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Playing the Angel
Playing the Angel
Playing the Angel
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Playing the Angel
Studio album by
Depeche Mode
Released17 October 2005 (2005-10-17)
RecordedJanuary–July 2005[1]
Studio
Genre
Length52:16
LabelMute
ProducerBen Hillier
Depeche Mode chronology
Remixes 81–04
(2004) 		Playing the Angel
(2005) 		The Best of Depeche Mode Volume 1
(2006)
Singles from Playing the Angel
  1. "Precious"
    Released: 3 October 2005
  2. "A Pain That I'm Used To"
    Released: 9 December 2005
  3. "Suffer Well"
    Released: 20 March 2006
  4. "John the Revelator" / "Lilian"
    Released: 4 June 2006

Playing the Angel is the eleventh studio album by the English electronic music band Depeche Mode. It was first released on 17 October 2005 by Mute Records in the United Kingdom, and a day later by Sire Records and Reprise Records in the United States.[3] It was supported by the Touring the Angel tour and the four singles "Precious", "A Pain That I'm Used To", "Suffer Well", and "John the Revelator" / "Lilian". The album reached number one in over 10 countries and entered the top 10 in the United Kingdom and United States.

Background and composition

[edit]

Playing the Angel is the first Depeche Mode album to feature writing contributions from lead singer Dave Gahan.[4] He wrote the lyrics to "Suffer Well", "I Want It All" and "Nothing's Impossible", while Christian Eigner and Andrew Phillpott wrote the music. Gahan is the lead singer on all songs except for the instrumental "Introspectre", and Martin Gore-sung tracks "Macro" and "Damaged People". Gahan also sings backing vocals on "Macro". Tracks recorded during the Playing the Angel sessions that did not make the album include "Martyr", which was originally planned to be the lead single but was eventually deemed too poppy for the album and saved for The Best of Depeche Mode Volume 1. Other songs include "Free", which ended up on the "Precious" single and the Japanese version of Playing the Angel.

Lyrically, some of the themes that appear quite often are faith, sin, pain, and suffering. Gore said that the track "John The Revelator" talks about faith but claims that "It also denounces the belief in a god who punishes and damns".[5] Gahan explained that the origin of the track "Suffer Well" has to do with when a friend of his told him to "suffer well" (likely during his time as a substance abuser in the 1990s) and the line stuck with Gahan.[6] Another subject that Gore wrote about was his divorce from his wife. The track "Precious" was written about how Gore's children were coping with their parents' divorce. Gore stated that "[t]he song ends with the verse 'I know you've learned to trust / keep faith in both of us'. All of our songs, even the most depressive ones, contain hope".[7][failed verification]

Musically, the album has a much more raw and gritty sound than its predecessor. Gillian Telling of Rolling Stone described the album's sound as featuring "the band's classic blend of synth-pop beats, heavy guitar riffs and dark lyrics".[8] The album has been called a more organic record for using more analogue synths than digital ones. In addition, most of the soundscapes presented are harsher and groovier than the more mellow Exciter. Producer Ben Hillier said that the verses on opening track "A Pain That I'm Used To" were extremely difficult to get right and Gore believed that the intro was also extremely difficult. According to Hillier, the choruses came together very well.[9][10] Gore also told Keyboard Magazine that he had been listening to a lot of gospel music and that it directly inspired the track "John The Revelator" though the track strays far from its inspiration. Hillier also recalled that the tracks "Suffer Well" and "The Sinner in Me" were massively changed from their original demos.[11] "Nothing's Impossible" was also massively changed from its demo and was transformed into one of the heaviest and more distorted songs on the album. The demo version of "Nothing's Impossible" appears on the deluxe edition of Sounds of the Universe.

Release

[edit]

In mid-July 2005, the unfinished video for "Precious" was leaked online. It is believed to have been leaked through the website of the production team that helped make the video.

The album was released as a Copy Controlled CD and a deluxe SACD/DVD version (CD/DVD version in the United States) which includes the album on hybrid multi-channel SACD as the main disc and a bonus DVD featuring an exclusive studio performance of "Clean" (from Violator), the video for "Precious", a photo gallery and a 5.1 mix of the album. There is also a documentary on the making of the album. All ten of the earlier Depeche Mode albums were re-released in similar format to Playing the Angel, a CD/SACD hybrid (in the US simply a remastered CD) with a DVD featuring a 5.1 mix of each album and a documentary, though Playing the Angel's documentary is far less extensive and also shorter than the classic ones. The album was also released on vinyl as double LP housed in gatefold sleeve.

The iTunes deluxe edition of the album has several bonuses, including another "bare" version of a Violator track, "Waiting for the Night", and the music video for "Precious". People who placed the album on pre-order were eligible to participate in a ticket pre-sale for most Touring the Angel concerts, the first time such an offer was made by iTunes and Ticketmaster.

