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1990 marks an unforgettable time of change for Depeche Mode, pioneers of electronic music
. Despite the countless problems (the loss of Wilder and Clarke, and the deep crisis of Dave Gahan) the members succeeded in escaping from the threat of extinction to become the protagonist of an actual music revolution: they created a masterpiece in which the synth experience, raised in the past works, mixes with a new hint of rocknroll, writing a new improved chapter of music for the masses. All of this is expressed through a breezy sound, where the instruments are well balanced, thanks to the wise direction of Flood and to the great mix of François K., authors of a cohesive, but at the same time, a two-party album.

Violator opens up with World In My Eyes that, along with Sweetest Perfection, outlines perfectly the atmosphere of the whole concept album: Gahan’s voice flows firm in a stream of distorted sounds and dark characters, right to highlight the obscure sense of drama that marks them out. Next is Personal Jesus, symbol of the album and, maybe, of the band itself: the original mix of electronic music and blues rock shows to be the best attempt for Depeche Mode to talk about themselves. Accused of blasphemy, the lyrics take inspiration from the book Elvis and me by Priscilla Presley, and the same Marin Lee Gore describes the track as A song related to being the Jesus of someone else. Someone that gives you hope and importance. Its not a very balanced vision of someone, isn’t it?  

The same feeling of wild agitation persists until the end of the song Halo, that opens up the doors to the only few rays of light that could go through the thick clouds created in the first minutes: Waiting for the Night, under a delicate ambient shade, and the well-known Enjoy the Silence. A lot of you will remember the videoclip directed by Anton Corbijn and inspired by  Antoine de Saint-Exupérys The Little Prince, in which Gahan, wearing royal clothing, desperately looks for a place where he could put his beach chair and enjoy some rest.              

Policy of Truth is the third single taken from Violator, which works on powerful basses, and prepares the audience for the final move: starting from the soft Blue Dress, where Gore gets back the past mellow atmospheres adding a hint of epicness, the ending closes up with a rocking Clean, that stabilize the dark and polished guidelines of the band.

Giulia Tagliabue – Translated by Beatrice Birolo