Album: Violator
Artist: Depeche Mode
Artist: Depeche Mode
Born: Basildon, Essex
Released: March 1990
Genre: Electronic
Influenced: Pet Shop Boys, Nine Inch Nails, Tricky, Saint Etienne, The Knife, Johnny Cash
Like The Cure, Depeche Mode were active throughout the 80s but didn't start putting out their best work until right at the end of the decade. Much of Depeche Mode's early synthpop records are now pretty dated, but what's notable about Violator is that it sounds completely timeless. It seems to bridge the two decades, combining both synthesizers and guitars to create a uniquely dark electronic sound. Having been to Basildon, where Depeche Mode formed, it never ceases to amaze me how a bunch of pretty boys with synths (at that time, including the very talented Vince Clarke) managed to emerge from a culture that emphasises oafishness and heavy drinking. Depeche Mode had a lot of success during the 80s and were constantly exploring new avenues, including industrial music. Part of the reason for Violator's change of direction came from working with a new producer, Flood, who encouraged the band to release their first single to feature a guitar as the lead instrument. Personal Jesus was released in summer 1989 and a clever marketing campaign, including tongue-in-cheek ads in regional newspapers, helped it become a No.13 UK hit, as well as Depeche Mode's first US Top 40 single. Given the song is quite an overt criticism of televangelists and organised religion, it's surprising it did so well in the States. Johnny Cash, who performed a brilliant cover of the song on his American IV album, said he viewed Personal Jesus as a gospel song. In fact, one very unique feature about the track is its structure, in the way it morphs from rock into electronic music, giving the song a wide appeal.
Personal Jesus wasn't the only successful single released before the album itself, with Enjoy The Silence becoming a Top 10 hit in a wide array of countries. It's probably my favourite Depeche Mode song, in fact one of of my favourite songs full stop. It has the anthemic quality of a house track but also a dark undertow; a singalong chorus but a lingering sense of disquiet in the lyrics ("pleasures remain / so does the pain"). The theme of non-verbal communication, and its power in human relationships, is also something that resonates with me. Violator is much more than two great singles though. Opening track World In My Eyes is one of the all-time great Depeche Mode songs, with its complex arrangement and lush keyboards. I especially like the way Martin Gore and Dave Gahan alternate the vocals. There's no real drop in quality throughout the album, Sweetest Perfection and Halo are both dark and melodic, but one of the most immersive songs is Waiting For The Night, its sombre minimalism ahead of its time. Policy Of Truth explores a very different mood, more akin to dance and R&B, with the classically trained Alan Wilder responsible for the intricate arrangement. Album closer Clean is clearly a homage to Meddle-era Pink Floyd and the lyrics relate to Gore's battles with drug addiction. All in all, this is a faultless album from Britain's greatest electronic pioneers.
Like The Cure, Depeche Mode were active throughout the 80s but didn't start putting out their best work until right at the end of the decade. Much of Depeche Mode's early synthpop records are now pretty dated, but what's notable about Violator is that it sounds completely timeless. It seems to bridge the two decades, combining both synthesizers and guitars to create a uniquely dark electronic sound. Having been to Basildon, where Depeche Mode formed, it never ceases to amaze me how a bunch of pretty boys with synths (at that time, including the very talented Vince Clarke) managed to emerge from a culture that emphasises oafishness and heavy drinking. Depeche Mode had a lot of success during the 80s and were constantly exploring new avenues, including industrial music. Part of the reason for Violator's change of direction came from working with a new producer, Flood, who encouraged the band to release their first single to feature a guitar as the lead instrument. Personal Jesus was released in summer 1989 and a clever marketing campaign, including tongue-in-cheek ads in regional newspapers, helped it become a No.13 UK hit, as well as Depeche Mode's first US Top 40 single. Given the song is quite an overt criticism of televangelists and organised religion, it's surprising it did so well in the States. Johnny Cash, who performed a brilliant cover of the song on his American IV album, said he viewed Personal Jesus as a gospel song. In fact, one very unique feature about the track is its structure, in the way it morphs from rock into electronic music, giving the song a wide appeal.
Personal Jesus wasn't the only successful single released before the album itself, with Enjoy The Silence becoming a Top 10 hit in a wide array of countries. It's probably my favourite Depeche Mode song, in fact one of of my favourite songs full stop. It has the anthemic quality of a house track but also a dark undertow; a singalong chorus but a lingering sense of disquiet in the lyrics ("pleasures remain / so does the pain"). The theme of non-verbal communication, and its power in human relationships, is also something that resonates with me. Violator is much more than two great singles though. Opening track World In My Eyes is one of the all-time great Depeche Mode songs, with its complex arrangement and lush keyboards. I especially like the way Martin Gore and Dave Gahan alternate the vocals. There's no real drop in quality throughout the album, Sweetest Perfection and Halo are both dark and melodic, but one of the most immersive songs is Waiting For The Night, its sombre minimalism ahead of its time. Policy Of Truth explores a very different mood, more akin to dance and R&B, with the classically trained Alan Wilder responsible for the intricate arrangement. Album closer Clean is clearly a homage to Meddle-era Pink Floyd and the lyrics relate to Gore's battles with drug addiction. All in all, this is a faultless album from Britain's greatest electronic pioneers.
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