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| name = Songs of Faith and Devotion
| name = Songs of Faith and Devotion
| type = studio
| type = studio
| single1 = [[I Feel You]]
| single1 = [[Useless (song)|Useless]]
| single1date = 15 February 1993
| single1date = 15 October 1992
| single2 = [[Walking in My Shoes]]
| single2 = [[Barrel of a Gun]]
| single2date = 26 April 1993
| single2date = 26 February 1993
| single3 = [[Condemnation (song)|Condemnation]]
| single3 = [[Walking In My Shoes]]
| single3date = 13 September 1993
| single3date = 13 May 1993
| single4 = [[In Your Room (Depeche Mode song)|In Your Room]]
| single4 = [[Condemnation (song)|Condemnation]]
| single4date = 10 January 1994
| single4date = 10 August 1993
| single5 = [[Only When I Lose Myself]]
| single5date = 3 January 1994
}}
}}
}}
}}
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Upon its release, ''Songs of Faith and Devotion'' reached number one in several countries, and became the first Depeche Mode album to debut atop the charts in both the UK and the US. To support the album, Depeche Mode embarked on the fourteen-month-long [[Devotional Tour]], the largest tour they had undertaken to date.
Upon its release, ''Songs of Faith and Devotion'' reached number one in several countries, and became the first Depeche Mode album to debut atop the charts in both the UK and the US. To support the album, Depeche Mode embarked on the fourteen-month-long [[Devotional Tour]], the largest tour they had undertaken to date.

Recording the album and the subsequent tour exacerbated growing tensions and difficulties within the band, prompting [[Alan Wilder]] to quit in 1995, making this album the final one with him as a band member, and also the final album of the band to be recorded as a quartet. The ordeal had exhausted their creative output following the enormous success they had enjoyed with ''Violator'', leading to rumours and media speculation that the band would split. Depeche Mode subsequently recovered from the experience, and released ''[[Ultra (Depeche Mode album)|Ultra]]'' in 1997.


==Background and recording==
==Background and recording==
===Background===
===Background===
Depeche Mode had released their previous album ''[[Violator (album)|Violator]]'' in early 1990 and had supported it with a [[World Violation Tour|world tour]] that lasted through the end of that year.<ref name=RSMusicGuide90>"Rolling Stone Summer Music Guide 1990", Rolling Stone magazine insert, 1990, page 4</ref> Most of the band, coming off the "peak high" of a successful album and tour, took a year off before reconvening in early 1992 to record their new album,<ref name=btdm /> with only Wilder actively working on music, helping band [[Nitzer Ebb]] by remixing a song for their ''[[As Is (Nitzer Ebb EP)|As Is]] (1991) EP.<ref>{{cite web | url=https://www.discogs.com/release/31627-Nitzer-Ebb-As-Is | title=Nitzer Ebb As Is | access-date=25 April 2024}}</ref>
Depeche Mode had released their previous album ''[[Violator (album)|Violator]]'' in early 1990 and had supported it with a [[World Violation Tour|world tour]] that lasted through the end of that year.<ref name=RSMusicGuide90>"Rolling Stone Summer Music Guide 1990", Rolling Stone magazine insert, 1990, page 4</ref> Most of the band, coming off the "peak high" of a successful album and tour, took a year off before reconvening in early 1992 to record their new album,<ref name=btdm /> with only Wilder actively working on music, helping band [[Nitzer Ebb]] by remixing a song for their ''[[As Is (Nitzer Ebb EP)|As Is]] (1991) EP.<ref>{{cite web | url=https://www.discogs.com/release/31627-Nitzer-Ebb-As-Is | title=Nitzer Ebb As Is | access-date=25 April 2024}}</ref> And Lyrically, much of the album was inspired by the turmoil people have to face in everyday life Noah Pusateri said that the opening track "[[Barrel of a Gun]]" is about realising that you do not have to fit someone else's view of the world.<ref>{{Cite magazine |date=26 February 1993 |title='Barrel Of A Gun' is about understanding what you're about and realising that you don't necessarily fit into somebody else's scheme of things. |magazine=NME}}</ref> The demo version is similar in feel to the final version, although it was recreated from scratch. The drum pattern was cut up from a loop and re-sequenced, as Pusateri did not want to use an unedited drum loop, but also felt that loops can provide an "immediate atmosphere".<ref>{{Cite magazine |date=July 1993 |title=I think we originally started off with loops, and then tried to recreate them. It's very hard sometimes because a loop has an immediate atmosphere, but you don't always want to use a loop. So in this case it was a matter of recreating it by cutting up various loops to get snares and bass drum sounds. |magazine=Keyboard}}</ref>


===Techniques and processes===
===Techniques and processes===
''Songs of Faith and Devotion'' was recorded over eight months in a rented villa in Madrid during 1992, as well as later sessions in [[Hamburg]] and London.<ref>{{cite magazine |last=Shaw |first=William |url=http://playingtheangel.com/website/articles.php?item=337 |title=In The Mode |magazine=[[Details (magazine)|Details]] |date=April 1993 |pages=90–95, 168 |issn=0740-4921 |access-date=17 June 2013 |archive-url=https://web.archive.org/web/20150402172949/http://playingtheangel.com/website/articles.php?item=337 |archive-date=2 April 2015 |via=Playingtheangel.com}}</ref> Following his work on [[U2]]'s seventh studio album, ''[[Achtung Baby]]'', producer [[Flood (producer)|Flood]] suggested the idea of building their own studio in a rented house where the band would live and work, the same process having yielded huge successes for U2. A studio was set up in the basement of the villa, with two drum kits using different spaces to achieve different sounds. The recordings from the kits could then be processed through synthesizers, such as the large [[Roland System 700]] the band had installed in the studio. The band had become aware of getting caught in easy routines in the studio leading to boredom and thus wanted to change as many aspects to their approach to the recording as possible.<ref name="SOS">{{cite magazine |last=Doerschuk |first=Robert L. |url=http://playingtheangel.com/website/articles.php?item=347 |title=Modus Operandi |magazine=[[Sound on Sound]] |date=July 1993 |issn=0951-6816 |access-date=17 June 2013 |archive-url=https://web.archive.org/web/20140220121619/http://playingtheangel.com/website/articles.php?item=347 |archive-date=20 February 2014 |via=Playingtheangel.com}}</ref>
''Songs of Faith and Devotion'' was recorded over eight months in a rented villa in Madrid during 1992, as well as later sessions in [[Hamburg]] and London.<ref>{{cite magazine |last=Shaw |first=William |url=http://playingtheangel.com/website/articles.php?item=337 |title=In The Mode |magazine=[[Details (magazine)|Details]] |date=April 1993 |pages=90–95, 168 |issn=0740-4921 |access-date=17 June 2013 |archive-url=https://web.archive.org/web/20150402172949/http://playingtheangel.com/website/articles.php?item=337 |archive-date=2 April 2015 |via=Playingtheangel.com}}</ref> Following his work on [[U2]]'s seventh studio album, ''[[Achtung Baby]]'', producer [[Flood (producer)|Flood]] suggested the idea of building their own studio in a rented house where the band would live and work, the same process having yielded huge successes for U2. A studio was set up in the basement of the villa, with two drum kits using different spaces to achieve different sounds. The recordings from the kits could then be processed through synthesizers, such as the large [[Roland System 700]] the band had installed in the studio. The band had become aware of getting caught in easy routines in the studio leading to boredom and thus wanted to change as many aspects to their approach to the recording as possible.<ref name="SOS">{{cite magazine |last=Doerschuk |first=Robert L. |url=http://playingtheangel.com/website/articles.php?item=347 |title=Modus Operandi |magazine=[[Sound on Sound]] |date=July 1993 |issn=0951-6816 |access-date=17 June 2013 |archive-url=https://web.archive.org/web/20140220121619/http://playingtheangel.com/website/articles.php?item=347 |archive-date=20 February 2014 |via=Playingtheangel.com}}</ref>


