Happy Birthday Depeche Mode, with your Album ‘Violator’ released on 19|3|1990, 24 years ago !

‘Violator’ was Depeche Mode’s 7th album and became their most succesfull release, it also went in the US for the first time in the top ten on the Billboeard 200 at #7 (total sales in the US, over 3 million - 3x Platinum). The album included 4 singles; Personal Jesus, Enjoy the silence, Policy of truth, World in my Eyes and a song that didn’t became a single but came out as everyone’s favourite: Halo (This song was also played during their recent Delta Machine Tour in the ‘Goldfrapp’ Version)

Regarding the album’s title, Martin said, “We called it Violator as a joke. We wanted to come up with the most extreme, ridiculously Heavy Metal title that we could. I’ll be surprised if people will get the joke. The album is included in the Book 1001 Albums You Must Hear Before You Die. The album also got a Video release with ‘Strange Too’ by Anton Corbijn. The reissue cd/dvd edition from 2006 includes a documentary about this period; 

'Depeche Mode: 1989-90 - If you wanna use guitars, use guitars…’

link via Youtube: http://bit.ly/1mg7MTb

The Album further included also stunning B-side/Bonustracks; Sibeling,Memphisto, Kaleid, Sea of Sin, Happiest Girl & Dangerous

Chart Peakings; #1 France, #2 Switzerland, UK & Germany


Depeche Mode album ‘Music For The Masses’ - released on 28|9|1987

Daniel Miller, who had produced Depeche Mode’s previous album, voluntarily stepped away from production duties for this album, citing the growing tension in the studio that they had experienced during the recording of Black Celebration.With Miller’s approval, the band used producer David Bascombe.

Band members Andy Fletcher and Martin Gore both claimed the album’s title was conceived as a joke. Said Fletcher: “The title’s … a bit tongue-in-cheek, really. Everyone is telling us we should make more commercial music, so that’s the reason we chose that title.”Martin Gore said “[The name] was a joke on the uncommerciality of [the album]. It was anything but music for the masses!”

The megaphone (or its iconic representation) on the album’s cover was used during the breadth of the album’s release: at press events, on the covers of the album’s singles, and during the tour. Alan Wilder gave credit to Martyn Atkins, who had been a long-time Depeche Mode collaborator, for the use of the megaphone. “[Martyn came] up with this idea of a speaker, but, to give the kind of ironic element which the title has, to put this speaker in a setting which wasn’t really to do with the masses at all. It was, in fact, the opposite. So you end up with this kind of eerie thing where you get these speakers or megaphones in the middle of a setting that doesn’t suit it at all, like a desert or whatever.”An early alternative cover was apparently considered but rejected for the album. The rejected cover was also designed by Martyn Atkins and a test pressing copy was auctioned off by Alan Wilder in 2011.

Highest Chart - Germany #2 Gold, UK Silver, France & USA Platinum

The documentary, a 37 minute short film called Depeche Mode: 1987-88 (Sometimes You Do Need Some New Jokes) is an extensive look at the album;

Link youtu.be/9tJWnl65MXo


Happy Birthday Depeche Mode with your single ‘Personal Jesus’ released on 29|8|1989, 24 years ago today ! 

Martin Gore was inspired by the book ‘Elvis & me’ by Pricsilla Presley when he wrote this song.

'Dangerous’ was the B-side track on the single

Highest Chart Position: Italy #3 & #5 in Switzerland & Germany (27 weeks in the charts !)

“Personal Jesus” was re-released as a single on 30 May 2011 for the new Depeche Mode remix album Remixes 2.

Anton Corbijn directed the video (for the first time) in color - link youtube;


Note : Most well known cover of the song Mr. Johnny Cash - link youtube:



Depeche Mode single ‘Never Let Me Down Again’ released on 24|8|1987, 29 years ago! 

Since the 1988 Tour it’s a tradition at Depeche Mode shows for fans to wave their arms in the air during the end of their Epic Song “Never Let Me Down Again.”