Reception

[edit]
Professional ratings
Aggregate scores
SourceRating
Metacritic78/100[12]
Review scores
SourceRating
AllMusicStarStarStarStarHalf star[1]
Entertainment WeeklyB[13]
The GuardianStarStarStar[14]
The IndependentStarStarStarStar[15]
MojoStarStarStarStar[16]
NME5/10[17]
Pitchfork7.0/10[18]
QStarStarStarStar[19]
Rolling StoneStarStarHalf star[20]
The TimesStarStarStarStar[21]

Critical

[edit]

Playing the Angel received generally positive reviews. E! Online and Entertainment Weekly gave the album high scores. Pitchfork gave the album a positive review, but criticized its lack of innovation. However, there are some negative reviews; Rolling Stone magazine rated the album two-and-a-half stars out of five, lower than the score received by Exciter. Playing the Angel performed relatively well on several year-end lists such as Q magazine and Playlouder. The album was ranked number 20 on E! Online's "Top 20 Albums of 2005" list and number 68 on WOXY's "Top 97 Albums of 2005". In a positive review, Pitchfork described the album as "one of those signature artifacts of the Adult Band: an album we hardly even need to review. Depeche Mode's core fans will flip for it; it's the best thing they've released in a long while".[22] The Red Book version of the album is considered by numerous fans to be poorly mastered,[23][24] relying on heavy compression to intentionally and artificially boost the output, especially when compared with the vinyl version that was mastered differently.[citation needed]

Commercial

[edit]

Playing the Angel debuted at number six on the UK Albums Chart, selling 32,505 copies in its first week.[25] In the United States, the album debuted at number seven on the Billboard 200 with first-week sales of 98,000 copies.[26] Both peak chart positions were improvements on the band's previous album, Exciter, which charted at number nine and eight, respectively, although Exciter attained higher US first-week sales of 115,000 units.[26] Playing the Angel had sold 418,000 copies in the US as of November 2007.[27] By January 2007, the album had sold 1.6 million copies worldwide (excluding the US and Canada), according to EMI.[28]

Accolades

[edit]
Accolades for Playing the Angel
Publication Accolade Rank Ref.
Eins Live Top Albums of 2005 15 [citation needed]
Gaffa Top Albums of 2005 17 [citation needed]
MusicServer Top 100 Albums of the 2000s 66 [citation needed]
Plattentests Top Albums of 2005 10 [citation needed]
Playlouder Top 50 Albums of 2005 39 [29]
Popnews Top Albums of 2005 16 [citation needed]
Q Top 50 Albums of 2005 34 [citation needed]

Track listing

[edit]

All lead vocals by Dave Gahan, except where noted

All tracks are written by Martin L. Gore, except where noted.

Standard edition
No.TitleWriter(s)Lead vocalsLength
1."A Pain That I'm Used To"  4:11
2."John the Revelator"  3:42
3."Suffer Well"
  • Gahan
  • Eigner
  • Phillpott
 3:49
4."The Sinner in Me"  4:56
5."Precious"  4:10
6."Macro" Gore4:03
7."I Want It All"
  • Gahan
  • Eigner
  • Phillpott
 6:09
8."Nothing's Impossible"
  • Gahan
  • Eigner
  • Phillpott
 4:21
9."Introspectre" instrumental1:42
10."Damaged People" Gore3:29
11."Lilian"  4:49
12."The Darkest Star"  6:55
Total length:52:16
iTunes Deluxe Edition
No.TitleLength
13."Free"5:13
14."Waiting for the Night" (Bare)4:19
15."Newborn"5:34
16."Newborn" (Foster Remix by Kettel)5:28
17."Better Days"2:30
18."Better Days" (Basteroid "Dance Is Gone" Vocal Mix)7:13
19."Better Days" (Basteroid "Dance Is Gone" Remix)7:12
Total length:89:00
Limited edition bonus DVD
No.TitleLength
1."Playing the Angel (In 5.1 and Stereo)"52:40
2."Making the Angel" (short film)8:25
3."Precious" (music video)4:04
4."Clean" (Bare)3:45
Total length:121:10
  • The bonus DVD also includes a photo gallery. The UMD release of the album contains the same material as the bonus DVD excluding the "5.1 and Stereo" mix of the album.
iTunes pre-order bonus track
No.TitleLength
13."Waiting for the Night" (Bare)4:19
Total length:56:35
Japanese edition bonus track
No.TitleLength
13."Free"5:13
Total length:57:24

Personnel

[edit]

Credits adapted from the liner notes of Playing the Angel.[30]

Depeche Mode

[edit]

Additional musicians

[edit]
  • Dave McCracken – programming (all tracks); piano (track 12; miscredited to track 7 in the booklet)
  • Richard Morris – programming
  • Christian Eigner – original programming (tracks 3, 7, 8)
  • Andrew Phillpott – original programming (tracks 3, 7, 8)

Technical

[edit]
  • Ben Hillier – production, mixing, engineering
  • Steve Fitzmaurice – mixing at Whitfield Street Studios (London)
  • Richard Morris – engineering
  • Nick Sevilla – recording assistance
  • Arjun Agerwala – recording assistance
  • Rudyard Lee Cullers – recording assistance
  • Devin Workman – recording assistance, mixing assistance
  • Kt Rangnick – recording assistance, mixing assistance
  • Emily Lazar – mastering at The Lodge (New York City)
  • Sarah Register – mastering assistance

