I've been further re-evaluating my attitude toward music featuring synthesizers, as well. Spent some time listening to Speak & Spell last night. The music from the 80s/later music from bands that originated in the 80s have always been something I've avoided mainly because of synthesizers, thus a decade of music I've been considerably less knowledgeable about compared to other time periods minus a few specific carryovers or genres (see 80s hardcore, Springsteen's output from that decade, REM, and not a whole lot more).
Someone, I believe it was Axver, posted somewhere recently making a comment about how the 80s weren't necessarily terrible for music, just particularly unkind to bands/artists from previous decades. And a lot of what I hate about synthesizer 80s pop/rock hits are 1) mainstream pop songs that I'd never like if they were 60s bubble gum pop or current day autotune-laden hip-hop infused pop songs, either, or 2) were recorded by bands that existed prior to the 80s that poorly utilized synths in an irritating manner, complete with that thin, shimmery production and accompanying electronic-sounding echo-y drum beats that so often go hand in hand on bad 80s music. As a 90s kid, I wrote it all off as the same--and something best avoided-- only in more recent years (the last 10 or so) to make exceptions like "well, there's a lot on Tunnel of Love that isn't bad," or "Joe Strummer was responsible for Cut the Crap, but it should never be mentioned when considering the albums released by The Clash." I've learned to overlook that brief and weird period where Tom Waits flirted with synths, and given Pete Townshend a pass because of Baba o'riley.
In regards to bands like the magnetic fields, it's hard to lump a band with cellos and ukuleles in with any contemporary pop music that uses synthesizers. Too much other stuff going on there. And I came at nine inch nails from the wrong generation and angle to really understand the influences on an album like pretty hate machine when I first heard it.
The first song off Speak & Spell, along with the Jam's "a town called malice", may be the closest thing that explains to me how my music taste can transition to appreciate synth pop. Good stuff, anyway. Still want no part of that recent passion pit crap. More so than historically it makes sense to go from late 70s punk rock to joy division, segueing into the smiths, etc. I'm not sure I can explain adequately, especially Alice I'm typing this all on my phone and my thumbs are getting a little cramped, but it's the closest I can come to the reasoning I wasn't quote able to provide as to why I liked that blaq audio album.
So anyway, I've still only listened to two depeche mode albums, and I'm sure they were slightly odd choices, but I'll get around to the rest after I feel like moving on from Songs of Faith and Devotion for more than an album or two. Kind of can't stop listening to it (and I realize when it came out, and how that also sort of negates all that other stuff I just rambled on about. But we're still talking about a band that I've always written off as an 80s synth pop band best to be avoided). The bluesy riff of "I feel you" grew on me, "walking in my shoes" is just fucking awesome, the gospel feel of "condemnation" is great, the haunting feel of "judas", and even if I never listened to anything else from that band is be glad I un-wrote them off for long enough to finally give it a shot.