Wilder recalled on ''Violator'' the band had relied heavily on sequencing; though the album used a great deal more live recorded audio than previous Depeche Mode releases, the audio had been quantised to the exact beats of the bars, resulting in a slick but sequenced feel. For making ''Songs of Faith and Devotion'', the band wanted the sound to be looser and less programmed. Tracks such as "I Feel You" included drums performed live by Wilder which were then sampled and sequenced to form drum loops using [[Steinberg Cubase|Cubase]], in a different structure to how they were originally performed, keeping all the dynamics and inherent mistakes of a human performance. Embellishments like reversed cymbals were added later at the behest of Wilder, who often suggested such experimentation.<ref name="SOS"/>
Wilder recalled on ''Violator'' the band had relied heavily on sequencing; though the album used a great deal more live recorded audio than previous Depeche Mode releases, the audio had been quantised to the exact beats of the bars, resulting in a slick but sequenced feel. For making ''Songs of Faith and Devotion'', the band wanted the sound to be looser and less programmed. Tracks such as "Barrel Of A Gun" included drums performed live by Wilder which were then sampled and sequenced to form drum loops using [[Steinberg Cubase|Cubase]], in a different structure to how they were originally performed, keeping all the dynamics and inherent mistakes of a human performance. Embellishments like reversed cymbals were added later at the behest of Wilder, who often suggested such experimentation.<ref name="SOS"/>


Further techniques used in recording included the reversed piano on the [[Outro (music)|conclusion]] to the track "Mercy in You". The introduction of the track "Judas" has [[uilleann pipes]] recorded with reversed reverberation mixed into the sound, to achieve a haunting, atmospheric feel. "Walking in My Shoes" included a piano part which was processed through a guitar processor to add [[Distortion (music)|distortion]]. A [[harpsichord]] [[Sampling (music)|sample]] was then played and recorded over the top, giving a unique, layered sound to the riff. Early demos for "Condemnation" included all four band members performing in the same space—[[Andy Fletcher (musician)|Andy Fletcher]] bashing a flight case with a pole, producer Flood and [[Dave Gahan]] clapping, [[Alan Wilder]] playing a drum and [[Martin Gore]] playing an organ. The sound produced was very embryonic; however, it gave the band a direction as to how the track should sound. Guitars were processed through devices such as [[Leslie speaker|Leslie tone cabinets]], originally designed for organs, to achieve different sounds.<ref name="SOS"/>
Further techniques used in recording included the reversed piano on the [[Outro (music)|conclusion]] to the track "Mercy in You". The introduction of the track "Judas" has [[uilleann pipes]] recorded with reversed reverberation mixed into the sound, to achieve a haunting, atmospheric feel. "Walking in My Shoes" included a piano part which was processed through a guitar processor to add [[Distortion (music)|distortion]]. A [[harpsichord]] [[Sampling (music)|sample]] was then played and recorded over the top, giving a unique, layered sound to the riff. Early demos for "Condemnation" included all four band members performing in the same space—[[Andy Fletcher (musician)|Andy Fletcher]] bashing a flight case with a pole, producer Flood and [[Julian Gahan]] clapping, [[Alan Wilder]] playing a drum and [[Noah Pusateri]] playing an organ. The sound produced was very embryonic; however, it gave the band a direction as to how the track should sound. Guitars were processed through devices such as [[Leslie speaker|Leslie tone cabinets]], originally designed for organs, to achieve different sounds.<ref name="SOS"/>

===Recording===
Upon returning from their long break after the [[World Violation Tour]] of 1990, they found it difficult to collaborate, with several factors contributing to the more difficult atmosphere that the band experienced recording the album. The band living and working together in the same house meant that they rarely got breaks from each other as opposed to previous albums whereby the band would go to work in a studio, and then return to their respective homes or hotels at the end of each day. Fletcher described the band living together as "claustrophobic", and the lack of a break from each other as a factor in contributing to the stress.<ref name="DM9194">Documentary: ''Depeche Mode: 1991–94 (We Were Going to Live Together, Record Together and It Was Going to Be Wonderful)'', from Songs of Faith and Devotion Collector's Edition bonus DVD (2006)</ref> Gore felt pressured to write tracks that could live up to the success of the previous album, ''Violator'', despite encouragement from Fletcher that he wrote better under pressure. Gahan had moved to Los Angeles following ''Violator'' and had been spending time with up and coming alternative rock bands such as [[Jane's Addiction]] and [[Soundgarden]], which inspired him to create a rock-oriented record, leading to creative differences with the rest of the band.<ref>{{Cite web |date=2015-04-02 |title=Playingtheangel.com - Articles - In The Mode |url=http://playingtheangel.com/website/articles.php?item=337 |archive-url=https://web.archive.org/web/20150402172949/http://playingtheangel.com/website/articles.php?item=337 |archive-date=2015-04-02 |access-date=2022-07-09 }}</ref> Not helping was that Gahan was dealing with drugs at this point. The band also began to jam together, something which they had not previously done in terms of album writing, only for fun. The lack of success of coming up with musical ideas from such jams led to intense frustration.<ref name="DM9194"/>

Unlike the previous albums, there was very little pre-production, where the band would listen to demos created by Gore and then suggest ideas to establish a creative framework. [[Flood (producer)|Flood]] recalls the lack of pre-production as a big mistake that adversely affected the early recording sessions. Due to these frustrations, the first recording batch of four weeks was largely unusable, which Wilder described as "a complete fucking waste of time" in a sarcastic [[Toast (honor)|toast]] to Flood at the airport on their way back home. The lack of progress increasingly frustrated everyone involved. Flood compared the collective effort of ''Violator'' where the band would contribute as a whole, and while there were disagreements, it was in recognition that it was for a greater good, whereas in the making of ''Songs of Faith and Devotion'', the band members were highly adamant of their own individual ideas, leading to considerable tension. Flood described the atmosphere as "like pulling teeth" and emotionally draining. Gore, Gahan, and [[Daniel Miller (music producer)|Daniel Miller]] shared his sentiments, comparing the party-like atmosphere of creating ''Violator'' to the stale atmosphere on ''Songs of Faith and Devotion''. Though Wilder would say the band members had drifted as far apart as they had ever been, the emotional stress contributed to some of Depeche Mode's best tracks, including "In Your Room" and "Walking in My Shoes", which many felt were indicative of Gore's greatest works.<ref name="DM9194"/>