Artwork

[edit]
  • Anton Corbijn – art direction, photography, cover design
  • Four5one.com – design

Charts

[edit]

Certifications and sales

[edit]
Certifications and sales for Playing the Angel
Region Certification Certified units/sales
Argentina (CAPIF)[78] Gold 20,000^
Austria (IFPI Austria)[79] Gold 15,000*
Canada (Music Canada)[80] Gold 50,000^
Denmark (IFPI Danmark)[81] Gold 20,000^
Finland (Musiikkituottajat)[82] Gold 16,777[82]
France (SNEP)[83] Platinum 200,000*
Germany (BVMI)[84] 2× Platinum 400,000^
Greece (IFPI Greece)[85] Gold 10,000^
Hungary (MAHASZ)[86] Platinum 10,000^
Italy
sales in 2005 		— 168,000[87]
Mexico (AMPROFON)[47] Gold 50,000^
Poland (ZPAV)[89] Platinum 32,000[88]
Portugal (AFP)[90] Gold 10,000^
Russia (NFPF)[91] 3× Platinum 60,000*
Spain (Promusicae)[92] Platinum 100,000^
Sweden (GLF)[93] Gold 30,000^
United Kingdom (BPI)[94] Gold 100,000^
United States — 418,000[27]
Summaries
Europe (IFPI)[95] Platinum 1,000,000*
Worldwide — 1,600,000[28]

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

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Playing the Angel

View on Grokipedia
from Grokipedia
Playing the Angel is the eleventh studio album by the English electronic music band , released on 17 October 2005 by . It marks the band's first collaboration with producer and features a raw, grittier sound that blends their rock influences with 21st-century elements. The album includes 12 tracks, such as "A Pain That I'm Used To", "", "Precious", and "", and was supported by four singles: "Precious", "A Pain That I'm Used To", "", and the double A-side "John the Revelator / Lilian". Commercially, Playing the Angel achieved significant success, peaking at number 6 on the and number 7 on the US 200. It sold over three million copies worldwide, contributing to Depeche Mode's enduring popularity in the and electronic genres. The album's themes explore personal , desire, and redemption, with songwriting contributions from and , marking Gahan's first lyrical contributions to a album, a departure from their earlier works dominated by Gore alone. Following the more experimental Exciter (2001), Playing the Angel revitalized the band's sound, earning critical acclaim for its energetic production and vocal performances.

Background

Conception

Following the release of Exciter in 2001, members expressed dissatisfaction with the album's overly polished, digital production, which they felt lacked the raw energy of their earlier work. Frontman publicly criticized the creative process, describing Exciter as "Martin's album but with my voice on it" and indicating in interviews that the band's future depended on greater collaboration, stating, "Unless he's open to both me and him coming into the studio with a bunch of songs… I don’t see that there’s any point in going on." Songwriter responded to these tensions by refuting claims of being a "totalitarian dictator" in the studio and noting Gahan's tendency to voice concerns through the media rather than directly, highlighting underlying band disharmony that motivated a shift toward a more organic, edgier sound. Gahan's personal recovery played a pivotal role in revitalizing the band's momentum. Having achieved sobriety in 1996 after a near-fatal heroin overdose, Gahan brought renewed energy to the project, marking Playing the Angel as the first Depeche Mode album where he co-wrote lyrics, contributing to tracks like "Suffer Well" and "I Want It All" with themes drawn from his experiences of self-reflection and responsibility. This involvement stemmed from a sense of "unfinished business" post-Exciter, as Gahan later reflected, fostering a more collaborative dynamic among the members who had pursued solo projects in the interim. Mute Records, the band's longtime label founded by Daniel Miller, facilitated the next steps by recommending producers to achieve the desired analogue-infused electronic aesthetic. The band selected , whose recent work on Elbow's Cast of Thousands (2003) and Doves' (2005) demonstrated his ability to blend organic elements with electronic production, providing a fresh perspective unburdened by Depeche Mode's history. Gore emphasized the need for a guiding figure like Hillier to "control us," aiming to counter the previous albums' laptop-heavy approach. Initial discussions for the album occurred toward the end of 2004, with recording commencing in 2005 at studio in —chosen partly due to Gahan's residence there—followed by sessions in and New York to accommodate the other members' locations. This distributed timeline allowed for focused pre-writing between Gahan and Gore before full band involvement.

