Depeche Mode – Violator

One of the better-sounding AAD versions of Violator. The remasters are awful-sounding.

1987's "Music for the Masses" marked a sonic transition for Depeche Mode that would transpose to their proceeding project, which would come to be known as the culmination of their musical output thus far. "Music for the Masses" ushered in a new era for them as musicians, and they began to show signs of evolving into a stadium act capable of reproducing sounds and achieving a following no other band ever had. Once their core sound was enhanced by the incorporation of denser instrumentation, darker themes and an ambient production style, Depeche Mode's maturing image and outlook aligned with their newfound creative tenability and expanding fanbase. It was clear that the band were on the precipice of drastically reconditioning the standard of electronic music, and to do it they had to modify their current methods in order to truly diversify their sound.

"Violator" intentionally continued in the same dark vein as its game-changing predecessors "Black Celebration" and "Music for the Masses", but the proliferation of the group's proficiency was now conspicuously evident; Dave Gahan's cavernous baritone vocal delivers as even wider than before, Alan Wilder's blistering arrangements are even sparser and icy, and Martin Gore's candid, intensified lyrical enthusiasm infinitely more demonstrative and emotional. Interestingly, it was this new approach to recording that was conducive to their sudden individuality and maturity as a band, a redirection further augmented by Flood's sterling production, but more importantly, his technical ability, hence why the record is considered the most well-mastered and clinical in their discography.

Establishing the tone and setting of the album were its two lead singles, "Personal Jesus", with its radiating bluesy riff and pulsating arcane beat, and "Enjoy the Silence", an arresting uptempo electronic outing and perhaps the album's maximally dramatic and romantic number. Aside from the radio-viable efforts, the immediacy and potency of the album's deeper cuts, "Halo" and "Sweetest Perfection" are equally as integral to the prevailing mood and atmosphere of the album. In fact, the album is Depeche Mode's most consistent in of quality, with every song hitting its mark and veering the band in new directions, from ethereal touches found on "Waiting for the Night" and foreboding eeriness on "Clean". At times, the ominous bass notes, hypnotic grooves and morose lyricism of "Black Celebration" is applied to "Violator", most notably on "Enjoy the Silence", which jarringly segues into a sinister hidden interlude known as "Crucified". However, "Violator" carves out its own sonic template, with each and every song being loosely connected to its predecessor, either lyrically or musically. Even the odd textures, instrumentals and atmospheric features somehow feel crucial to the album's luminescence and consonance, adding nuance, bulk and depth to their formerly rigid straightforwardness. If "Violator" strikes as being more commanding and intelligible in its exploration of guilt, salvation and obsession, then that it is primarily due to Martin Gore's improvement as a songwriter, with the focal points of this album now not only derived from his favourite subjects but also his personal tribulations.

"Violator" introduced the band to a wider audience and, by their own ission, this sudden surge in popularity after being under-the-radar pop band material for so long was a shock from which they would never recover. Disruptive destroyer of the band not only in of their line-up and synthpop trappings, but also their public exposure, the album was groundbreaking in another sense; Dave Gahan revelled in his recently discovered snake-hipped sex appeal, and there was an intensity felt within the band, as if they were experiencing friction and dissension for the very first time. Gahan's provocative performance and the stripped-back, intimate subcurrent underpinning the album with an unprecedented fervent sensuality is wholly productive and charges the marginally romantic, evocative songs such as "World in my Eyes" and "Policy of Truth", with a much-needed shot of authenticity and integrity.

Sleeker, heavier and elaborate, "Violator" was the classic album Depeche Mode were destined to record from the moment they entered the world of electronic music, harnessing the pessimistic attitude and intricacy of their previous work and accentuating it on a much grander scale, developing powerful, cinematic arrangements. It would send their profile into the stratosphere, rendering them as much of a live draw as U2 and Bon Jovi. Regardless of its commercial feasibility, though, the album is truly their masterpiece, an exceptionally well-executed, balanced and universally appealing electronic record that is expansive and sweeping but also more cohesive and concordant in a way their previous albums were not. "Violator" sures all other Depeche Mode records for many reasons, with pronounced rock leanings not quite overriding the album's gargantuan electronic soundstage and a heightened level of sophistication and innovation. It truly is the group's masterpiece.

Rating: 5/5

I managed to get a cardboard long-box version in Mexico in 1990. CD's were not produced in the country, so all releases were US imports or European imports. The latter were sold just with shrinkwrap, sealed. The US cds were all in the long-box. I still have this one, and consider 'Halo' as the ultimate 80's-90's DM song.

The production quality of this album is unmatched, and the mastering of these original 1990 editions is perfect, no "loudness war" compromises. The entire 1986–1990 period was phenomenal for Depeche Mode. Black Celebration and Music for the Masses took electronic pop further than it had ever gone, but still represented a steady progression away from the band's earlier, more upbeat sound. When Violator came along, it was like serious next-level stuff. They've moved on, but never achieved such command of songwriting, performance, and production as they did here. They also wisely kept the CD sequenced exactly the same as the LP and cassette: 46 minutes of their A-game, no bonus tracks, no filler, and the songs in a logical order, not dictated by the record company. This really is one of those albums I'm glad I paid full price for.

This album would arguably upon its release set the new standard for electronica music as we know. Up until this album, nothing that I know of- or had personally heard- had such a level of not only complexity in its build of songs, but that level of advanced production in of the quality of sound. Electronica as we knew it had in the blink of an eye not only grown up, but reached a new level of etherealism and advancements. Wow!!!! And, it's my humble opinion that furthermore, the more particular sound of all snare drums as we've since heard them was firmly established on this album... (and it started with the subtle, yet so effective change at the beginning of Policy of Truth). That little nuance along was something I'd never heard before. If you find this to be true as I did back when it came out, you too will never listen to anything -made post Violator- the same again. Brilliantly and masterfully crafted song writing ever slightly so much further than Black Celebration... and bam, we've got ourselves a landmark piece of music composition!!!! I'll again credit the production side and the complexities of what Depeche were able to put forth... and I too will agree with the review on the home page of Depeche and say I totally agree with Derrick May citing Depeche Mode "as a major influence." Why?? Because of this album... period!!!!