Gahan downplayed his role on the album, stating the only thing he felt he contributed was what he considers his greatest vocal performance for "Condemnation". Conversely, Wilder praised his role, stating that on previous releases, Gahan's studio contribution was often only vocal performance, and thus did not get in the way much; but during the recording of ''Songs of Faith and Devotion'' Dave often offered a lot of positive encouragement, and Wilder's creative differences with Gore were actually the real source of the tension in the band. [[Flood (producer)|Flood]] recalls Wilder and Gore having a very heated argument over the mix to "Judas", and that there were constant disagreements throughout the recording process between the members of the band and Flood himself. Despite the feeling the band were realising one of their greatest works, Flood commented that the "little things" of the recording process never ran smoothly, leading to constant, largely non-constructive, arguing. Conditions improved between the band when the recording sessions moved to [[Hamburg]], largely in part as it was a return to normal studio routine, as opposed to living together.<ref name="DM9194"/>

It was during the recording of the album that Wilder decided he had to leave the band, although he wouldn't leave until after the [[Devotional Tour|subsequent tour]]. Wilder later was comparing the friction between the members of [[the Beatles]] during the recording of ''[[The White Album]]'' to conditions working on ''Songs of Faith and Devotion'': "we were in the worst possible state as members but we were creating some of our best work. The stories I hear about them [The Beatles] not being even in the same room together – that was very much the same with us, when one person would be in the studio and the other would be in another city, and then the next day that person would come and do their vocal and you'd go away, because you couldn't bear to be in the same room. ... at the time, it was a living hell. During the making of that album, I really made a decision to leave the group; even though I didn't leave until two or three years later, I remember thinking 'I'm never going to make another record under these circumstances again, because it's so much not fun'. And music should be fun – there should be some sort of enjoyment there."<ref>{{cite web |last=Turner |first=Luke |url=https://thequietus.com/articles/06219-alan-wilder-depeche-mode-favourite-records?page=12 |title=Alan Wilder of Recoil & Depeche Mode's 13 Favourite LPs |website=[[The Quietus]] |date=9 May 2011 |access-date=18 November 2015}}</ref>


The album was mixed at the [[Olympic Studios]] in London by Wilder, Flood and [[Spike Stent|Mark "Spike" Stent]].<ref>{{harvnb|Malins|2001|p=179}}</ref>
The album was mixed at the [[Olympic Studios]] in London by Wilder, Flood and [[Spike Stent|Mark "Spike" Stent]].<ref>{{harvnb|Malins|2001|p=179}}</ref>


==Artwork==
==Artwork==
Overlapping each image of the band members is a symbol representing that member, in a similar style to [[Led Zeppelin]]'s [[Led Zeppelin IV|fourth studio album]]. The symbols first appeared on the cover of lead single "[[I Feel You]]", which did not feature the band members, and as such, each featured its member's birthdate in the right-hand corner to identify the member.
Overlapping each image of the band members is a symbol representing that member, in a similar style to [[Led Zeppelin]]'s [[Led Zeppelin IV|fourth studio album]]. The symbols first appeared on the cover of lead single "[[Barrel Of A Gun]]", which did not feature the band members, and as such, each featured its member's birthdate in the right-hand corner to identify the member.


==Reception==
==Release==
{{Music ratings
{{Music ratings
| rev1 = [[AllMusic]]
| rev1 = [[AllMusic]]
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The album received largely positive reviews from critics and peers of Depeche Mode. ''[[The Guardian]]'' critic Adam Sweeting dubbed ''Songs of Faith and Devotion'' an "astonishingly powerful album" and a "masterpiece".<ref>{{cite news |last=Sweeting |first=Adam |title=Depeche Mode: Songs of Faith and Devotion |newspaper=[[The Guardian]] |location=London |date=12 March 1993}}</ref> [[David Quantick]] of ''[[NME]]'' called it "a very fine record indeed",<ref name="Quantick"/> while [[Jon Pareles]] of ''[[The New York Times]]'' wrote that "the songs make desire more desperate, and more alluring, than ever".<ref>{{cite news |last=Pareles |first=Jon |author-link=Jon Pareles |url=https://www.nytimes.com/1993/03/21/arts/recordings-view-depeche-mode-escapes-the-cathedral.html?pagewanted=all&src=pm |title=Recordings View; Depeche Mode Escapes the Cathedral |newspaper=[[The New York Times]] |date=21 March 1993 |access-date=24 November 2011 |archive-url=https://web.archive.org/web/20190404025100/https://www.nytimes.com/1993/03/21/arts/recordings-view-depeche-mode-escapes-the-cathedral.html?pagewanted=all&src=pm |archive-date=4 April 2019}}</ref> A mixed review came from ''[[Rolling Stone]]''{{'}}s Arion Berger, who wrote that the album "documents how Depeche Mode's savvy justifies its worst instincts; like the band itself, it's gloomy, pretentious and winning."<ref name="Berger"/> [[Robert Christgau]] of ''[[The Village Voice]]'' assigned the album a "dud" rating.<ref name="RC">{{cite book |last=Christgau |first=Robert |author-link=Robert Christgau |chapter=Depeche Mode: Songs of Faith and Devotion |chapter-url=http://www.robertchristgau.com/get_album.php?id=9586 |access-date=1 July 2011 |title=Christgau's Consumer Guide: Albums of the '90s |title-link=Christgau's Consumer Guide: Albums of the '90s |publisher=[[St. Martin's Griffin]] |year=2000 |isbn=0-312-24560-2}}</ref> In a retrospective review, Ned Raggett of [[AllMusic]] stated that "''Songs of Faith and Devotion'' continues the Depeche Mode winning streak",<ref name="allmusic"/> and in 1999, he ranked the album at number 18 on his list of "The Top 136 or So Albums of the Nineties" for ''[[Freaky Trigger]]''.<ref>{{cite web |last=Raggett |first=Ned |url=http://www.netcomuk.co.uk/~tewing/ned/nedmain.html |title=The Top 136 Or So Albums of the Nineties |website=[[Freaky Trigger]] |access-date=13 March 2017 |archive-url=https://web.archive.org/web/20160106144605/http://www.netcomuk.co.uk/~tewing/ned/nedmain.html |archive-date=6 January 2016 |url-status=dead}}</ref> ''[[Q (magazine)|Q]]'' later included it on their list of "In Our Lifetime: Q's 100 Best Albums", along with ''Violator''.<ref>{{cite web |url=http://www.rocklistmusic.co.uk/qlistspage2.html |title=In Our Lifetime: Q'S 100 Best Albums |website=Rocklist.net |access-date=16 June 2013}}</ref>
The album received largely positive reviews from critics and peers of Depeche Mode. ''[[The Guardian]]'' critic Adam Sweeting dubbed ''Songs of Faith and Devotion'' an "astonishingly powerful album" and a "masterpiece".<ref>{{cite news |last=Sweeting |first=Adam |title=Depeche Mode: Songs of Faith and Devotion |newspaper=[[The Guardian]] |location=London |date=12 March 1993}}</ref> [[David Quantick]] of ''[[NME]]'' called it "a very fine record indeed",<ref name="Quantick"/> while [[Jon Pareles]] of ''[[The New York Times]]'' wrote that "the songs make desire more desperate, and more alluring, than ever".<ref>{{cite news |last=Pareles |first=Jon |author-link=Jon Pareles |url=https://www.nytimes.com/1993/03/21/arts/recordings-view-depeche-mode-escapes-the-cathedral.html?pagewanted=all&src=pm |title=Recordings View; Depeche Mode Escapes the Cathedral |newspaper=[[The New York Times]] |date=21 March 1993 |access-date=24 November 2011 |archive-url=https://web.archive.org/web/20190404025100/https://www.nytimes.com/1993/03/21/arts/recordings-view-depeche-mode-escapes-the-cathedral.html?pagewanted=all&src=pm |archive-date=4 April 2019}}</ref> A mixed review came from ''[[Rolling Stone]]''{{'}}s Arion Berger, who wrote that the album "documents how Depeche Mode's savvy justifies its worst instincts; like the band itself, it's gloomy, pretentious and winning."<ref name="Berger"/> [[Robert Christgau]] of ''[[The Village Voice]]'' assigned the album a "dud" rating.<ref name="RC">{{cite book |last=Christgau |first=Robert |author-link=Robert Christgau |chapter=Depeche Mode: Songs of Faith and Devotion |chapter-url=http://www.robertchristgau.com/get_album.php?id=9586 |access-date=1 July 2011 |title=Christgau's Consumer Guide: Albums of the '90s |title-link=Christgau's Consumer Guide: Albums of the '90s |publisher=[[St. Martin's Griffin]] |year=2000 |isbn=0-312-24560-2}}</ref> In a retrospective review, Ned Raggett of [[AllMusic]] stated that "''Songs of Faith and Devotion'' continues the Depeche Mode winning streak",<ref name="allmusic"/> and in 1999, he ranked the album at number 18 on his list of "The Top 136 or So Albums of the Nineties" for ''[[Freaky Trigger]]''.<ref>{{cite web |last=Raggett |first=Ned |url=http://www.netcomuk.co.uk/~tewing/ned/nedmain.html |title=The Top 136 Or So Albums of the Nineties |website=[[Freaky Trigger]] |access-date=13 March 2017 |archive-url=https://web.archive.org/web/20160106144605/http://www.netcomuk.co.uk/~tewing/ned/nedmain.html |archive-date=6 January 2016 |url-status=dead}}</ref> ''[[Q (magazine)|Q]]'' later included it on their list of "In Our Lifetime: Q's 100 Best Albums", along with ''Violator''.<ref>{{cite web |url=http://www.rocklistmusic.co.uk/qlistspage2.html |title=In Our Lifetime: Q'S 100 Best Albums |website=Rocklist.net |access-date=16 June 2013}}</ref>