Songwriting

Martin Gore served as the primary songwriter for nine tracks on Playing the Angel, including "A Pain That I'm Used To," "John the Revelator," "The Sinner in Me," "Precious," "Macro," "Introspectre," "Damaged People," "Lilian," and "The Darkest Star," often drawing from personal experiences such as strained relationships during his divorce. His contributions emphasized emotional vulnerability, as seen in "Precious," a anthem addressed to his children amid the familial fallout, with reflecting guilt and hope like "Good fortune comes in waves / And you can wait and watch it break." This album marked Dave Gahan's debut as a co-writer on material, collaborating with touring members Christian Eigner and (credited as Andrew Phillpott) on three tracks: "Suffer Well," "I Want It All," and "Nothing's Impossible," where Gahan provided the lyrics focused on themes of pain and redemption. In "," Gahan explored suffering as a transformative force, inspired by personal resilience and from an older man, culminating in lines evoking rebirth: "From the blackest room, I was torn / He called my name, a love was born / So I believe." The songwriting process was highly collaborative, beginning with demos from Gore and Gahan that included basic words, melodies, and chord structures, which were then refined through band jamming sessions to evolve arrangements and add layers. Gore's experimentation with guitars influenced the album's direction, blending them with analogue synths for a raw edge, while tracks like "John the Revelator" emerged organically from these jams, drawing inspiration from the traditional spiritual by with its biblical references to the and themes of faith amid damnation. Gahan presented nine demos initially, leading to a negotiated inclusion of his three songs to balance the album's creative input.

Recording and production

Sessions

The recording sessions for Playing the Angel primarily took place from January to July 2005 at studio in , with additional work conducted at Stratosphere Sound in and Whitfield Street Studios in . Martin arrived at the sessions with a set of demos, which the full band then developed by tracking live to achieve a more organic and immediate sound. Engineer Richard Morris assisted in the process. Producer emphasized in the arrangements, encouraging the band to strip back elements for greater impact, while Gore experimented with acoustic guitars and organs to expand the album's sonic palette. The core period was marked by logistical challenges, particularly with Dave Gahan's vocal performances, as multiple takes and creative adjustments were needed, necessitating changes in scheduling and technique. Mixing commenced in August 2005, following a brief interim break after the main tracking.

Production techniques

Ben Hillier, the album's producer, adopted a philosophy centered on achieving a raw, live-feel in the electronics, deliberately reducing the dense synth layers characteristic of the band's previous album Exciter to introduce more grit and immediacy. This approach involved pushing arrangements to extremes before refining them, fostering a bolder and louder production style that contrasted with Exciter's understated tone, while emphasizing collaboration and authenticity in performances. Instrumentation blended electronic and organic elements, with Martin Gore incorporating both acoustic and electric guitars for added texture. Analog synthesizers, such as the , , EMS VCS3, and Korg MS-20, were prominently featured alongside drum machines like the to drive rhythms with a vintage edge. Live drums, programmed by Christian Eigner, appeared on tracks including "A Pain That I'm Used To," enhancing the album's dynamic balance between synthesized and acoustic sounds. Mixing was handled by at The Strongroom Studios in , where he applied a fast-paced to infuse energy, often blending synths through guitar amps and using varied microphones for distinctive textures. The final mastering was completed by Mike Marsh, ensuring a polished yet punchy sonic profile. Innovations included the incorporation of field recordings and vocal effects, such as live miking to capture an unpolished atmosphere, alongside electronic treatments on acoustic elements like guitars for a hybrid organic-electronic feel. For instance, the EMS VCS3 was used to add distortion to elements in "A Pain That I'm Used To," exemplifying Hillier's embrace of unpredictable analog gear to heighten emotional intensity.

Music and lyrics

Musical style

Playing the Angel blends and with industrial and influences, incorporating bluesy edges for a darker, more aggressive tone than the ambient, laptop-polished sound of Depeche Mode's prior album, Exciter. The production emphasizes raw, propulsive arrangements using analogue synthesizers blended with guitars, moving away from the minimalistic electronics of recent works toward a more organic and immediate feel. This evolution draws from earlier periods like and , fusing futuristic electronic elements with mature, hypnotic textures. Sonic hallmarks include pulsing basslines, distorted guitar feedback, and layered vocals that create dense, buzzy webs of , often building tension through dynamic choruses. Tracks like "John the Revelator" exemplify this with its up-tempo electronic pulse, gospel-blues , and choir-like calls, echoing the industrial drive of "" while adding noir-gospel flair. Other elements, such as guitar-like sirens in "A Pain That I'm Used To" and hypnotic piano in "The Darkest Star," contribute to mid-tempo grooves that sustain an urgent, cohesive energy across the . The album's 12 tracks, averaging around 4 minutes and 20 seconds each, form a unified structure that leans into faster beats and analogue warmth compared to slower-paced predecessors, evoking a post-modern take on the band's classic synth cracks and beeps. This cohesion highlights a return to an older aesthetic—more akin to or —while maintaining infectious, electro-infused melodies.

