Originally, I did not plan to share, but I spent so much effort into these. Maybe you would enjoy these as much. If not, then you will discover some underrated artists, at least.

For clarity, „definitive” for me personally. And also, I am not saying the original work is worse than mine. These are personal compilations that „enhance” the original based on my own subjective opinion.

Depeche Mode - Speak and Spell (Definitive Version)

Link: https://playlists.at/youtube/?ids=Depeche_Mode_-Speak_and_Spell%28Definitive_Version%29%3D%3D5igNagQW-hw%2CGpkPa__-6Gc%2CjlrrQ1MSG-k%2CuT1I0y9IUus%2CG3twDl6kjPw%2CfN-RlswiGqI%2CB4NRzLQU71Q%2C3XYBgN6OfeY%2CGRDm1_lWpsg,

https://m.youtube.com/watch?v=5igNagQW-hw&amp%3Bamp%3Bamp%3Bamp%3Bamp%3Bamp%3Blist=TLGGbpDJxEJ2Be0wODEwMjAyNg

Tracklist:

Side A [19:36]:

Dreaming of me — Depeche Mode [4:02]

Boys say go! — DM-Reimagined [3:09]

Television set — DM-Reimagined [4:24]

No disco — The Wannadies [2:56]

Photographic (dark room seedy remix) — Tobbe Lander [5:05]

Side B [16:38]:

Tora! Tora! Tora! — PREQ [4:33]

Any second now (voices) — Depeche Mode [2:35]

Ice machine — Alien 6 [6:01]

Just can't get enough — Faye Yu [3:29]

Depeche Mode - A Broken Frame (Definitive Version)

Link: https://playlists.at/youtube/?ids=Depeche_Mode_-A_Broken_Frame%28Definitive_Version%29%3D%3DK905WH6kflw%2COIgxWBJP2PI%2CldPOvdMpsxA%2C4cJivdttOiI%2CnRra8xfQ3fo%2CP8Pn4vzS47U%2ChkpcPmx6lcM%2CcHBznMBfDbs%2CefckpZySl-o%2CXtXalMurL-M%2CfTpiUybUKoc%2CYwoGa6W1lhU,

https://m.youtube.com/watch?v=K905WH6kflw&amp%3Bamp%3Bamp%3Bamp%3Bamp%3Bamp%3Blist=TLGGpW2I6rXv8AgwODEwMjAyNg

Tracklist:

Thread 1 "Romantic story" [12:10]:

The meaning of love — DMK [3:06]

See you — Neoangin [1:55]

Nothing to fear (vocal cover) — Salvation [3:57]

A photograph of you — Del Griffiths [3:12]

Thread 2 "Crime story" [19:57]:

Oberkorn, it's a small town — KellerTechnik [5:35]

My secret garden — Spreading Point [4:05]

My monument — LFKR [5:21]

Leave in silence ('the last time' remix) — Claro Intelecto [4:56]

Thread 3 "Social story" [17:16]:

Shouldn't have done that (so naturally HIM|R|MIX) — H.I.M Celsius [2:20]

Satellite of hate (Kaiser minimal C64 mix) — Kaiser Soze [6:48]

Now this is fun — Tracer [3:32]

The Sun and the Rainfall — Ekranoplan feat. Mouth of Indifference [4:36]

Depeche Mode - Construction Time Again (Definitive Version)

Link: https://playlists.at/youtube/?ids=Depeche_Mode_-Construction_Time_Again%28Definitive_Version%29%3D%3DAnsJ_GYPas0%2CmzkAdQWNFes%2CuGaZPoVFe-w%2CyO0YjqMVAoo%2C5x4L8mxWlCk%2CxHtZsjFJ6xc%2C046m-CRqC9g%2Ci7G1bwdtTcI%2CWPaOS8xvdHo%2C3G2HcKfK4c4%2CMqNXlQGU4u0%2Cr1B2ZDunmXA%2ClnmBbbhDnRI%2CE0DoGNHOKmI,

https://m.youtube.com/watch?v=AnsJ_GYPas0&amp%3Bamp%3Bamp%3Bamp%3Bamp%3Bamp%3Blist=TLGG8sfpL2SjhEQwODEwMjAyNg

Tracklist:

Act I [24:35]:

Love, in itself (album version) — Depeche Mode [4:29]

More than a party — Depeche Mode [4:45]