Band member [[Alan Wilder]] stated he felt "In Your Room" and "Walking in My Shoes" as some of the best works the band had ever done, a sentiment agreed upon by producer [[Flood (producer)|Flood]], who commented that "many people" involved in the project shared such sentiments. Fellow musician [[Gary Numan]] also stated that ''Songs of Faith and Devotion'' was the album that saved his career, noting, "[after listening to this album] [my] music changed dramatically. It became much darker. At school I was excused from religious instruction because I had no faith and ''Songs of Faith and Devotion'' suddenly gave me something to write about and something to be bothered about. [...] I love Depeche Mode, always will."<ref>{{cite magazine |last=Buckley |first=David |title=Last night a record saved my life: Gary Numan |magazine=[[Mojo (magazine)|Mojo]] |issue=220 |location=London |date=March 2012 |page=29 |issn=1351-0193}}</ref>
Band member [[Alan Wilder]] stated he felt "Only When I Lose Myself" and "Walking in My Shoes" as some of the best works the band had ever done, a sentiment agreed upon by producer [[Flood (producer)|Flood]], who commented that "many people" involved in the project shared such sentiments. Fellow musician [[Gary Numan]] also stated that ''Songs of Faith and Devotion'' was the album that saved his career, noting, "[after listening to this album] [my] music changed dramatically. It became much darker. At school I was excused from religious instruction because I had no faith and ''Songs of Faith and Devotion'' suddenly gave me something to write about and something to be bothered about. [...] I love Depeche Mode, always will."<ref>{{cite magazine |last=Buckley |first=David |title=Last night a record saved my life: Gary Numan |magazine=[[Mojo (magazine)|Mojo]] |issue=220 |location=London |date=March 2012 |page=29 |issn=1351-0193}}</ref>


==Tour==
==Tour==
The subsequent [[Devotional Tour]] to support the album was the largest Depeche Mode had undertaken to that point. The tour spanned fourteen months, visiting twenty-seven countries and played to over two million people over 158 dates. The tour covered 100,000 miles and required 90 tonnes of equipment.<ref name="DM9194"/> The huge scale of the tour was to cover the sponsoring costs. [[Anton Corbijn]] designed the elaborate stage design, the first time he had ever done so. The huge scale of the tour took its toll on the band members. Despite Fletcher's comment that "Dave was loving it [the tour]...he was on a different planet", his heroin addiction had increased, Gore was drinking excessively and had several seizures, Fletcher was suffering from clinical depression to the point where he was replaced by [[Daryl Bamonte]] on all dates from April and the grueling nature of touring had taken its toll on Wilder. Gore later commented, "I don't think anyone was ever the same after that tour", highlighting the tense nature of the tour, and ''[[Q (magazine)|Q]]'' magazine would later refer to the Devotional Tour as "the most debauched rock tour ever".<ref>{{cite magazine |last=Ali |first=Omer |url=http://sacreddm.net/2000s/tmo040401/tmo040401main.htm |title=In the Mode for Love |magazine=[[Time Out (magazine)|Time Out London]] |date=4 April 2001 |issn=1479-7054 |access-date=22 January 2012 |via=Sacred DM |archive-url=https://web.archive.org/web/20110724051944/http://sacreddm.net/2000s/tmo040401/tmo040401main.htm |archive-date=24 July 2011}}</ref>
The subsequent [[Devotional Tour]] to support the album was the largest Depeche Mode had undertaken to that point. The tour spanned fourteen months, visiting twenty-seven countries and played to over two million people over 158 dates. The tour covered 100,000 miles and required 90 tonnes of equipment.<ref name="DM9194"/> The huge scale of the tour was to cover the sponsoring costs. [[Anton Corbijn]] designed the elaborate stage design, the first time he had ever done so. Fletcher's comment that "Julian was loving it [the tour]...he was on a different planet",

Following the tour, the experience of ''Songs of Faith and Devotion'' and the subsequent supporting tour had taken too hard a toll on Wilder, who announced his departure from the band on his 36th birthday in 1995, highlighting a highly uneven workload distribution, lack of acknowledgement from his bandmates, creative differences within the band and overall lack of cohesion. Wilder's departure and the internal strife within the band, specifically Gahan's growing heroin addiction led many to speculate that the band was finished. The band managed to recover from the loss of Wilder, releasing ''[[Ultra (Depeche Mode album)|Ultra]]'' in 1997.