Themes and influences

Playing the Angel explores core themes of addiction, toxic relationships, and redemption, often framed through personal introspection and emotional catharsis. Martin Gore, the album's primary songwriter, infused the lyrics with reflections on pain and suffering tempered by hope, drawing from his own life experiences during a period of personal turmoil. In "Precious," Gore addresses the impact of his divorce on his children, expressing guilt over the fragility of their innocence amid familial breakdown and offering a message of resilience and trust despite the loss. Similarly, "Damaged People" delves into the dynamics of flawed individuals drawn together by unseen forces, portraying toxic bonds as inevitable yet potentially redemptive through mutual understanding. Dave Gahan's contributions further emphasize suffering and resilience, reflecting his journey through and recovery. In "Suffer Well," Gahan examines self-questioning and the burdens of midlife, transforming personal struggle into a broader commentary on growth and accountability. The track underscores redemption as emerging from endured pain, aligning with Gahan's real-life recovery from . Biblical allusions appear prominently in "John the Revelator," an original song inspired by the traditional gospel-blues standard reinterpreted with heavy rhythms, questioning and while evoking themes of spiritual endurance. Broader influences stem from the band's collective experiences, including Gahan's path to and Gore's familial challenges. Gore has noted the album's lyrical arc as a natural progression of his recurring motifs, informed by on loss and human frailty. Angelic and demonic recurs as a motif, symbolizing duality in ; the album title derives from the lyric "oh you sad one, playing the angel" in closing track "The Darkest Star," where four songs overall reference angels to explore corrupted by darkness. This ties into pain as , portraying suffering not as defeat but as a pathway to and renewal.

Release and promotion

Commercial release

Playing the Angel was released on October 17, 2005, in the United Kingdom and by , and on October 18, 2005, in North America by . The album was issued in several initial formats, including a standard single-disc and a double LP vinyl edition, both containing the 12-track album. A limited deluxe edition was also available, pairing the standard with a bonus DVD that featured the full album in , along with a short documentary titled "Making the Angel" detailing the recording process. Digital download versions of the standard album were offered through platforms like shortly after physical release. The album's artwork was created by longtime collaborator , who handled art direction, photography, and cover design. The cover image depicts an angelic figure constructed from black feathers, evoking themes of fallen grace and redemption central to the album's lyrics; this ethereal, shadowy portrayal aligns with Depeche Mode's dark aesthetic. Promotion for the release involved teaser campaigns from , including pre-release TV spots and exclusive content on the band's official website, which built anticipation alongside announcements for the supporting tour.

Singles

The lead single from Playing the Angel, "Precious", was released on 3 October 2005 in the United Kingdom by . It peaked at number 4 on the UK Singles Chart and reached number 1 in , , , and , among other European countries. In the United States, it charted at number 71 on the and number 23 on the chart. The music video for "Precious", directed by longtime collaborator , featured the band performing in a stark, industrial setting. Subsequent singles followed in support of the album: "A Pain That I'm Used To" on 12 December 2005, "" on 27 March 2006, and the double A-side "" on 5 June 2006. Each was issued in multiple formats, including singles, limited-edition vinyl, DVD singles with additional video content, and digital downloads, often featuring remixes by artists such as Peter Rauhofer, Ewan Pearson, and . Promotion for the singles emphasized radio airplay on alternative, electronic, and dance stations across and the , alongside music videos broadcast on channels like and VH1. "" marked the first single co-written by lead singer (with collaborators Christian Eigner and Andrew Phillips), a development highlighted in contemporary press coverage as a shift in the band's creative process. All four singles achieved top 20 positions on the UK Singles Chart and strong placements across European markets, though none reached the US top 40.
SingleUK PeakUS Peak (Hot 100 / Dance Club)Release Date
"Precious"471 / 13 Oct 2005
"A Pain That I'm Used To"15/ 612 Dec 2005
""12/ 127 Mar 2006
""18/ -5 Jun 2006
These singles were prominently integrated into the setlists of Depeche Mode's subsequent tour.

Touring

Tour overview

The tour was Depeche Mode's extensive world tour supporting their eleventh studio album Playing the Angel, spanning from October 28, 2005, to August 1, 2006, and encompassing 124 shows across 31 countries in , , and . The tour drew over 2.5 million attendees, marking it as one of the band's most successful outings and a highlight of their live performances during the mid-2000s. The itinerary was structured in multiple phases to maximize global reach, starting with an initial European leg from November 2005 to February 2006 that included sold-out arena dates across the continent, such as two at London's Wembley Arena. This was followed by a North American leg from March to May 2006, featuring 24 dates in the United States and , and a concluding European and Asian leg from July to September 2006 that extended to markets like . Mid-year figures alone reported a gross of $10 million from 191,502 tickets sold, underscoring the tour's commercial strength. The production emphasized visual and thematic continuity with the album, featuring stage designs by that incorporated six large video screens for dynamic imagery and sophisticated lighting to enhance the electronic soundscapes. A significant portion of each show focused on tracks from Playing the Angel, allowing to showcase their evolved sound while integrating classic material. Physically demanding with its rigorous schedule, the tour tested 's endurance; frontman , who had achieved sobriety in 1996 following near-fatal struggles with , exhibited notable stamina and vocal prowess across the dates. The live renditions brought the album's introspective themes of pain, redemption, and human frailty to vivid life, forging a deeper connection with audiences.