The great outdoors! — Depeche Mode [5:03]

Pipeline — Depeche Mode [5:55]

Work hard — Depeche Mode [4:23]

Act II [23:31]:

Everything counts — Unter Null [5:08]

Two minute warning — New Life Generation [3:55]

Shame (unKleen remix) — Komplexxor [4:09]

The landscape is changing — Inquisita [5:19]

And then… — Wave In Head [5:00]

Act III [18:31]:

Fools (everlasting remix) — J-STOREZ [8:45]

Told you so — Machinista [4:15]

Get the balance right — 32Crash [3:06]

Everything counts (reprise) — LFKR [2:21]

Depeche Mode - Some Great Reward (Definitive Version)

Link: https://playlists.at/youtube/?ids=Depeche_Mode_-Some_Great_Reward%28Definitive_Version%29%3D%3Dgw9AtgmgnKY%2C0ERfcU7jpBk%2CV36VGO4UTWA%2CM1I7zM2aWjw%2CeokSZ_pveB8%2Cn6W5Ab2mQOg%2C-SVcJd0IFZ4%2C6QQtY4p0Nik%2CH2k5608Yc2M%2ChaiQ9LrR350,

https://m.youtube.com/watch?v=gw9AtgmgnKY&amp%3Bamp%3Bamp%3Bamp%3Bamp%3Bamp%3Blist=TLGGIMzJB8s0wkowODEwMjAyNg

Tracklist:

Part I [16:58]:

Something to do — Sin [6:25]

Lie to me ('the pleasure of her private shame' remix) — LFO [6:36]

PeopleRpeople — Universal Magnetic [3:53]

Part II [11:42]:

It doesn't matter — dEk101 [4:25]

Stories of old — PREQ [3:43]

Somebody — Nobel 11 [3:34]

Part III [20:10]:

Master and servant (the whip it side) — Krystal System [3:29]

If you want — Dark Mode Project [5:28]

Blasphemous rumours — TVOS / eo ipso [5:12]

In your memory — Love? [6:01]

Depeche Mode - Black Celebration (Defitive Version)

Link: https://playlists.at/youtube/?ids=Depeche_Mode_-Black_Celebration%28Definitive_Version%29%3D%3DQIH2P_G0TJA%2CKKsorXesp60%2CenaPPZC2xNI%2Cm-sszW4YL4M%2CNaYVtP6_RhU%2CLCjz0WdN7w4%2CedKP2q2-jsA%2CxrGYiVb-JOA%2Cw8CwOPqDiAc%2CGB0QK7ixsSg%2CcDDXggME33c%2C9i9m6B-ILFk%2CJc_DCDNyce8%2Cw4gsN73h5h0%2CkZeDrvgctpY%2CH17pyAuOjYU%2CyryuDEpNlTQ,

https://m.youtube.com/watch?v=QIH2P_G0TJA&amp%3Bamp%3Bamp%3Bamp%3Bamp%3Bamp%3Blist=TLGGcfAanJnGiJkwODEwMjAyNg

Tracklist:

Prologue [3:13]:

Black day (to forget) — Nicolas Lannoy [3:13]

Act I [22:58]:

It's called a heart (RMP remix) — New Life Generation [4:24]

Fly on the windscreen — AR3A [5:44]

A question of lust — Kaltherzig [3:45]

Christmas island (wrecked) — Nicolas Lannoy [4:35]

A question of time — IMJudas [4:30]

Act II [22:37]:

Stripped (clock mix) — Jean-Philippe SENOCQ [6:32]

Here is the house (lust remix) — RobinPM100 [4:19]

World full of nothing — Depeche Mode [2:49]

Dressed in black (alt mix) — 909Underground [4:06]

It doesn't matter two — Depeche Mode [2:51]

Act III [20:23]:

Sometimes — Strange Change [1:50]

New dress — Néo [5:31]

Shake the disease — Rio Noir [4:42]

Black celebration — Killer Couture [4:59]

Flexible — dEk101 [3:21]

Epilogue [4:15]:

But not tonight (screamershocked) — Eric C. Powell and Screamershock [4:15]

Depeche Mode - Music for the Masses (Definitive Version)

MINI THEORY: I believe Music for the Masses is about how music industry ruins relationships. Also, how stardom can leave a mental scar on the artist.