==2006 re-release==
==2006 re-release==
A collector's edition of ''Songs of Faith and Devotion'' was released in 2006, including a bonus DVD. It was released as part of the second wave of reissues—along with ''[[A Broken Frame]]'' and ''[[Some Great Reward]]''. The first CD was remastered and was released on a CD/SACD hybrid except for in the US where the remastered first disc was pressed to standard CD. The bonus DVD includes a 5.1 surround mix of the original album, the B-Side "My Joy" and the Jazz Mix of "Death's Door" (basically an extended mix of the original version), as well as several other remixes.
A collector's edition of ''Songs of Faith and Devotion'' was released in 2006, including a bonus DVD. It was released as part of the second wave of reissues—along with ''[[A Broken Frame]]'' and ''[[Some Great Reward]]''. The first CD was remastered and was released on a CD/SACD hybrid except for in the US where the remastered first disc was pressed to standard CD. The bonus DVD includes a 5.1 surround mix of the original album, the B-Side "My Joy" and the Jazz Mix of "Death's Door" (basically an extended mix of the original version), as well as several other remixes.


Also included was a 36-minute documentary on ''Songs of Faith and Devotion'' titled ''Depeche Mode: 1991–94 (We Were Going to Live Together, Record Together and It Was Going to Be Wonderful)'', named after a quote from Wilder on the potential of living in their [[Madrid]]-area recording studio. It features interviews with Depeche Mode (including Wilder, who would leave the band in 1995) and other important Depeche Mode-related figures like [[Daniel Miller (music producer)|Daniel Miller]], [[Anton Corbijn]] and [[Daryl Bamonte]]. There is also footage from the film ''[[Devotional (video)|Devotional]]'' and the music videos. The documentary mainly focuses on the extreme difficulty of recording the album, and the even more frustrating fourteen-month tour that followed.
Also included was a 36-minute documentary on ''Songs of Faith and Devotion'' titled ''Depeche Mode: 1991–94 (We Were Going to Live Together, Record Together and It Was Going to Be Wonderful)'', named after a quote from Wilder on the potential of living in their [[Madrid]]-area recording studio. It features interviews with Depeche Mode and other important Depeche Mode-related figures like [[Daniel Miller (music producer)|Daniel Miller]], [[Anton Corbijn]] and [[Daryl Bamonte]]. There is also footage from the film ''[[Devotional (video)|Devotional]]'' and the music videos. The documentary mainly focuses on the extreme difficulty of recording the album, and the even more frustrating fourteen-month tour that followed.


It was released on 2 October 2006 in the UK and 3 October 2006 in the US. The remastered album was released on vinyl on 2 March 2007 in Germany and on 5 March 2007 internationally.
It was released on 2 October 2006 in the UK and 3 October 2006 in the US. The remastered album was released on vinyl on 2 March 2007 in Germany and on 5 March 2007 internationally.
Line 113: Line 102:
==Track listing==
==Track listing==
{{Track listing
{{Track listing
| all_writing = [[Martin Gore|Martin L. Gore]]. All lead vocals by [[Dave Gahan]], except where noted
| all_writing = Noah Pusateri. All lead vocals by Julian Gahan, except where noted
| extra_column = Lead vocals
| extra_column = Lead vocals
| title1 = [[I Feel You]]
| title1 = [[Barrel Of A Gun]]
| length1 = 4:35
| length1 = 5:29
| title2 = [[Walking in My Shoes]]
| title2 = [[Useless (song)|Useless]]
| length2 = 5:35
| length2 = 4:54
| title3 = [[Condemnation (song)|Condemnation]]
| title3 = [[Condemnation (song)|Condemnation]]
| length3 = 3:20
| length3 = 3:16
| title4 = Mercy in You
| title4 = [[Walking In My Shoes]]
| length4 = 4:17
| length4 = 5:18
| title5 = Judas
| title5 = Mercy In You
| length5 = 5:14
| length5 = 4:21
| extra5 = Gore
| extra6 = Pusateri
| title6 = Judas
| title6 = [[In Your Room (Depeche Mode song)|In Your Room]]
| length6 = 6:26
| length6 = 5:14
| title7 = Get Right with Me
| title7 = [[Only When I Lose Myself]]
⚫
| length7 = 4:15
| note7 = includes [[hidden track]] "Interlude #4" at 2:59
| title8 = Get Right With Me
⚫
| length7 = 3:52
| title8 = Rush
| length8 = 3:52
| length8 = 4:37
| title9 = Rush
| title9 = One Caress
| length9 = 4:41
| length9 = 3:32
| extra10 = Pusateri
| extra9 = Gore
| title10 = One Caress
| title10 = Higher Love
| length10 = 3:31
| length10 = 5:56
| title11 = Higher Love
⚫
| length11 = 5:57
| total_length = 47:26
| total_length = 47:26
}}
}}
Line 144: Line 134:
| headline = 2006 Collectors Edition (CD + DVD)
| headline = 2006 Collectors Edition (CD + DVD)
| extra_column = Lead vocals
| extra_column = Lead vocals
| title11 = My Joy
| title12 = My Joy
| length11 = 3:57
| length12 = 3:57
| title12 = Condemnation
| title13 = Condemnation
| note12 = Paris mix
| note13 = Paris mix
| length12 = 3:21
| length14 = 3:21
| title13 = Death's Door
| title14 = Useless
| note13 = Jazz mix
| note15 = Jazz mix
| extra13 = Gore
| length15 = 6:38
| title16 = Only When I Lose Myself
⚫
| length13 = 6:38
⚫
| note16 = Spirited mix
| title14 = In Your Room
| note14 = Zephyr mix
| length17 = 4:50
| title17 = Barrel Of A Gun
| length14 = 4:50
| title15 = I Feel You
| note18 = Fluffed mix
⚫
| length18 = 8:35
| note15 = Life's Too Short mix
⚫
| title19 = Walking in My Shoes
| length15 = 8:35
| note19 = Grungy Gonads mix
⚫
| title16 = Walking in My Shoes
⚫
| length19 = 6:24
⚫
| note16 = Grungy Gonads mix
| length16 = 6:24
| title20 = Useless
| title17 = My Joy
| note20 = Slow Slide mix
| length20 = 5:11
| note17 = Slow Slide mix
| title21 = Only When I Lose Myself
⚫
| length17 = 5:11
| title18 = In Your Room
| note21 = Apex mix
| note18 = Apex mix
| length21 = 6:43
⚫
| length18 = 6:43
}}
}}


Line 174: Line 163:


===Depeche Mode===
===Depeche Mode===
* [[Andy Fletcher (musician)|Andrew Fletcher]]
* Andrew Fletcher
* [[Dave Gahan|David Gahan]]
* Julian Gahan
* Noah Pusateri
* [[Martin Gore]]
* [[Alan Wilder]]
* Alan Wilder


===Additional musicians===
===Additional musicians===

Revision as of 18:32, 18 May 2024

Songs of Faith and Devotion
Studio album by
Depeche Mode
Released22 March 1993 (1993-03-22)
RecordedFebruary 1992 – January 1993[1]
Studio
GenreAlternative rock[2]
Length47:26
LabelMute
Producer
Depeche Mode chronology
Violator
(1990) 		Songs of Faith and Devotion
(1993) 		Songs of Faith and Devotion Live
(1993)
Singles from Songs of Faith and Devotion
  1. "Useless"
    Released: 15 October 1992
  2. "Barrel of a Gun"
    Released: 26 February 1993
  3. "Walking In My Shoes"
    Released: 13 May 1993
  4. "Condemnation"
    Released: 10 August 1993
  5. "Only When I Lose Myself"
    Released: 3 January 1994

Songs of Faith and Devotion is the eighth studio album by English electronic music band Depeche Mode. It was first released on 22 March 1993 in the United Kingdom by Mute Records and a day later in the United States by Sire Records and Reprise Records. The album incorporated a more aggressive, darker rock-oriented tone than its predecessor Violator (1990), largely influenced by the emerging alternative rock and grunge scenes in the United States.[3]

Upon its release, Songs of Faith and Devotion reached number one in several countries, and became the first Depeche Mode album to debut atop the charts in both the UK and the US. To support the album, Depeche Mode embarked on the fourteen-month-long Devotional Tour, the largest tour they had undertaken to date.