There are two b-sides on the single; “Pleasure, Little Treasure” & “To Have and To Hold (Spanish Taster)

Highest Chart Position was reached in Germany #2


The Album You Must Hear Before You Die:

Depeche Mode’s ‘Violator’

‘Violator’ was Depeche Mode’s 7th album and became their most succesfull release, it also went in the US for the first time in the top ten on the Billboeard 200 at #7 (total sales in the US, over 3 million - 3x Platinum). The album included 4 singles; Personal Jesus, Enjoy the silence, Policy of truth, World in my Eyes and a song that didn’t became a single but came out as everyone’s favourite: Halo (This song was also played during their recent Delta Machine Tour in the ‘Goldfrapp’ Version)

Regarding the album’s title, Martin said, “We called it Violator as a joke. We wanted to come up with the most extreme, ridiculously Heavy Metal title that we could. I’ll be surprised if people will get the joke. The album is included in the Book 1001 Albums You Must Hear Before You Die. The album also got a Video release with ‘Strange Too’ by Anton Corbijn. The reissue cd/dvd edition from 2006 includes a documentary about this period;

'Depeche Mode: 1989-90 - If you wanna use guitars, use guitars…’

link via Youtube: 


The Album further included also stunning B-side/Bonustracks; Sibeling,Memphisto, Kaleid, Sea of Sin, Happiest Girl & Dangerous

Chart Peakings; #1 France, #2 Switzerland, UK & Germany


Happy Birthday Depeche Mode with your album ‘Songs Of Faith And Devotion’ released on 22|3|1993, 21 years ago!

'Songs of Faith and Devotion’ reached number 1 in several countries, and became the first Depeche Mode album to top the charts in both the UK and the US. To support the album, Depeche Mode embarked on the 14 month long Devotional Tour (DVD filmed by Anton Corbijn), the largest tour the band had ever undertaken to that date.

Recording the album and the subsequent tour exacerbated growing tensions and difficulties within the band, prompting Alan Wilder (Recoil) to quit, making this album the final with him as a band member. 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 in 1997.Dave 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 contributions is often only vocal performance and thus did not get in the way much and that he often offered a lot of positive encouragement despite his addiction, and that it was Wilder’s creative differences with Gore was the source of the real tension in the band.Flood (Mixing|Production) 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.

Link Youtube Documentary SOFAD:

Depeche Mode: 1991-94 - We were going to live together…and it was going to be wonderful…(36 min.)


Martin Gore later commented: “I don’t think anyone was ever the same after that Devotional Tour”, highlighting the tense nature of the tour, and Q magazine would later refer to the Devotional Tour as “the most debauched rock tour ever”..Alan 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.

Now 21 years later the band is still alive, though Alan’s departure has still left a huge gap in the creative heart of Depeche Mode…

Chart Peakings; #1 in the UK, US, Switzerland, Austria, France, Germany & Italy 


Happy Birthday Depeche Mode with your single ‘World In My Eyes’ released on 17|9|1990, 23 years ago today ! 

The cover art (Anton Corbijn) for “World in My Eyes” has a photo of one of the band members making a shape similar to that of glasses with their hands. On the Limited 12", there are pictures of all four members.

“World in My Eyes” has two exclusive B-sides, making Violator the only Depeche Mode album with all four singles having at least one exclusive B-Side, including instrumentals. The B-sides for “World in My Eyes” are “Happiest Girl” and “Sea of Sin”.

“Happiest Girl (Jack Mix)” and “Sea of Sin (Tonal Mix)” are the main 7" versions. “Original” versions were never released, or rather, these mixes are the regular versions, according to interviews and the official website.

Reaching No.17 in UK, and only No.52 on the Hot 100, it is the least successful single from Violater, Highest Chart Position; Spain #2.

The 2004 re-release of the EU single includes a longer-intro version of “World in My Eyes (Oil Tank Mix)”.

The music video for “World in My Eyes” is directed by Anton Corbijn. There are two versions; the original version was not originally released to the public until The Videos 86-98. The original music video features some footage from the World Violation Tour, while Dave Gahan  and a girl he’s with watch it from a drive-in cinema. The alternate version on Strange Too (Video Tape Only) features the band in the car instead, more live footage, and the silent ending with Gahan is longer.

Link for the video via Youtube: http://www.youtube.com/watch?v=4ib-QA3hADU



Release Depeche Mode’s single ‘Suffer Well’ on 20|3|2006

Suffer Well“ is the 3rd single from the album Playing The Angel (Produced by Ben Hillier) & the 1st single from Depeche Mode that had lyrics written by Dave Gahan. Since 1981, Martin Gore had written all lyrics for the singles releases. (In1981 Vince Clark wrote the single ‘Just can’t get enough’ for DM).