Link: https://playlists.at/youtube/?ids=Music_for_the_Masses_%28Definitive_Version%29%3D%3DY6MxOmmnnds%2C1fy_6QqhG4Y%2CJPLKem4OYYo%2CwXctFo9z4Ss%2CENOwIJCPmX4%2CXe5D9Eyq4x4%2CfMc8T9c0lQA%2C-kX3LCU6S-w%2CnUENW_2lYOc%2CIFolUMF976I%2Cc9NfuG9q-fA%2CIt-uGc0qnPY%2C-jY5gKplhhk%2C7cFLYODw-0E%2CjhErCGHBbRI,

https://m.youtube.com/watch?v=Y6MxOmmnnds&amp%3Bamp%3Bamp%3Bamp%3Bamp%3Bamp%3Blist=TLGGDzMIpfdt5PcwODEwMjAyNg&amp%3Bamp%3Bamp%3Bamp%3Bamp%3Bamp%3Bra=m

Tracklist:

Act I [19:00]:

Moonlight sonata — Depeche Mode [5:37]

I want you now — Radial Rails [3:34]

Pimpf (album version) — Depeche Mode [4:56]

Pleasure, little treasure (join mix) — John Fryer and Paul Kendall [4:53]

Act II [35:32]:

Agent Orange — LFKR [5:17]

Strangelove — Friendly Fires [4:44]

Little 15 demo (slowed version) — Male Duet Of Two Musicians [5:09]

Sacred (Kaiser takes N-I back home) — Kaiser Soze [7:16]

Things you said — Skeleton Hands [4:07]

Nothing — Razorfade [3:59]

Never let me down again — Antisaint [5:00]

Act III [20:00]:

To have and to hold — The Ruins of Beverast [4:33]

Behind the wheel — Cultus Sanguine [6:49]

Route 66 — Alison Ruble [4:49]

Stjarna — Collapse Under The Empire [3:49]

Depeche Mode - Violator (Definitive Version)

Link: https://playlists.at/youtube/?ids=Depeche_Mode_-Violator%28Definitive_Version%29%3D%3D1b60ZfGDz8g%2C5AxKrhiCyNE%2C-iKaJPLdf0Y%2CiEH4eqtK8SU%2CWDIPqFQNwDQ%2CE4fLMUGreQo%2CsTfbMq3FDNU%2CaGSKrC7dGcY%2CpKTMAb08xkQ%2CUU57ADaGdqw%2C13y2iFjAzfo%2CtMdJhbkdlNw%2Cz3lNCOWonKc%2CUpqy1sYo-Tc,

https://m.youtube.com/watch?v=1b60ZfGDz8g&amp%3Bamp%3Bamp%3Bamp%3Bamp%3Bamp%3Blist=TLGGNhQm2aqM-nwwODEwMjAyNg

Tracklist:

Act I [26:33]:

World in my eyes — The Cure [4:51]

Sweetest perfection (another kind of perfection mix) — HIM Celsius [5:27]

Personal Jesus — Waldorff [5:42]

Halo — Depeche Mode [4:29]

Sea of sin (Sensoria) — Depeche Mode [6:04]

Act II [17:32]:

Memphisto — Depeche Mode [4:08]

Waiting for the night — mono/duo [4:41]

Nocturne (Waiting for the night interlude) — mono/duo [2:12]

Enjoy the silence (music video version) — Depeche Mode [4:40]

Crucified (Enjoy the silence interlude) — Depeche Mode [1:51]

Act III [27:58]:

Policy of truth (Memphis mix) — Elvis Rashidi and Sascha Israel [6:26]

Dangerous (Sensual mix) — Depeche Mode and Flood [5:21]

Blue dress (everlasting remix) — J-STOREZ [6:48]

Clean — Converge [6:06]

Sibeling — Depeche Mode [3:17]

I have some thoughts on what Dressed in Black means.