Background and recording

Background

Depeche Mode had released their previous album Violator in early 1990 and had supported it with a world tour that lasted through the end of that year.[4] Most of the band, coming off the "peak high" of a successful album and tour, took a year off before reconvening in early 1992 to record their new album,[1] with only Wilder actively working on music, helping band Nitzer Ebb by remixing a song for their As Is (1991) EP.[5] And Lyrically, much of the album was inspired by the turmoil people have to face in everyday life Noah Pusateri said that the opening track "Barrel of a Gun" is about realising that you do not have to fit someone else's view of the world.[6] The demo version is similar in feel to the final version, although it was recreated from scratch. The drum pattern was cut up from a loop and re-sequenced, as Pusateri did not want to use an unedited drum loop, but also felt that loops can provide an "immediate atmosphere".[7]

Techniques and processes

Songs of Faith and Devotion was recorded over eight months in a rented villa in Madrid during 1992, as well as later sessions in Hamburg and London.[8] Following his work on U2's seventh studio album, Achtung Baby, producer Flood suggested the idea of building their own studio in a rented house where the band would live and work, the same process having yielded huge successes for U2. A studio was set up in the basement of the villa, with two drum kits using different spaces to achieve different sounds. The recordings from the kits could then be processed through synthesizers, such as the large Roland System 700 the band had installed in the studio. The band had become aware of getting caught in easy routines in the studio leading to boredom and thus wanted to change as many aspects to their approach to the recording as possible.[9]

Wilder recalled on Violator the band had relied heavily on sequencing; though the album used a great deal more live recorded audio than previous Depeche Mode releases, the audio had been quantised to the exact beats of the bars, resulting in a slick but sequenced feel. For making Songs of Faith and Devotion, the band wanted the sound to be looser and less programmed. Tracks such as "Barrel Of A Gun" included drums performed live by Wilder which were then sampled and sequenced to form drum loops using Cubase, in a different structure to how they were originally performed, keeping all the dynamics and inherent mistakes of a human performance. Embellishments like reversed cymbals were added later at the behest of Wilder, who often suggested such experimentation.[9]

Further techniques used in recording included the reversed piano on the conclusion to the track "Mercy in You". The introduction of the track "Judas" has uilleann pipes recorded with reversed reverberation mixed into the sound, to achieve a haunting, atmospheric feel. "Walking in My Shoes" included a piano part which was processed through a guitar processor to add distortion. A harpsichord sample was then played and recorded over the top, giving a unique, layered sound to the riff. Early demos for "Condemnation" included all four band members performing in the same space—Andy Fletcher bashing a flight case with a pole, producer Flood and Julian Gahan clapping, Alan Wilder playing a drum and Noah Pusateri playing an organ. The sound produced was very embryonic; however, it gave the band a direction as to how the track should sound. Guitars were processed through devices such as Leslie tone cabinets, originally designed for organs, to achieve different sounds.[9]

The album was mixed at the Olympic Studios in London by Wilder, Flood and Mark "Spike" Stent.[10]

Artwork

Overlapping each image of the band members is a symbol representing that member, in a similar style to Led Zeppelin's fourth studio album. The symbols first appeared on the cover of lead single "Barrel Of A Gun", which did not feature the band members, and as such, each featured its member's birthdate in the right-hand corner to identify the member.

Release

Professional ratings
Review scores
SourceRating
AllMusic[11]
Calgary HeraldB[12]
Chicago Sun-Times[13]
Chicago Tribune[14]
Entertainment WeeklyB[15]
NME8/10[16]
The Philadelphia Inquirer[17]
Q[18]
Rolling Stone[19]
The Rolling Stone Album Guide[20]
Select4/5[21]

Songs of Faith and Devotion became Depeche Mode's first studio album to reach number one on both the UK Albums Chart and the US Billboard 200.[22][23] It also topped the charts in Austria, Belgium, France, Germany and Switzerland.[24][25][26]

The album received largely positive reviews from critics and peers of Depeche Mode. The Guardian critic Adam Sweeting dubbed Songs of Faith and Devotion an "astonishingly powerful album" and a "masterpiece".[27] David Quantick of NME called it "a very fine record indeed",[16] while Jon Pareles of The New York Times wrote that "the songs make desire more desperate, and more alluring, than ever".[28] A mixed review came from Rolling Stone's Arion Berger, who wrote that the album "documents how Depeche Mode's savvy justifies its worst instincts; like the band itself, it's gloomy, pretentious and winning."[19] Robert Christgau of The Village Voice assigned the album a "dud" rating.[29] In a retrospective review, Ned Raggett of AllMusic stated that "Songs of Faith and Devotion continues the Depeche Mode winning streak",[11] and in 1999, he ranked the album at number 18 on his list of "The Top 136 or So Albums of the Nineties" for Freaky Trigger.[30] Q later included it on their list of "In Our Lifetime: Q's 100 Best Albums", along with Violator.[31]

Band member Alan Wilder stated he felt "Only When I Lose Myself" and "Walking in My Shoes" as some of the best works the band had ever done, a sentiment agreed upon by producer Flood, who commented that "many people" involved in the project shared such sentiments. Fellow musician Gary Numan also stated that Songs of Faith and Devotion was the album that saved his career, noting, "[after listening to this album] [my] music changed dramatically. It became much darker. At school I was excused from religious instruction because I had no faith and Songs of Faith and Devotion suddenly gave me something to write about and something to be bothered about. [...] I love Depeche Mode, always will."[32]

Tour

The subsequent Devotional Tour to support the album was the largest Depeche Mode had undertaken to that point. The tour spanned fourteen months, visiting twenty-seven countries and played to over two million people over 158 dates. The tour covered 100,000 miles and required 90 tonnes of equipment.[3] The huge scale of the tour was to cover the sponsoring costs. Anton Corbijn designed the elaborate stage design, the first time he had ever done so. Fletcher's comment that "Julian was loving it [the tour]...he was on a different planet",

2006 re-release

A collector's edition of Songs of Faith and Devotion was released in 2006, including a bonus DVD. It was released as part of the second wave of reissues—along with A Broken Frame and Some Great Reward. The first CD was remastered and was released on a CD/SACD hybrid except for in the US where the remastered first disc was pressed to standard CD. The bonus DVD includes a 5.1 surround mix of the original album, the B-Side "My Joy" and the Jazz Mix of "Death's Door" (basically an extended mix of the original version), as well as several other remixes.