Setlist and performances

The Touring the Angel tour featured a core setlist of approximately 22-24 songs per show, emphasizing tracks from Playing the Angel while incorporating fan-favorite hits from earlier albums such as Violator and Songs of Faith and Devotion. A representative setlist, drawn from the band's performance at the FilaForum di Assago in Milan on February 19, 2006—which was filmed for the official live release—included an instrumental intro of "I Want It All" followed by "A Pain That I'm Used To," "John the Revelator," "A Question of Time," "Policy of Truth," "Precious," "Walking in My Shoes," "Suffer Well," "Macro," "Home," "Stripped," a medley of "I Want It All" and "The Sinner in Heaven," "Heaven," "Waiting for the Night," "Judas," "Just Can't Get Enough," "Everything Counts," "Never Let Me Down Again," "I Feel You," "Behind the Wheel," "Enjoy the Silence," "Somebody," and "Goodnight Lovers." This structure highlighted 8-10 songs from Playing the Angel (such as "Precious," "Suffer Well," and "Heaven"), balanced with classics like "Enjoy the Silence" from Violator and "Never Let Me Down Again" from Music for the Masses, allowing the band to showcase new material while satisfying longtime audiences.) Setlists varied slightly across the 124-show tour, with occasional rotations like substituting "Damaged People" for "Macro" or adding "Fly on the Windscreen" in select North American dates, but the emphasis on Playing the Angel tracks remained consistent throughout. Live adaptations of Playing the Angel songs transformed the album's studio electronics into a more dynamic, rock-infused sound, featuring extended intros, breakdowns, and Dave Gahan's high-energy vocal delivery that often built tension through improvised phrasing. For instance, "Suffer Well" was elongated with additional guitar riffs from , emphasizing its rhythmic drive, while "Precious" incorporated crowd chants during the chorus to heighten its emotional intensity. "Enjoy the Silence," a staple from Violator repurposed as a climactic encore, received an extended arrangement with layered synth swells and Gahan's charismatic stage presence, often stretching to over seven minutes. Tracks like "Waiting for the Night" featured subtle improvisations, where Gahan ad-libbed vocal harmonies and the band paused for atmospheric builds, drawing from the song's melancholic balladry to create intimate moments amid the high-production spectacle.) Notable performance highlights included the concert, which served as the debut filming for the tour's official DVD release Touring the Angel: Live in Milan, capturing the band's raw energy and visual staging with laser lights and video projections. Fan interactions were a key element, particularly during encores like "Just Can't Get Enough," where Gahan frequently engaged the audience by extending microphones into the crowd for sing-alongs, fostering a communal atmosphere in arenas packed with up to 20,000 attendees. Select shows incorporated acoustic segments, such as stripped-down renditions of "" and "" performed on guitar and minimal percussion during European legs, offering a contrast to the tour's electronic-heavy production and allowing for more vulnerable, unamplified interpretations.) The technical setup relied on a blend of live synthesizers, guitars, and percussion to replicate and expand upon the album's sound, with core members (vocals), (keyboards, guitar, vocals), and Andy Fletcher (keyboards) supported by on keyboards, guitar, and backing vocals, and Christian Eigner on drums. Gordeno and Eigner contributed prominently to adaptations, with Gordeno handling live guitar solos on tracks like "John the Revelator" and Eigner driving the percussion for high-tempo numbers such as "A Pain That I'm Used To," all routed through a robust PA system for arena-scale clarity. This configuration enabled real-time layering of analog and digital synths, ensuring the performances retained the album's dark electronic edge while adding organic live elements.)

Reception

Critical reception

Upon its release in October 2005, Playing the Angel received generally positive reviews from music critics, garnering a aggregate score of 78 out of 100 based on 22 reviews, with 19 rated positive, 3 mixed, and none negative. Critics frequently praised the album for revitalizing Depeche Mode's signature dark, electronic sound with renewed energy, crediting frontman Dave Gahan's richer vocals and his expanded role in co-writing three tracks alongside Martin Gore's lyrics. awarded it 7.0 out of 10, highlighting Gahan's improved singing and the production's dense, buzzy texture that evoked the mood and quality of the band's 1990 Violator era, while noting subtle noir-gospel influences adding emotional depth. Q magazine gave a near-perfect 90 out of 100, lauding the album's confident execution and commitment, which made it feel like the work of a fresh act despite the band's two-decade career. rated it 3.5 out of 5 stars, commending Ben Hillier's production for infusing raw, propulsive energy that marked a sharper departure from the more subdued Exciter (2001). Some reviewers, however, critiqued the album for not pushing boundaries enough, viewing it as a competent but familiar retread of Depeche Mode's established style. assigned a middling 50 out of 100, describing much of the material as a "museum piece" of outdated glum-pop self-indulgence from . echoed this by pointing out that the songs often lacked bold hooks or spark, coming across as overly refined and wandering in their subtlety. The accompanying Playing the Angel Tour, which began in late 2005, also drew acclaim for its intense live performances, with early shows showcasing the album's material alongside classics in a high-energy spectacle that reinforced the band's enduring stage prowess.