1. “Dressed in black” phrase is not connected to clothing or the color black. It is as allegorical as “feeling blue” in this song.
2. For me, it is clear that this song depicts a relationship between a man and a woman. Both are real, physical, normal people, not some archetypes (especially this song appears closer to the end of album, which means at least some earlier songs give context to this relationship).
3. “I'm beggin for more again / But, oh, what can you do / When she's dressed in black?”. From this part in Verse 1 it is obvious that “dressed in black” is something negative and that it makes someone more locked in.
4. “My mind wanders endlessly / […] / Not when we're alone / And she's dressed in black". Now I notice a theme of appearance vs. reality. She is flirtatious and nice when she is surrounded by people, but as soon as she has no one around, she stops being active. Also, in verse 2 it is obvious that “dressed in black” is either a mood or a state of being, likely negative because it ruins the romance.
5. “As a picture of herself / She's a picture of the world / A reflection of you, a reflection of me”. A metaphor that basically says she has no innate identity or personality. She just ‘reflects’ the world.
6. “And it’s all there to see / If you only give in / To the fire within”. I am not certain what this means, but I think it says when she is not “dressed in black”, when she has passion (“fire within”), you can see the vibrancy of the world going through her.
7. “Shadows fall onto me / As she stands there over me / And waits to encompass me / I lay here helplessly”. This passage leads me to believe that when someone is “dressed in black”, they become not only cold, but also possessive. Secondly, the man is not happy to see her like that.
8. I think “dressed in black” refers not to upsetness, but to moral darkness. Some desire to ‘be dark/immoral’. Alternatively, this could refer to desire for lack of morals or desire for acting stereotypically amoral.
9. So my conclusion is this song about the woman opening up and revealing her immoral side (probably as a result of considering her partner being trustworthy and open enough to accept this side of her), but he is scarred by that revelation.

Thread 1 "Crime story":

• Oberkorn (it's a small town) — typical mysterious intro
• My secret garden — escape from exposed crimescene
• Monument — getting rid of enemies but at a cost
• Leave in silence — sad ending for our criminal protagonist

Thread 2 "Romantic story":

• The meaning of love — curiosity about love
• See you — experiencing love and trying to see someone again
• Nothing to fear — reassuring their love interest
• A photograph of you — sad ending for our romantic protagonist

Thread 3 "Social story":

• Shouldn't have done that — upbringing
• Satellite — breaking point
• Now this is fun — hate and doom
• The Sun and the Rainfall — finding hope in change

Before I continue, I want to tell about one structural detail. The song is about two persons ('I' and 'you'). Since there is no 'we' (with one exception I'm gonna talk about later), I assume these two persons are in opposition with each other. Also, the point of view is always told from perspective of only one person, not the other (at least I think so). Let’s call 'I' person A, and 'you' person B.

1. A white house, a white room

Underrated line. Firstly, we cannot say "white room" means just a brightly lit room, because the chorus juxtaposes bright and dark. So white is a color. This line does not just tell the location (in a white room inside a white house), but much more. I deduce that the white house has differently colored rooms. Also, I see an allegory on external presentation. The external persona (white house) tries to depict only a small part of inner self (white room) as a whole personality (room=house), but in reality many other parts of identity are suppressed (non-white rooms). Also, since I know that action is happening in a white room (corresponding to white exterior presentability), the interaction is public, formal, with strangers. Plus, color white has its own innate meaning that perfectly layers on these themes. By the way, I want to clarify this action is not literally happening in that place: it’s a metaphor of interaction instead. The "white room" is perhaps the persona of a law-abiding, rational citizen. The "non-white rooms" are the hidden chambers of obsession, desire and deviance. The fact that the action (the monitoring, the taking of pictures) happens in the "white room" suggests the stalker operates in plain sight, their true nature hidden behind a mask of normalcy.

1. The program of today

This line not only reinforces meaning from previous line, but also introduces a new meaning. "The program of today" can be rephraced as "modernity's model", which in turn can be intuitively concluded to mean "society" or "code of conduct/law". But "the program of today" phrasing is used to give specific subtext: authoritativeness, oppressiveness. This is the view of the protagonist/narrator of the song. Alternatively, I could argue that "the program of today" is a pun on the synthesizer/sequencer. In 1981, the idea of programming music might have been still revolutionary. If Person A is "programming" the day, they are attempting to sequence human interaction like they sequence a Moog.

1. Lights on, switch on

Here are no commands. "Switch on" can be interpreted as phrasal verb, but "lights on" forces noun understanding. So I think "switch on" is simplified "the switch is on", similar to "lights on" being simplified "the lights are on". This line could be telling about physical reality (the light is turned on), but also can be social/psychological reality (attention is now active on someone).

1. Your eyes are far away

Referencing previous line, that someone does not react on the stimulant. 3 and 4 together can also be a reference to a medical or police test on mind alteration where person’s reactions are interpreted based on how pupils contract from light (in this case, "far away" means pupils stay uncontracted). This is a metaphor that is only understood once we listen further.