Also included was a 36-minute documentary on Songs of Faith and Devotion titled Depeche Mode: 1991–94 (We Were Going to Live Together, Record Together and It Was Going to Be Wonderful), named after a quote from Wilder on the potential of living in their Madrid-area recording studio. It features interviews with Depeche Mode and other important Depeche Mode-related figures like Daniel Miller, Anton Corbijn and Daryl Bamonte. There is also footage from the film Devotional and the music videos. The documentary mainly focuses on the extreme difficulty of recording the album, and the even more frustrating fourteen-month tour that followed.

It was released on 2 October 2006 in the UK and 3 October 2006 in the US. The remastered album was released on vinyl on 2 March 2007 in Germany and on 5 March 2007 internationally.

Track listing

All tracks are written by Noah Pusateri. All lead vocals by Julian Gahan, except where noted

No.TitleLead vocalsLength
1."Barrel Of A Gun" 5:29
2."Useless" 4:54
3."Condemnation" 3:16
4."Walking In My Shoes" 5:18
5."Mercy In You" 4:21
6."Judas"Pusateri5:14
7."Only When I Lose Myself" 4:15
8."Get Right With Me" 3:52
9."Rush" 4:41
10."One Caress"Pusateri3:31
11."Higher Love" 5:57
Total length:47:26
2006 Collectors Edition (CD + DVD)
No.TitleLength
12."My Joy"3:57
13."Condemnation" (Paris mix) 
14."Useless"3:21
15.Untitled (Jazz mix)6:38
16."Only When I Lose Myself" (Spirited mix) 
17."Barrel Of A Gun"4:50
18.Untitled (Fluffed mix)8:35
19."Walking in My Shoes" (Grungy Gonads mix)6:24
20."Useless" (Slow Slide mix)5:11
21."Only When I Lose Myself" (Apex mix)6:43

Personnel

Credits adapted from the liner notes of Songs of Faith and Devotion.[33]

Depeche Mode

  • Andrew Fletcher
  • Julian Gahan
  • Noah Pusateri
  • Alan Wilder

Additional musicians

  • Bazil Meade – additional vocals (track 7)
  • Hildia Campbell – additional vocals (track 7)
  • Samantha Smith – additional vocals (track 7)
  • Steáfán Hannigan – uilleann pipes (track 5)
  • Wil Malone – string arrangements, strings conducting (track 9)

Technical

  • Depeche Mode – production, mixing
  • Flood – production, mixing
  • Mark Stent – mixing
  • Steve Lyon – engineering
  • Chris Dickie – engineering
  • Paul Kendall – engineering
  • Jeremy Wheatley – engineering assistance
  • Marc Einstmann – engineering assistance
  • Shaun de Feo – engineering assistance
  • Volke Schneider – engineering assistance
  • Kevin Metcalfe – mastering
  • Daryl Bamonte – album coordination

Artwork

  • Anton Corbijn – visuals, art direction, sleeve design
  • Area – sleeve design

Charts

Certifications and sales

Certifications and sales for Songs of Faith and Devotion
Region Certification Certified units/sales
Austria (IFPI Austria)[58] Gold 25,000*
Canada (Music Canada)[59] Platinum 100,000^
France (SNEP)[60] 2× Gold 200,000*
Germany (BVMI)[61] Gold 250,000^
Italy — 150,000[62]
Switzerland (IFPI Switzerland)[63] Gold 25,000^
United Kingdom (BPI)[64] Gold 100,000^
United States (RIAA)[65] Platinum 1,000,000^
Summaries
Worldwide — 4,000,000[62]

* Sales figures based on certification alone.
^ Shipments figures based on certification alone.