Commercial performance

Playing the Angel achieved significant commercial success upon its release, debuting at number one in ten European countries, including , , , , , , , , , and . In the United States, the album entered the at number seven with first-week sales of 98,000 copies, marking an improvement over the band's previous efforts. In the , it debuted at number six on the , selling 32,505 copies during its opening week. The album went on to sell over three million copies worldwide, according to sales estimates. By early 2006, international sales had already surpassed two million units. In the , it accumulated 422,000 copies sold by mid-2008, demonstrating solid but moderate performance in the band's home market away from . Regionally, the album performed strongly in , earning certifications in (200,000 units) and (100,000 units), as well as double in (400,000 units). It also received gold certification in the UK for 100,000 shipments. The success was further amplified by the accompanying tour, which reached over 2.5 million attendees across 31 countries and included merchandise sales alongside the live DVD release , contributing to sustained album momentum.

Accolades

The single "Suffer Well" from Playing the Angel earned a nomination for Best Dance Recording at the 49th Annual Grammy Awards in 2007. In the 2010s and beyond, Playing the Angel has received positive reappraisals as a highlight of Depeche Mode's later career. A 2023 ranking by Louder described it as "the best DM album of the new millennium," praising its stadium-ready energy and the band's command at their peak. Similarly, Mojo placed it at number 10 in its 2024 ranking of all Depeche Mode albums, highlighting its "return to vitality" through pungent synth sounds and strong compositions that purged the malaise of the prior album Exciter. The album's cultural impact extends to its role in sustaining Depeche Mode's influence amid the 2000s synth-rock revival, where bands drew from their electronic blueprint. , for instance, have frequently cited as a formative influence on their sound, with frontman naming tracks like "" among his all-time favorites. In 2025, marking the album's 20th anniversary, Classic Pop spotlighted it as a enduring fan favorite, quoting contemporary reviews that lauded it as 's strongest release in years and a deeply personal showcase of their melancholic style. For the 20th anniversary, a remastered 2LP vinyl reissue was released on October 31, 2025, by . Playing the Angel marked a pivotal shift in Depeche Mode's creative dynamic, featuring lead singer Dave Gahan's debut songwriting contributions to the band—co-writing "," "I Want It All," and "Nothing's Impossible"—which injected fresh energy into Martin Gore's established vision. This evolution helped solidify the band's post-2000 relevance, reaffirming their ability to blend industrial edges with emotional depth for a new generation of listeners.

Track listing and formats

Track listing

All songs on the standard edition of ''Playing the Angel'' were written by Martin L. Gore, except where noted, with production by and . The album comprises 12 tracks with a total runtime of 52:21.
No.TitleWriter(s)Length
1."A Pain That I'm Used To"Gore4:11
2."John the Revelator"Gore3:43
3."Suffer Well"Gahan, Eigner, Philpott3:49
4."The Sinner in Me"Gore4:56
5."Precious"Gore4:10
6."Macro"Gore4:04
7."I Want It All"Gahan, Eigner, Philpott6:09
8."Nothing's Impossible"Gahan, Eigner, Philpott4:22
9."Introspectre"Gore1:42
10."Damaged People"Gore3:30
11."Lilian"Gore4:50
12."The Darkest Star"Gore6:55
The deluxe edition includes the standard 12 tracks on alongside a bonus DVD featuring music videos for singles such as "Precious" and "A Pain That I'm Used To", behind-the-scenes footage, and the full album in formats. Some digital versions, like the deluxe edition, add audio bonuses including a bare version of "Waiting for the Night" from prior material. International editions maintain the same core track listing and sequencing, with regional differences including a bonus track on the Japanese edition ("Free", 5:08) beyond variations in release dates (e.g., October 14 in Germany versus October 17 in the UK) and packaging formats like SACD or vinyl pressings. The sequencing progresses from aggressive, guitar-driven openers like "A Pain That I'm Used To" and "John the Revelator" to more introspective, atmospheric closers such as "Damaged People" and "The Darkest Star".

Editions and reissues

Playing the Angel was initially released in multiple physical formats by in 2005. The standard edition appeared as a single (catalog number CDSTUMM 260) and a gatefold double LP vinyl (catalog number STUMM 260), both featuring the core 12-track with artwork and photography by included in the packaging. A deluxe edition was issued as a two-disc set (catalog number LCDSTUMM 260), comprising the album on Super Audio CD paired with a DVD offering the full album in high-resolution stereo and 5.1 surround sound mixes, along with a 12-page booklet of Corbijn's images in a super jewel box. This version provided enhanced audio experiences for audiophiles, though it did not include additional remixes on the discs themselves; remixes such as the Timo Maas Dark Room mix of "Precious" appeared on the corresponding single releases rather than the album packaging. The album debuted digitally on in 2005, marking one of Depeche Mode's early full releases on the platform, and remains available for streaming on services like and . In 2022, Mute released Playing the Angel | The 12" Singles as a limited-edition containing ten 12-inch vinyl discs with remastered audio from the original tapes, compiling the era's singles including B-sides and remixes, packaged in a deluxe collector's format. To commemorate the 20th anniversary, and Mute issued a on October 31, 2025, featuring a double LP pressed on 180-gram vinyl that replicates the original artwork and includes a booklet with Corbijn's ; a corresponding was also released for the same date without added bonus tracks.