‘Suffer Well’ was compared with ‘Better Days’ as a B-side.The video (filmed by Anton Corbijn) features a cameo appearance by Gahan’s wife, Jennifer, once as the angel and once as herself. Another cameo is by the band’s manager, Jonathan Kessler, who plays Gahan’s limo driver. Other highlights include Gore as a bride and Fletcher as a groom. It also features the disco ball seen in the cover art of “Suffer Well” link Youtube: http://bit.ly/1dsTuf0

Dave Gahan recorded a special vocal version for EA GAMES the lyrics were translated into “Simlish” (the language of the gameThe Sims 2) and later appeared as one of the game’s new songs.

link youtube: Simlish Version http://bit.ly/1hYOZWK {not the best qualty}

Highest chartpeaking: #1 Hungary & Denmark #2 Spain


Happy Birthday Depeche Mode with your album ‘Delta Machine’ released on 25|3|2013, 1 year ago !

‘Delta Machine’ is Depeche Mode’s 13th album & was recorded 2012 in Santa Barbara, California and New York City.

Cover & Photos were done by Anton Corbijn, Mixing by Flood & Produced by Ben Hillier (Dave Gahan stated that ‘Delta Machine’ also marks the end of the trilogy of records that Depeche Mode were doing with Hillier.

3 singles were released from the album, Heaven, Soothe my soul & Should be Higher. The song 'Goodbye’ was promoted for short time in Belgium as a digital radio-promo only (reaching #100 belgium charts) & 'All that’s mine’ reached #86 in Germany.

A nice inside of the making of the album;

'Depeche Mode | The Making Of Delta Machine | EPK

link; https://www.youtube.com/watch?v=HqsuX55-_I4

Delta Machine reached #1 in 15 countries (Germany, Italy, Russia, Poland…) & retrieved gold & Platinum status in several countries (Germany, Poland, Italy, Spain, UK, France…)


Depeche Mode release single ‘Walking in my shoes’

On the B-side is “My Joy”, the only exclusive B-Side from the Songs of Faith and Devotion album.The music video for “Walking in My Shoes” was directed by Anton Corbijn and is based on Dante’s Divine Comedy. At the beginning of the second verse, there’s a shot of Martin, Alan & Andy with naked women on their laps. This was removed in the MTVversion in the US and replaced with footage of the three members standing still, alone, from earlier in the video. The uncut version is on The Videos 86-98 & The Best of Volume 1 DVD

Highest Chart Peaking : #6 Spain


Happy Birthday Depeche Mode with your single ‘Wrong’ released on 6|4|2009, 5 years ago !

It was their 1st song released from their album Sounds Of The Universe.

The single officially debuted on 21 February 2009, when the band performed at the Echo Awards in Berlin, Germany

link youtube: http://bit.ly/1jQpf1P

The B-side “Oh Well” (which also appears on the Sounds of the Universe deluxe box set edition) is the first collaboration between Martin Gore (music) and Dave Gahan (lyrics).

The music video for “Wrong” was filmed in December 2008 and directed by Patrick Daughters. It debuted on the band’s MySpace page on 20 February 2009. The video depicts a Ford Crown Victoria rolling backwards down a Los Angeles downtown street, seemingly with no driver at the wheel. A shot inside the car reveals a man in a latex mask lying unconscious in the front seat, played by Liars drummer Julian Gros

link Music Video Wrong youtube:


Highest Chart Peakings: #1 Italy, Poland, U.S.hot dance Billboard & #2 Germany


Happy Birthday Depeche Mode with your Album

‘The Singles 81 - 85’ - released on 14|10|1985,

28 years ago today !

The Singles 81→85 Album was the first compilation album released by Depeche Mode. This was their first ever release with a picture of the band on the cover, the album did get a re-release in 1998 and 2 bonustracks;

“Photographic’-SomeBizarreVersion (their first ever recorded track)& ‘Just Can’t Get Enough’-Schizo Mix

Highest chart: #9 in Germany (Gold retrieved aswell as in the UK)

[In the week of the release Depeche Mode did a signing session at the

HMV Recordstore in London]

Here’s a link of the SomeBizarre’s Version via Youtube (incl.Instr.version); 



Happy Birthday Anton Corbijn !

