Gahan has picked a pretty rotten time to release his solo album. First, because he’s been reportedly moaning about his lack of studio involvement with Depeche Mode, which is supposedly hogged by Martin Gore, and second, because Gore has only just released his own solo album, Counterfeit 2. However, Gahan has decided to go for the rockier, earthy vocal approach and this certainly lends Paper Monsters a certain live feel. That’s not to say that the album does not have its tender moments, of which 'Hold On', whose verse is startlingly similar to The Cure’s mid-eighties track 'Catch', is one example. The cultured strings of 'A Little Piece' continue the rather restrained opening to the album, whilst 'Bottle Livin'g is the first sign of Gahan’s DM roots shining through, with its 'Personal Jesus-style' twanging guitars and blues-style harmonica.

However, there is no doubt that something is missing on the songwriting front, and Gahan simply doesn’t seem to have the knack of being able to throw in a subtle chord change or middle-eight to keep the listener glued. Lyrically, Gahan has opted to go for the drug-ridden, alcohol-sodden sympathy vote again, yet with such a wealth of subject matter at his feet, the lyrics are often uninspiring and repetitive. This is a largely disappointing release, and although there is nothing to criticise technically speaking, it simply fails to ignite. It could all be summed up by Gahan’s rather vacant stare that adorns the front cover. The warning signs are there for Gahan, as this average debut release pales in comparison to any DM album, of which his involvement is relatively limited. Perhaps he should realise where his bread is buttered before taking further gambles with his career.