Review Summary: A risky album that dared to change the universally acclaimed sound that appeared on 'Violator' and explore a slightly rockier edge. On the whole it works rather well and even though it doesn't beat their late 80's highs, it comes damn close.
It was a brave decision by Depeche Mode to move away from the highly sophisticated sound they achieved on 'Violator'. It would've been so easy for them to simply rinse & repeat - to regurgitate the formula that provided the quartet with critical acclaim three years before. But Depeche are no ordinary band, continually shifting and altering their sound, and 'Songs of Faith and Devotion' may be one of the most dramatic changes in the bands history.
Whilst 'Violator' was sleek and tidy 'SOFAD' is wild and unrestrained, exploring the increased popularity of the grunge trend its release date existed in whilst still retaining many of the essential elements that defined the group. Its comes at little surprise then, that at the time of recording Gahan had become a true grunge-star, along with its trademark heroin addiction and long hair, which ultimately manifested itself in an increased desire to venture into a rockier sound.
Gahan's addictions (amongst other band tensions) placed a massive strain on Depeche, only adding to Alan Wilder's decision to depart in 1995, but somehow it managed to have a few brilliant side effects. Gahan's suffering and addiction lent itself to some of the most impassioned vocal performances of his career (which carried over to the live shows, providing fans with fond concert memories of the drug-induced, unrestrained and passionate front-man). 'Condemnation' is a perfect example of this - there's just so much heart and soul in his voice, something that's found not just in this track singularly, but across the entire album evident right from the thumping opener 'I Feel You'.
It's not exclusively the context and surroundings of 'SOFAD' that made it an important part in the Mode's discography, but also (and more crucially) the music. Guitar features more heavily than on any other Depeche record that came before or afterwards, and it works rather well on more aggressive tracks like 'Rush' and 'Mercy in You', with the latter being driven by grinding guitars and off-kilter electronic warbles up until the chorus, where haunting synth kicks in briefly, just in time for Gahan to belt out "The mercy in you".
With an album title like 'Songs of Faith and Devotion' one would be right to assume that belief plays some part in the overall sound, as it most certainly does. Where Gore was previously cynical when it came to religion ('Blasphemous Rumours', 'Told You So') he seems to have rediscovered his faith, especially evident in ballady moments like 'Judas'. It’s littered with biblical references and a vaguely Celtic sounding opening, gentle orchestration and a surprise change in mood as the song bows out with gloomy electronics and violins seeping into the melody. The faith gives overall warmth to the album, and sits alongside darker moments like 'In Your Room', surprisingly well, providing balance to a risky album and tempering the more jagged rock moments with almost equal numbers of softer ones.
However, the glaring fact that the album is rockier and less darkly synth-driven (a characteristic that arguably became the bands identity) could be seen as a departure from the 'classic' Depeche Mode era (1984-1990). But when you have tracks like 'Walking in My Shoes' in which Gahan roars his way through one of the best lyrics in DM’s catalogue, or the gorgeous 'One Caress' with wonderful vocals from Gore and lush, invigorating orchestration in its final few sweeping moments; it becomes evermore difficult to see the change in sound as anything other than worthwhile.
