Depeche Mode: Andrew Fletcher, David Gahan, Alan Wilder, Martin Gore.

Engineers include: Peter Iversen, Pino Pischetola, Goh Hotoda.

Recorded at Logic Studios, Milan, Italy; Puk Studios, Denmark; The Church and Master Rock Studios, London, England; Axis, New York, New York.

In a word, stunning. Perhaps an odd word to use given that Violator continued in the general vein of the previous two studio efforts by Depeche Mode: Martin Gore's upfront lyrical emotional extremism and knack for a catchy hook filtered through Alan Wilder's ear for perfect arrangements, ably assisted by top English producer Flood. Yet the idea that this record would both dominate worldwide charts, while song for song being simply the best, most consistent effort yet from the band could only have been the wildest fantasy before its release. The opening two singles from the album, however, signaled something was up. First was "Personal Jesus," at once perversely simplistic, with a stiff, arcane funk/hip-hop beat and basic blues guitar chords, and tremendous, thanks to sharp production touches and David Gahan's echoed, snaky vocals. Then "Enjoy the Silence," a nothing-else-remains-but-us ballad pumped up into a huge, dramatic romance/dance number, commanding in its mock orchestral/choir scope. Follow-up single "Policy of Truth" did just fine as well, a low-key Motown funk number for the modern day with a sharp love/hate lyric to boot. To top it all off, the album itself scored on song after song, from the shuffling beat of "Sweetest Perfection" (well sung by Gore) and the ethereal "Waiting for the Night" to the guilt-ridden-and-loving-it "Halo" building into a string-swept pounder. "Clean" wraps up Violator on an eerie note, all ominous bass notes and odd atmospherics carrying the song. Goth without ever being stupidly hammy, synth without sounding like the clinical stereotype of synth music, rock without ever sounding like a "rock" band, Depeche here reach astounding heights indeed. ~ Ned Raggett

Depeche Mode's American career took the British synthpop band from hipster curios to cult artists to teenage heroes to, with 1989's VIOLATOR, genuine alternative-rock superstardom. It's a majestic album that reflects the buildup of angst over a decade of playing; it stays true to the outfit's basic form while exploring new aural worlds.

The album contains three massive MTV hits, the unusually guitar-oriented "Personal Jesus," the more typical but still obtuse "Enjoy the Silence," and the off-kilter and emphatic "Policy of Truth." Martin Gore's songs explore his usual themes of sex ("Blue Dress"), redemption ("Clean"), and desperation ("Waiting for the Night"), but the arrangements are more detailed and lush than on the band's spartan early albums; it's a new style that suits Dave Gahan's deepening voice well. VIOLATOR's commercial success may have brought turmoil to Depeche Mode's career and lives, but it remains one of the band's finest and (unlikely enough) truest albums. With VIOLATOR, the band pulls off the not unremarkable feat of becoming a household name without losing much of its soul.

Rolling Stone (p.74) - 4.5 stars out of 5 -- "[With] heavier hooks, cinematic arrangements and sleek sonic detail."

Spin (p.58) - Ranked #9 in Spin's "The 10 Best Reissues of 2006" -- "[T]his was an emotional bloodletting, complete with dark drone..."

Q (p.129) - Ranked #6 in Q Magazine's "10 Essential Reissues Of 2006."

Q - 4 Stars - Excellent - Included in Q's list of the Fifty Best Albums of 1990.

CMJ (1/6/03, p.15) - Included in CMJ's list of "Top 25 College Radio Albums of All Time"