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Reinvention appears to have come naturally to Depeche Mode.
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As such, this is a group who have been dragged viciously through a particularly thorny hedge backwards, upside down and every which way besides in order to get to 2019: chronic substance addiction, losing vital members at vital moments – twice – in their history, yada yada yada… Plus, throughout all that, the Devil had – at various points – made himself very comfortable in the details of all of it. And their third that was, well, without Alan Wilder as their techno-whizz filter, yet still capably negating another imminent breakdown and carrying the Depeche torch stridently forward – still flame-on. The second, with a moodier, more determined Martin Gore seizing the songwriting reins and engaging Alan Wilder as their in-house techno-whizz filter, for a shadowy journey of open experimentation – and myriad electronics – that led to the occupation of the world stage. The first – their instantly successful early years as fresh-faced, Vince Clarke-led all-out synth-poppers, delivering hooks that still soundtrack many a disco to this day. Nonetheless, it’s our duty as Classic Pop to face the music – and choose.įrom the first wide-eyed bars of debut 45 Dreaming Of Me right up to the musically matured sounds and preaching-on-the-pedestal politics of 2017’s Spirit, Depeche Mode is a band of three recognisable eras. It's all the more impressive when you consider the circumstances under which it was recorded.In our list of the top Depeche Mode songs we count down from 40 to 1, spanning a career that’s lasted more than four decades…Ī s evidenced by the vastly differing individual Top 10 favourite tracks offered up by our very own Classic Pop team, positioning Depeche Mode’s finest musical moments into a coherent order that might be accepted by the masses could be viewed as nothing short of impossible. Q magazine - in a four-star review where they inadvertently listed the title as Songs of Faith and Destruction - described it a "a bit like being inside a Church", and I kind of know what they meant. Hell, even Black Celebration is marred slightly by a dated and out of place closing track. I think it's arguably their most consistent album, in that it has a constant, underlying mood to it. Judas and One Caress are among the very best Martin lead vocals. I Feel You and Walking In My Shoes, mainstays in the band's setlist since 1993, are timeless. It's what I always cite as my favourite Depeche Mode album, but it's one of my favourite albums of the nineties overall too. Even the cover (the only one to feature images of the band, unless you count the 101 merchandise shot) suggested here was a band who knew they weren't to be f***ed with by these newcomers. It's quintessential Depeche Mode, just not as we knew them up to that point. It just seemed right at the time, and it hasn't dated one bit. Even though Violator was only three years earlier, and poles apart, in terms of the arrangements (comparing the two, Violator almost sounds like a set of demos), SOFAD manages to epitomise the maxim that, "the more they change, the more they stay the same". I don't think any other band responded to shifts in popular music at the time (in the broadest possible sense, the rise of alternative guitar bands and, inevitably, grunge) the way they did. Right from the opening squeal, I thought it was (and still think it is) phenomenal.