5+6. The map represents you / And the tape is your voice

Tape is specifically an audio tape because of "voice" word. In the context of audio tape, "map" refers to representation of audio data or the organization of sound recordings on a tape, which can include the arrangement of tracks and the identification of specific audio segments. Therefore, person B is dehumanized to data.

1. Follow all along you

Notice it is not "follow along with". Following along someone means to accompany or keep pace with that person throughtout a journey or activity. "All" implies totality and non-exclusiveness (no privacy). Person A is stalking or monitoring Person B.

1. Till you recognize the choice

Interesting line. Person B is not concerned with Person A's presence. They are concerned when noticing they are actively following them (making a choice). This is typical for strangers in public spaces: we don't pay attenting to strangers and what they're doing unless we see them do an action specific to us.

9+10. I said I'd write a letter / But I never got the time

Since the song is about strangers, "saying" is likely non-literal and adressed to self. Then "got the time" means "dedicate". Person A swore to themselves they would write a letter to person B, but they failed on this commitment. It also tracks with stalker's typical traits: those who become stalkers often are struggling with commitment.

11+12. And I'm looking to the day / I mesmerize the light

"Look to the day" here means expecting something to happen. "Mesmerize" means to spellbind, enthrall, hypnotize (that means Person A wants not attention, but control). Since article 'the' is used for "light", Person A is referring to concrete, not literal light, so likely Person B is their "light". Since Person A is seeing Person B like that, they are likely having feelings for them, which means the "letter" they wanted to write was a romantic confession. Overall, 11 and 12 together say that Person A is trying to achieve control over their love interest.

13+14. The years I spend just thinking / Of a moment we both knew

The notable use of "we", further enhanced with "both". This moment is very special to Person A, which is confirmed by their statement of how much they reminisce about it (“years" here is a hyperbole).

15+16a. A second boss looking into / It seems it can't be true

I interpret second as an adjective and not a noun because of an articte "a". If we were talking about "the moment the boss", then it would have been "the second boss". First part of sentence can be rephrased as "second boss is paying attention". This "second boss" could be an allegory to societal authority or Person A's Super-Ego. But since the song is about stalking/monitoring, interaction of strangers and partly society, I pick societal interpretation. 15 and 16 together say that Person A is perceiving the moment of connection they want is impossible to have in public and under watchful eyes. Ironically, person A does not notice they are watchful eyes from perspective of person B and of much stronger strutiny/danger than society.

15+16b. A second passed like an empty room / It seems it can't be true

"A second passed like an empty room" shifts the focus from external authority to internal vacuum, depicting a moment where a single second becomes as hollow and fleeting as a physical void. Here, "it seems it can't be true" is the impression that the moment Person A shared with Person B was not as deep as it could have been. Person A wants to fill their void so much and experience the same feelings more. This shows they don't care about Person B, but their own satisfaction, like an egoist.

15+16c. What a change in this lyric tells about meaning

Likely 15+16a is a mistake. But if both versions are intended, then both are motives. One external, one internal. Person A is motivated by avoidance of societal interaction and craving for a deep relationship.

1. I take pictures

Since pre-chorus is identical after verse 1 and verse 2, this line is adding to both "Till you recognise the choice" and "It seems it can't be true". For Verse 1, Person A taking pictures is the "choice" Person B unsettled about, and as soon as Person B notices — Person A hides/gets away. Taking pictures is a way for Person A to get to experience that moment again. Maybe they keep photo collection in their home of Person B for more sexual reasons. This adds on to lines 5 and 6: we now know Person A is making both audio and visual recordings of person B. Since they keep both audios and photos (likely for 'immersion'), we can extrapolate. This may be a wild finger point, but maybe Person A has also made a doll of Person B, either for worship or recreation of their presence. For Verse 2, since Person A feels that they either cannot approach the person they are in love with or won't get the deepness they want, they resort to pictures and fantasizing.

1. Photographic pictures

Don't know if this is intentional semantic or just stylistic choice. "Taking pictures" already means making photographs (unless authors think audience is stupid enough to misunderstand as grabbing/collecting pictures, which is unlikely). So "photographic" means something more abstract, allegorical. This word is also the title of the song, despite being just one word and from pre-chorus, and that means this carries special significance. "Photographic" emphasizes the coldness of the act. Instead of "photogenic", "photographic" is used. Photogenic = the person has a quality that translates well to images; Photographic = the images have captured something true about the person. The image takes precedence over the person. Pictures are not just mementos or trophies for Person A, but substitutions of Person B.