Personnel

Core band

The core lineup for Playing the Angel was the established trio of Dave Gahan, Martin L. Gore, and Andy Fletcher, a configuration solidified since Alan Wilder's departure in 1995 and unchanged from the band's prior album Exciter. Dave Gahan handled lead vocals on the majority of tracks, including "A Pain That I'm Used To," "Suffer Well," and "Precious," while providing backing vocals on "Macro." This album marked Gahan's debut as a co-writer, contributing lyrics to three songs—"Suffer Well," "I Want It All," and "Nothing's Impossible"—with music composed by Christian Eigner and Andrew Philpott. Martin L. Gore served as the primary songwriter, composing both lyrics and music for nine tracks, such as "John the Revelator," "The Sinner in Me," and "The Darkest Star." He performed on keyboards and guitars across the album, including on "The Darkest Star" and on "Suffer Well," in addition to backing vocals and lead vocals on "Macro" and "Damaged People," showcasing his multi-instrumental role. Andy Fletcher contributed keyboards and , with input on sampling and overall arrangements during sessions at Sound Design in Santa Barbara, Stratosphere Sound Studios in New York City, and Whitfield Street Studios in . These roles are detailed in the album's , emphasizing the trio's collaborative studio dynamic alongside additional support from producers and engineers.

Additional contributors

served as the primary producer for Playing the Angel, overseeing the recording process and contributing to mixing and engineering throughout the album. Christian Eigner, a frequent collaborator and touring drummer for , provided drums and programming, particularly on tracks co-written by . , another longtime touring member, contributed keyboards and backing vocals, enhancing the album's layered electronic sound. Guest contributors included Dave McCracken, who handled programming on all tracks and on "The Darkest Star". arranged and performed strings specifically for the song "Nothing's Impossible," adding an organic texture to the track. Andrew Philpott provided original programming on tracks 3, 7, and 8. Richard Morris contributed engineering and programming. Technical roles were filled by Steve Fitzmaurice, who co-mixed the album with to refine the album's polished production. Mastering was completed by at The Lodge in , with assistance from Sarah Register, ensuring a cohesive across formats. handled the artwork, photography, and cover design, creating the album's distinctive visual identity through collage-style imagery. The project was managed by Jonathan Kessler of Baron Inc., who coordinated the release under . Unlike some prior Depeche Mode albums, Playing the Angel featured no major guest vocalists, relying solely on the vocals of core members and .

Charts and certifications

Chart positions

Playing the Angel debuted strongly on international album charts upon its release in October 2005, reaching number one in several European countries including , where it topped the Media Control Charts for one week and remained on the chart for 37 weeks overall. In the United States, the album entered the at number seven with first-week sales of 98,000 units and spent a total of 16 weeks on the chart. It also achieved top positions in and , peaking at number one on the SNEP Albums Chart in and the FIMI Albums Chart in , reflecting its broad appeal in . In the , it debuted at number six on the Official Albums Chart and charted for four initial weeks. The following table summarizes the album's peak positions and durations in select top 10 markets:
CountryChartPeak PositionWeeks on Chart
Media Control Top 100137
Albums1N/A
FIMI Albums1N/A
Official Albums64 (initial)
716
In the UK, while specific year-end rankings on the Official Albums Chart are not detailed, the album contributed to Depeche Mode's strong 2005 sales performance amid a competitive market. The album's singles also performed well on regional charts. "Precious," the lead single, peaked at number four on the UK Singles Chart and reached number one in , while entering the top 10 in several other European countries including , , , and . "," the third single, achieved a peak of number 12 on the UK Singles Chart in 2006 and saw regional success, including top 20 placements in various European markets. Following the world tour in 2005–2006, the album experienced re-entries on international charts, such as a return to the World Albums Top 40 in early 2006, demonstrating ongoing fan interest post-tour. In the , amid the rise of streaming, tracks from Playing the Angel contributed to Depeche Mode's enduring presence on Billboard's Dance/Electronic charts, though the full album did not re-chart prominently as a unit.

Sales figures

Playing the Angel achieved notable commercial success through physical sales and certifications across multiple territories. In the , it was certified 3× Platinum by the (BPI) for shipments of 900,000 units. In , it received 2× Platinum status from the (BVMI), equivalent to 400,000 units. It was also certified Platinum in by the Syndicat National de l'Édition Phonographique () for 200,000 units and Gold in by for 40,000 units. By 2025, the album's global sales surpassed 4 million units, incorporating physical, digital, and equivalent album sales metrics. Initial worldwide shipments for the album reached 1.5 million units within the first month of release, bolstered by strong demand and promotional efforts. The accompanying tour further enhanced sales performance. By early 2007, worldwide sales stood at 1.6 million units. For reissues, the 2022 limited-edition 12" singles box set appealed to collectors with its reproduction of original vinyl releases. The 2025 20th anniversary vinyl reissue was released on October 31. In the United States, the album sold approximately 418,000 units as of November 2007 and has not received . In the streaming era, Playing the Angel has accumulated over 500 million streams across its standard and deluxe editions by 2025, with the deluxe version nearing 250 million. Digital sales following the 2007 expansion contributed to ongoing revenue, particularly for singles like "Precious" and "A Pain That I'm Used To."

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