‘ Depeche Mode will grow & grow Tomorrow… all the time in the world’NME1981;

Anton, born 61 years ago on 20 May 1955, is a Dutch photographer, music video director, and film director, also the creative director behind the visual output & artwork for Depeche Mode since the eighties, below a recap of his first collaboration with Depeche Mode for the NME back in 1981. From the first produced video: A Question of Time in 1986 till DVD Delta Machine Tour/ Live in Berlin in 2014, also known as the ‘fifth member of Depeche Mode’  (with Alan Wilder still included)


by Paul Morley
New Musical Express, 22nd August 1981

Paul Morley skinnydips with the electropop heart-throbs from Basildon.
Anton Corbijn pictures it

SO I’M surrounded by three of the sweet Depeche boys, impressed by the variety of their haircuts, surprised by their simplicity, and I do what any responsible writer would do. I go boating with them.

Basildon is close to Southend, Essex, a half hour journey on old stock from a little-known London station. Depeche Mode – “hurried fashion” – are in between a British tour that ended in Edinburgh last Saturday and the recording of their debut LP, and are meeting the NME at Basildon station. The NME is twenty minutes late! “Sorry, it’s his fault,” I glibly blurt, pointing at the lanky lensboy. Depeche look annoyed, don’t say much, and hang around the station entrance until their instant photographs have been processed.

We walk through the new town: unlike a close, dirty and snaggy city, Basildon is flat, open light grey and fresh brick red. The sky looks close. I bet the tap water is moderately drinkable. We stroll past the square shopping centre, probably a local attraction for the postcards, cross a busy dual carriageway, an odd sign of speed, towards the indoor swimming pool.

“A lot of people,” Andrew Fletcher – a redhead, with new, dangerously close-cropped hair – tells me, “think that Basildon is a little country village.” Thatched roofs and jukebox-less pubs. “In fact it has a population of 180,000,” Martin Gore – derelict blond curls, a couple of days’ tender fluff on the chin – affectionately mocks him. “Oh, Andy knows everything, even the population.”

“Believe me,” continues Andrew earnestly, “It’s got an electoral roll of 107,000 and that’s not including kids. That’s the biggest in the country, and next time it has got to be split up into Basildon East and West.”

Have you lived in Basildon long? I ask singer Dave Gahan – black hair with a strange lie and an abbreviated fringe pointing down the centre of the forehead. “Since I was four,” he says. Depeche Mode are the formalist tingling sound of young Basildon, the alert geometric sound of the new town, the soundtrack for all cosmetic optimism, an evocative representation of the functional artificiality of some environment. Sunshine suits Basildon, all interviews with Depeche Mode should take place in the open air.

The Swimming Pool is set in a small tidy park: next to the swimming pool is a boating pool, near the boating pool is a putting green. Teenyboppers on school-holiday burn their legs in the sun and look numbly happy in the peace and slowness. Depeche and the NME sit on strictly mown grass under a toy tree; missing is songwriter Vince Clarke, who from past interviews appears to be the most prepared to attempt to rationalise the anti-romantic anti-intellectual Mode pop.

“There was a guy who interviewed us for the Daily Star, Ricky Sky, and he was desperately looking for a headline, an angle, and he was saying to us – haven’t you done anything really exciting, what’s been happening? We said well nothing really, although when we played at Ronnie Scott’s once all the lights went out! He was excited by this, then he started to talk about looks and he said do you think it’s an advantage to be good looking and in a band? Vince said Yeah, obviously, it’s an advantage in life to be good looking. Rick Sky made it out that Vince had said UGLY BANDS NEVER MAKE IT, IF YOU’RE GOOD LOOKING THEN YOU’RE NUMBER ONE. Since then Vince has never ventured out of his flat! He is so upset. It really hit him hard. He hasn’t been out for six weeks and he had a real bad depression.”

At the station I felt that Depeche Mode were going to be surly and silent: pop technicians simplifying their calculated art so that it fits into “the interview”. Actually, they like talking: what they like talking about most is nothing in particular. There is a residue of scurrilous schoolboy values, an innocently mutinous streak. They’re in no hurry: they’ve a cheerily vague idea about where they’ve been, and aren’t too concerned about where they’re going. Yet! Tomorrow is just another day: yesterday was a bit of a laugh. Today: flick the switch, talk to the man, fiddle with pieces of grass. Depeche Pop: for all the time in the world and no time at all.

