Depeche Mode
Songs of Faith and Devotion

THE REVIEW

Necessary Premise: I do not aim to write a review that offers new or exclusive insights to the passionate readers of DeBaser on an album that many probably know much better than I do. However, I felt the urge to write about what "Songs Of Faith And Devotion" manages to communicate to me every time I listen to it. I am a young and novice fan of Depeche Mode, but absolutely convinced that the band from Basildon can still today divert new generations away from the prevailing low-quality music.

"Songs Of Faith And Devotion" was released in 1993 and, when you think about it, it represents the core (chronologically speaking) of Depeche Mode's production: twelve years before, they debuted with "Speak & Spell", twelve years later, they surprised us with "Playing The Angel". Symbolic, as a fact. In fact, we are talking about an atypical album, in every sense. Renewing the success achieved progressively with "Black Celebration", "Music For The Masses" and mainly with "Violator" was not simple for a band that had always based its longevity on experimentation and the resulting surprise of everyone (and it seems incredible that one could already speak of "Long life" for a group that is still active today!). Thus, without a doubt, success came. Continuous, intense, fanatic, as demonstrated by the extraordinary performance documented by a genius like Anton Corbijn in "Devotional".

The magnificence of this work is, however, detached from the mundane live aspect, as one might believe. On the contrary, although the album assumes typical rock tones at various points, the electronic epicness is, in my opinion, the absolute protagonist. An epicness different from that of "Music For The Masses", a tragic, gloomy epicness, that hits you with shivers of despair and anxiety. "I Feel You" is the personification of Dave Gahan's voice, bursting terrifyingly, in search of an escape route from the "sound" that he perhaps until then considered too muffled. Martin Gore's guitar catches you off guard, and then you realize you are faced with something unimaginable, recalling the introduction of "Violator", in the magnificent electronic vortex of "World In My Eyes". Accused by some of being monotonous, the first track is probably the point of greatest contact with rock music for Depeche Mode, which makes it more than noteworthy. The second track is almost indescribable; there are no words to judge the extraordinary blend of lyrics that is probably among Martin Gore's most successful, music that represents the pinnacle of electronic symphony, and, if you want to consider it, a music video that interprets its spirit to perfection. All of this is "Walking In My Shoes".

"Condemnation" is a very peculiar piece, but if one learns to appreciate it, it can become irreplaceable. A gospel choir forms the backdrop to Dave Gahan's interpretation, which everyone will know is considered the culmination of what his talents can offer. A song to which I am particularly attached, magnificent. "Mercy In You" is a very valid piece, which gives strength and continuity to the whole. "Judas" is a track that Martin's voice makes haunting, but it has never been among my favorites and, without a doubt, does not represent the best of the album. The splendid "In Your Room" deserves a separate discussion. First of all, one should consider the album version, which is long but, to me, requires no modification. Here the drums play an important role, just as every acoustic instrument assumes unexpected prominence throughout the album. The rhythm, after the intro, does not drop and creates an essential piece that, although not as genius as others already mentioned, can be considered a manifesto of this era of Depeche Mode.

"Get Right With Me" and "Rush" are, in my opinion, respectively a fair piece and a good one. They perhaps lack the strength to say something significant. "One Caress" is a moving and classical demonstration of Martin Gore's value, who, after having written a text that cannot leave one indifferent, lets his sublime voice be accompanied by strings, creating emotion with every listen. Paradoxically, the setlist of the tour opened with the perfect conclusion of this masterpiece, "Higher Love". A high-level song, vaguely dragged, as if to tell the audience that it is sad it ends this way, but the show is over.