19+20. Bright light / Dark room

The most repeated line in the song in the end. Like a compulsion or a mantra. Since the song is sung from POV of Person A, we can conclude this is their intrusive thought. Since "bright light" and "dark room" are separate and alternating, we can be sure this isn't description of one scene (not "a bright light in a dark room". What is interesting also are word combinations. Why "bright light" but not "bright room"? Why "dark room" but not "dim light" or "no light"? I think this is intentional in the context of story being told from Person A POV and these two phrases being on separate lines. To person A, "bright light" is a phenomena. Likely, "bright light" is not a camera flash (this will hinder Person A's goal), but object of desire (as established in 12). To person A, "dark room" is a place. It is where their collections at. Again, I think "dark room" is not a photography darkroom (“dark room" is even written as seperate words in lyrics), but a place of Person A's personal darkness or twistedness. What also is observable is comparison between "bright" and "dark". Since we established "dark" is moral/psychological here, then "bright" refers to innocence/goodness/normalcy of Person B. Therefore, this comparison creates a message: "bright" Person B is 'used' by Person A for "dark" things through indirect representations of them (photos, audios, dolls).

Conclusion

The lyrics are the internal monologue of stalker who: compartmentalizes (white room, dark room, white house, boss etc.), dehumanizes, fantasizes about control, obsesses over a moment, operates in secrecy, feels both guilty and justified.

Verse 1: description of relationship

Light switch, man switch — a biting parallel to how the relationship dynamic of narrator was. It's a fling, a casual relationship where partners' affection fluctuates with regularity of a light switch.

Film was broken only then — this line is a reference to the chorus. The experience, the memory, the emotions of relationship was disjointed, incoherent when it happened, but now narrator has a full clear picture of it after it ended.

All the night, fused tomorrow — I feel narrator describes characteristics of their sex life. They did sex "all the night" to the point of exhaustion and often woke up the next day "fused".

Dancing with a distant friend — this connects to previous line. During night, the passion was reeling and overflowing, but during day they acted casual/regular friends (not close friends, but "distant" friends). This dynamic is comparable to "dancing", where you get all in with dedication for a period of performance but once you finished you both separate and go about your days.

Verse 2: breakup

So we left, understanding — both narattor and their partner undestood why they have to end their relationship

Clean cut so we're sounding fast — "clean cut" means here that they had no fights, emotional baggage or some other shit typical breakups have. Therefore, their talking "sounds fast": no hesitation or doubt, reconciliation attempts and so on.

Talked of sad, I talked of war — this line is not about partned being sad and narrator being angry, because of previous two lines. Instead, I suggest this. Partner talked about missing potential of relationship and how they wanted to see where this goes, while narrator argued about why relationship is bad and has no future and glad that the relationship is finally ending.

I laughed and climbed the rising cast — cast being an object here does not make sense, because of metaphor redundancy. Instead, I think cast means here "a set of characters or persons". Narrator was happy after relationship and was taking on new relationships confidently like someone climbing a mountain/hill.

Verse 3: delayed introspective response

Quickly I remembered — suddenly, out of nowhere, a memory hits them.

Fused and saw a face before — narrator remembers the sex from relationship described in first verse.

Timing reason, understanding — They reason their logic and understanding, measuring how it transpires in their head and deconstructing it (“timing"). They try to reassert the conclusion of that relationship being doomed.

Like association hall — this deconstruction is failing and leads to free association.

Chorus: nostalgia

Filming and screening — here, making a film scene inside the head

I picture the scene — they picture the sex scene

Filming and dreaming — here "filming" changes meaning to something akin to 'playing' or 'recording'. This scene is so powerful that the memory (or exagerated fantasy) self-reinforces.

Dreaming of me — narrator imagines their own sensations, how they move, what they sense, what they feel, as if they transported back to this moment of sexual bliss.

Outro: signs of bad times coming

Dreaming of me / Just dreaming of me / It's only me / Just me — in the context of outro, "dreaming of me" completely changes meaning. Instead of imagining them with the person during sex, now they imagine only themselves alone. That is singer’s creeping loneliness.