Depeche Mode
A Broken Frame

After this review of “A Broken Frame” on Depeche Mode, nothing is missing anymore. Or rather, many things would be missing, like the historic “101”, “One Night in Paris”, the various collections, and the singles, but I'll refrain for now from this because reviewing a “101” requires a fan who truly knows everything about the lives and exploits of Depeche Mode, in short, the brother of producer Daniel Miller or him in person….
Nothing prevents anyone from trying.

But let's proceed in order. Among the albums, we have “A Broken Frame” left. Masterpiece of Electro-Pop, it was released during a period when this genre was at its peak (1982), and it had to compete with the not easy New-Romantic competition. However, those in the know choose DM.
Abundant Synthbass, pure electronics, spot-on sampling from the genius of Alan Wilder, the London keyboardist recruited into the band precisely in '82, lyrics by Martin Gore, who replaced Vince Clarke in writing lyrics, great knowledge of Synths make this album one of the best Electro-pop albums of the '80s and ever.

The cover, which represents a wheat field and a figure representing a digger, wins the award for best cover of '82 (forget Hipgnosis and its little crap!). What matters for the career of the four from Basildon is that this is the album of distinction. If “Speak & Spell” could be grouped with other new-wave works of the period like the production of Soft Cell and Human League (I never tire of mentioning “Dare”), here the music becomes an identity for the band, illuminated by a Gore fan of German electronics (Kraftwerk first and foremost). As I already said, metropolitan music, youthful lyrics (consider that “See You” Gore wrote it at 12 years old!), pieces that seem like soundtracks of Dario Argento films (see the start of “See You” with Dave Gahan who seems like Dracula when he pronounces “All I wanna do is…. )
Everything is very beautiful, accompanied by suggestive effects, provided by the Synthbass and the replication of brass horns on the synthesizer, to create pseudo-gothic reminiscences (pseudo because we can't talk about dark yet, it's still pop, but a pop tinged with gloom and a lot of suggestion). The voice of Dave Gahan in this period is almost perfect. Adolescent, baritone and at the same time suave and gothic, not a comma out of place, not even in the live performances of the period, among which the Hammersmith Odeon concert in London (1982) must be mentioned.

“Leave in Silence” is the opening track, a proto-techno gem with Depeche Mode very inspired both in keyboards and vocals, particularly Gahan who hisses certain words in a superb way. The Longer Version is the most interesting and really makes you enjoy (6:32). “My Secret Garden” is another piece where Dave's voice says it all, those brass horns replicated from the Synth do the rest, very catchy. “Monument” is a small Electro-pop piece with ad hoc sampling and very metropolitan sounds. Just as very metropolitan is the instrumental electronic suite “Nothing to Fear” which catapults you into a nocturnal and unsettling London (at least I’ve always interpreted it that way). Then comes the highlight “See You”, a successful single in Great Britain, with the dominant Synthbass, and a perfect voice, playing Dracula, as I've already said, almost horror-oriental music, and a very cute yet romantic text.
“Satellite” is another electronic pearl, certainly overshadowed by other successful singles, like “The Meaning of Love”, graceful, but which I personally prefer less because I find it a bit childish, not in the lyrics for goodness’ sake, but in the music. Just as they are a bit underwhelming because they don't engrave the Synth into your blood “Further Excerpts from: My Secret Garden” and “A Photograph of You”.

With “Shouldn't Have Done That” we return to a very refined gothic electro-pop, alternating a cappella voices and brass. Sure, those who don't love the genre will disdain it. The icing on the cake is “The Sun & the Rainfall”, one of the best songs of the Electro-pop period, before Industrial invaded the band's work. Very refined in its electronic sounds, you have to listen to it to understand, but it's very beautiful and also light, because it lacks the obsessive Synthbass that dominates in other pieces. In live performances, all these songs might have made more history than on the original record, and Depeche Mode’s live shows between '82 and '84 were perfect both in terms of instruments (great Gore, Fletcher, and the impeccable Wilder) and the young Dave, one of the most beautiful baritone voices in the history of music.
You see, The Punisher accused me of being too biased in my reviews, maybe it's true, but I assure you that I strive not to be, but comparing Depeche Mode to other bands playing in the years of hedonism, I can tell you the quality is there. Rating 3.

Now you'll say: But why, after speaking so well about it?
- because the tracklist eventually becomes a bit tiresome…. after all, the pattern is always the same, except for “Leave in Silence”, “Monument”, and “The Sun & the Rainfall” which must be considered separately because masterpieces.
- secondly, because Depeche Mode in their career have done far superior things compared to this album, which remains, however, one of the best works of the ‘80s.