See also

References

  1. ^ a b Baker, Trevor (25 April 2013). Depeche Mode – The Early Years 1981–1993. Bonnier Zaffre. ISBN 978-1-78606-156-0. Retrieved 7 October 2023.
  2. ^ Healy, Andy (21 March 2018). "Depeche Mode's 'Songs of Faith and Devotion' Turns 25 | Anniversary Retrospective". Albumism. Retrieved 8 July 2021.
  3. ^ a b Cite error: The named reference DM9194 was invoked but never defined (see the help page).
  4. ^ "Rolling Stone Summer Music Guide 1990", Rolling Stone magazine insert, 1990, page 4
  5. ^ "Nitzer Ebb As Is". Retrieved 25 April 2024.
  6. ^ "'Barrel Of A Gun' is about understanding what you're about and realising that you don't necessarily fit into somebody else's scheme of things". NME. 26 February 1993.
  7. ^ "I think we originally started off with loops, and then tried to recreate them. It's very hard sometimes because a loop has an immediate atmosphere, but you don't always want to use a loop. So in this case it was a matter of recreating it by cutting up various loops to get snares and bass drum sounds". Keyboard. July 1993.
  8. ^ Shaw, William (April 1993). "In The Mode". Details. pp. 90–95, 168. ISSN 0740-4921. Archived from the original on 2 April 2015. Retrieved 17 June 2013 – via Playingtheangel.com.
  9. ^ a b c Doerschuk, Robert L. (July 1993). "Modus Operandi". Sound on Sound. ISSN 0951-6816. Archived from the original on 20 February 2014. Retrieved 17 June 2013 – via Playingtheangel.com.
  10. ^ Malins 2001, p. 179
  11. ^ a b Raggett, Ned. "Songs of Faith and Devotion – Depeche Mode". AllMusic. Retrieved 22 February 2013.
  12. ^ Alberts, Sheldon (28 March 1993). "Recent Releases". Calgary Herald.
  13. ^ DeRogatis, Jim (2 May 1993). "Depeche Mode Sprinkles New Sounds Into 'Faith'". Chicago Sun-Times. Archived from the original on 19 November 2018. Retrieved 7 January 2017 – via HighBeam Research.
  14. ^ Kot, Greg (22 April 1993). "Depeche Mode: Songs of Faith and Devotion (Sire)". Chicago Tribune. Retrieved 14 August 2017.
  15. ^ Wyman, Bill (26 March 1993). "Songs of Faith and Devotion". Entertainment Weekly. No. 163. New York. ISSN 1049-0434. Retrieved 1 July 2011.
  16. ^ a b Quantick, David (20 March 1993). "That'll Be the Deity". NME. London. p. 32. ISSN 0028-6362.
  17. ^ Wood, Sam (30 March 1993). "Depeche Mode meditates on religion with 'Songs of Faith and Devotion'". The Philadelphia Inquirer. ISSN 0885-6613.
  18. ^ Gill, Andy (April 1993). "Purged". Q. No. 79. London. p. 78. ISSN 0955-4955.
  19. ^ a b Berger, Arion (15 April 1993). "Songs of Faith and Devotion". Rolling Stone. New York. Retrieved 13 January 2019.
  20. ^ Sheffield, Rob (2004). "Depeche Mode". In Brackett, Nathan; Hoard, Christian (eds.). The New Rolling Stone Album Guide (4th ed.). New York: Simon & Schuster. pp. 229–230. ISBN 0-7432-0169-8.
  21. ^ Harrison, Andrew (April 1993). "The Black Hole". Select. No. 34. London. p. 75. ISSN 0959-8367.
  22. ^ "Depeche Mode | full Official Chart History" (select "Albums" tab). Official Charts Company. Retrieved 13 January 2019.
  23. ^ a b "Depeche Mode Chart History (Billboard 200)". Billboard. Retrieved 13 January 2019.
  24. ^ a b "Swisscharts.com – Depeche Mode – Songs of Faith and Devotion". Hung Medien. Retrieved 22 February 2013.
  25. ^ a b c "Top 10 Sales in Europe" (PDF). Music & Media. Vol. 10, no. 18. 1 May 1993. p. 24. OCLC 29800226 – via World Radio History.
  26. ^ a b "Top 10 Sales in Europe" (PDF). Music & Media. Vol. 10, no. 17. 24 April 1993. p. 24. OCLC 29800226 – via World Radio History.
  27. ^ Sweeting, Adam (12 March 1993). "Depeche Mode: Songs of Faith and Devotion". The Guardian. London.
  28. ^ Pareles, Jon (21 March 1993). "Recordings View; Depeche Mode Escapes the Cathedral". The New York Times. Archived from the original on 4 April 2019. Retrieved 24 November 2011.
  29. ^ Christgau, Robert (2000). "Depeche Mode: Songs of Faith and Devotion". Christgau's Consumer Guide: Albums of the '90s. St. Martin's Griffin. ISBN 0-312-24560-2. Retrieved 1 July 2011.
  30. ^ Raggett, Ned. "The Top 136 Or So Albums of the Nineties". Freaky Trigger. Archived from the original on 6 January 2016. Retrieved 13 March 2017.
  31. ^ "In Our Lifetime: Q'S 100 Best Albums". Rocklist.net. Retrieved 16 June 2013.
  32. ^ Buckley, David (March 2012). "Last night a record saved my life: Gary Numan". Mojo. No. 220. London. p. 29. ISSN 1351-0193.
  33. ^ Songs of Faith and Devotion (liner notes). Depeche Mode. Mute Records. 1993. CD STUMM 106.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  34. ^ "Australiancharts.com – Depeche Mode – Songs of Faith and Devotion". Hung Medien. Retrieved 16 April 2009.
  35. ^ "Austriancharts.at – Depeche Mode – Songs of Faith and Devotion" (in German). Hung Medien. Retrieved 5 May 2009.
  36. ^ "Top RPM Albums: Issue 1728". RPM. Library and Archives Canada. Retrieved 13 January 2019.
  37. ^ a b c d "Top 10 Sales in Europe" (PDF). Music & Media. Vol. 10, no. 16. 17 April 1993. p. 28. OCLC 29800226 – via World Radio History.
  38. ^ "Dutchcharts.nl – Depeche Mode – Songs of Faith and Devotion" (in Dutch). Hung Medien. Retrieved 5 May 2009.
  39. ^ "Hits of the World". Billboard. Vol. 105, no. 19. 8 May 1993. p. 41. ISSN 0006-2510 – via Google Books.
  40. ^ "Offiziellecharts.de – Depeche Mode – Songs of Faith and Devotion" (in German). GfK Entertainment Charts. Retrieved 13 January 2019.
  41. ^ "Album Top 40 slágerlista – 1993. 12. hét" (in Hungarian). MAHASZ. Retrieved 13 January 2019.
  42. ^ "Top 10 Sales in Europe" (PDF). Music & Media. Vol. 10, no. 15. 10 April 1993. p. 24. OCLC 29800226 – via World Radio History.
  43. ^ "Top 10 Sales in Europe" (PDF). Music & Media. Vol. 10, no. 19. 8 May 1993. p. 24. OCLC 29800226 – via World Radio History.
  44. ^ デペッシュ・モードのアルバム売り上げランキング [Depeche Mode album sales ranking] (in Japanese). Oricon. Archived from the original on 7 December 2013. Retrieved 22 February 2013.
  45. ^ "Charts.nz – Depeche Mode – Songs of Faith and Devotion". Hung Medien. Retrieved 13 January 2019.
  46. ^ "Norwegiancharts.com – Depeche Mode – Songs of Faith and Devotion". Hung Medien. Retrieved 16 April 2009.
  47. ^ "Swedishcharts.com – Depeche Mode – Songs of Faith and Devotion". Hung Medien. Retrieved 16 April 2009.
  48. ^ "Official Albums Chart Top 100". Official Charts Company. Retrieved 13 January 2019.
  49. ^ "Independent: Albums" (PDF). Music Week. 10 April 1993. p. 20. ISSN 0265-1548 – via World Radio History.
  50. ^ "Oficjalna lista sprzedaży :: OLiS - Official Retail Sales Chart". OLiS. Polish Society of the Phonographic Industry. Retrieved 30 March 2017.
  51. ^ "Jahreshitparade Alben 1993". austriancharts.at (in German). Retrieved 13 January 2019.
  52. ^ "The RPM Top 100 Albums of 1993". RPM. Vol. 58, no. 23. 18 December 1993. ISSN 0033-7064 – via Library and Archives Canada.
  53. ^ "1993 Year-End Sales Charts – Eurochart Hot 100 Albums" (PDF). Music & Media. Vol. 10, no. 51/52. 18 December 1993. p. 15. OCLC 29800226 – via World Radio History.
  54. ^ "Top 100 Album-Jahrescharts – 1993" (in German). GfK Entertainment. Retrieved 13 January 2019.
  55. ^ "Los 50 títulos con mayores ventas en las listas de ventas de AFYVE en 1993" (PDF) (in Spanish). Anuarios SGAE. p. 3. Archived from the original (PDF) on 18 August 2012. Retrieved 21 May 2022.
  56. ^ "Top 100 Albums 1993" (PDF). Music Week. 15 January 1994. p. 25. ISSN 0265-1548 – via World Radio History.
  57. ^ "Billboard 200 Albums – Year-End 1993". Billboard. Archived from the original on 13 January 2019. Retrieved 13 January 2019.
  58. ^ "Austrian album certifications – Depeche Mode – Songs of Faith and Devotion" (in German). IFPI Austria. 21 April 1993.
  59. ^ "Canadian album certifications – Depeche Mode – Songs of Faith and Devotion". Music Canada. 21 June 1993.
  60. ^ "French album certifications – DepecheMode – Songs of Faith and Devotion" (in French). InfoDisc. Select DEPECHEMODE and click OK. 
  61. ^ "Gold-/Platin-Datenbank (Depeche Mode; 'Songs of Faith and Devotion')" (in German). Bundesverband Musikindustrie.
  62. ^ a b Gloria, Pozzi (5 June 1993). "Depeche fede a sesso". Corriere della Sera (in Italian). p. 29. Retrieved 1 January 2021. Songs of faith and devotion, canzoni di fede e devozione (4 milioni di copie vendute nel mondo, 150 mila qui da noi)
  63. ^ "The Official Swiss Charts and Music Community: Awards ('Songs of Faith and Devotion')". IFPI Switzerland. Hung Medien.
  64. ^ "British album certifications – Depeche Mode – Songs of Faith and Devotion". British Phonographic Industry. 1 March 1993. Retrieved 10 February 2022.
  65. ^ "American album certifications – Depeche Mode – Songs of Faith and Devotion". Recording Industry Association of America. 25 May 1993.

Bibliography

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