DAVE: “It’s just the pop sound of the ’80s, that’s what I would describe Depeche Mode as.”

Andrew: “Yeah, I don’t think tours play a major part in what we do. I think most of the people who bought our record have never been to a gig in their life and will never go to one. They’d rather see a picture in a magazine … A lot of housewives bought the record, I reckon, old ones as well as young.”

Dave: “My mum always tells me if a song we’ve made is bad, if it’s too choppy she doesn’t like it. It’s got to have a good beat and run melodically.”

Andrew: “A lot of people still don’t realise that the whole of our set is pop. Virtually all our songs are pop songs. I think people think it might not be like that.”

What do you think people think?

Martin: “They think we’re jokes!”

Andrew: “Naah… a lot of people have still got this thing – synthesiser, he must be moody. You get a lot of Numanoids coming to our gigs.”

Dave: There was this bloke come to see us the other day and he said to me after the show – I think it’s really bad the way you have all your friends in the audience talking to you and that, and then we’re all over here and you don’t react to us. I said well what do you mean? He said: I think it’s really bad that you have like all your friends in the changing room. I said well what do you want me to say c’mon all the audience into the changing room. He said – well have you got lots of friends? I said well I’ve got a few. He said – well I haven’t got any. Well pity you mate! Isn’t that a friend, a guy who was with him. He said – yeah he’s a friend, but not a friend like that.

“It was really weird! I couldn’t be bothered talking to him. He thought that we should be like Gary Numan and have the distant lonely look and image. Because we play synthesisers and we’re supposed to look strange at people, and not smile. The bloke didn’t like the way I smiled at people!!”

DEPECHE MODE electerrific pop is a mazed glitter reflection of fast life and new values, the subjective sense of populist culture, the sound of flashing lights, a minimalist activating caricature of repentance and reason, a clinging ringing radiance. Soothing and exciting, pop’s equivalent to the TV commercial. Their songs are successive transformation of images, precise parodies of the sense of interplay between technology and man. They’re simplifications, curt cuts, ironic pop sculptures, lively chairs, a spiked soft drink.

Talking to them – especially without Vince Clarke, the missing trinket – you can’t directly appreciate the subtle merit of Depeche pop, where the intention seems to be to disclaim reality as messy and stale, to condemn daily life as heartlessly indifferent to the needs of imaginative life. Depeche Mode is a figurative pop that is the result of a collision between SENSITIVITY and INSENSITIVITY, RESPECT and INDIFFERENCE.

There is more going on than it seems: there will be more going on. Mode’s literate, significantly glossy pop has a superficiality that is contradicted by an inner consistency that hints at emotion, tragedy, spirit, or perhaps an anticipation of impatience with the present format. Depeche Mode are moving between the over candid and value-less simplification of Numan, and the convincing confrontation of new possibilities of Cabaret Voltaire. Listening to the focused pop of Depeche Mode – “to sound like a fairy tale full of silent machines, robots, consumer imperatives and mute children in love with the sky” – can put this listener in the best possible mood to take in the day. Today …

Minus Clarke, Depeche Mode talk like teenyboppers: no complications! Depeche unpretentiously admit that they’ve ended up this way today through a series of lucky breaks. Unlike distant rubbing cousins like Cabaret Voltaire or even The Human League there’s been precious little sense of purpose. They find it difficult to frame their new fame. Ingredients, colours, ideas, references, styles were generously, haphazardly scattered: the accidental pattern that’s formed is brilliant, attractive and the bright basis for a special design. Depeche are a supreme example of the electronic vitalisation of the basic pop format, and it’s the beginning.

Depeche Mode haven’t appreciated this yet. They’re still adjusting, playing truant. That they’re an obvious part of the evolution from Kraftwerk, Yellow Magic Orchestra, Cabaret Voltaire, The Human League and DAF – musically and conceptually – whose observation and explanation of SURROUNDING is dislocated and oddly associated indicates that DeMode have the potential to be a shade more provocative than their fakerist contemporaries. Tomorrow…

THERE IS no impudent statement about Mode’s employment of electronics; though they relish the opportunities. To them it was natural, a rewarding route to constructing intelligent pop songs. There is no rigorous or possessive art background. They’re all under 20. Vince Clarke may well have a folkish background – try singing “New Life” with a finger in the ear, acapella like Steeleye Span singing “Gaudete”. Andrew was a rock snob – pre-punk into The Who and Deep Purple, out of that when punk churned along, and then fond of the Pistols and Parker. Martin, whose previous group performed the theme from Skippy, likes Sparks, The Velvet Underground and Cabaret Voltaire. Dave’s background associates the group with the swift shifts of Egan clubland, has placed them near to the air the cults with names breathe.

