitar and string synths.

Peace 4:28

A minimalist bass-heavy setting and twinkly textures, a dreamy vocals and layered backups -- this electro-pop ditty could be a late-period Stranglers cut.

Come Back 5:15

Gahan's second composition is another slow-burner, grounded by a heartbeat bassline, decorated with buzzes and blips -- and his smoky seductive crooning, of course.

Spacewalker 1:52

An instrumental vignette featuring a contemplative, whistly melody floating over a low-impact landscape. It could be a fine theme song for a British TV drama.

Perfect 4:33

The beatbox is gently pumping and insistent. The guitar is twangy and shimmery. The melody is poppy and familiar. It doesn't quite live up to the title, but close.

Miles Away / The Truth Is 4:13

Gahan's last and best cut -- thanks to a deliberately paced backbeat topped with squiggly synths, Morse code guitars and exotic loops. Part Middle Eastern, part Venusian, all good.

Jezebel 4:43

Gore takes the mic -- and takes us to the space-lounge -- on this atmospheric, slowly throbbing bossa nova mutation.

Corrupt 5:03

The last waltz -- literally -- with Gahan soaring over a 6/8 beat and a squelchy synth sequence interrupted by fuzzed-out stoner-rock guitar licks.