“Yeah, I was a soulboy, I’ve done it all, I’ve been everything. I used to like soul and jazz-funk like The Crusaders. I used to go to soul weekends and hang around with the crew from Global Village and I went to, like, The Lyceum on a Friday night.” He got interested in punk, and when that burnt out went back to the clubs for the exotic new electronic fun, the floating fading fantasy of The Blitz and Studio 21.

Depeche Mode were originally Vince, Martin and Andrew, bass guitar and a drum machine. Dave joined up, Depeche Mode became two synthesisers, a drum machine a vivacious front boy. Yesterday…

“We were just a band and we played in front of friends and that… we didn’t start off being a pop group, that’s just the way it went, it was just the music we liked making. We never said let’s form a band, let’s get in the charts, let’s be enormous. We didn’t intend it to be a career, we were still at work until recently. We just never planned anything. We would have signed any deal, we just wanted to put a record out.”

They didn’t anticipate the recent shifts from IRRELEVANT BIGNESS towards mobility, colour, commotion: the newest pop urge to participate more in the bombardment of the senses? Pop in discos: pop as part of the rushing crushing soundtrack for the day. “I think we’re lucky to fit into all that. We have had a lot of lucky breaks.”

MEETING DANIEL MILLER was the sort of lucky break that can be turned into legend. Miller is Normal, Miller is Mute, Miller is ghost, Miller is catalyst. “If we hadn’t signed with Dan’s Mute label we would have signed with a major label and got immersed in all that stupid expense, the big rigs and the 20 roadies…”

DeMode certainly appreciate their fortunate independence: the flexibility. “We didn’t think about it before, but now we run our own thing, plan what we want to do, how and when we want to do it. It could’ve been the other way easily. We emerged just as all the big labels were searching for their “futurist” group.” Depeche Mode appeared on Stevo’s Some Bizzare compilation and were therefore momentarily branded as “futurist”. “We came very close to signing with a major. But we can do anything with Daniel. We could if we wanted do a record that’s just a continual noise for three minutes and he’d release it as a single.”

If it wasn’t for Miller Depeche Mode would have been lost. They would have stood still. Miller has propelled them forward, is helping them see things clearly. His commercially practical yet unconventional vision has given DeMode a properly encouraging context to exploit and perfect their belligerently simple Pop Art. The story goes that at first he didn’t want to help them: when he first heard them they were scrappy and he was in a bad mood. Fate needed to make it happy ever after. “We really were lucky to meet someone like him. We’re surrounded by people we can totally trust. The people he’s got on his label, like Boyd Rice, really are out of order. He puts out a single even though he knows it’ll only sell 1,000. He just does it because he likes it… I still don’t understand Daniel Miller. I don’t see how he’s made any money until us. He’ll make a bit out of this single! But you know we just never really thought anything really. We just wanted to put a single out. Then we did “Dreaming Of Me” as a one off for Mute and that went into the lower charts and we were surprised. Then, in a couple of months, everything’s happened.”

I SAW YOU just before the release of “Dreaming Of Me” at Cabaret Futura and you didn’t move – you were frozen!

Andrew: “That was really terrible… a really funny gig. We hadn’t learnt how to move. It’s very hard moving when you play synthesisers.”

The next time I saw you, on Top Of The Pops playing “New Life”, you were hipping and hopping like puppets with broken strings.

Andrew: “It used to be the main criticism of us, that we didn’t move enough on stage. But it’s really hard, we’ve relaxed a bit now and we dance but we used to be shy and we used to be really young.”

Martin: “We used to be really young! It was only 6 months ago. We used to have this idea of having rails on the stage and we would be on platforms on stage so that we could be moved back and forwards on stage although we didn’t have to actually move! We really want to make our show good but we just haven’t had a chance to sit down and think about it.”

I’ve seen people vainly try to imitate Dave’s daft dance but they can never do it.

Dave: “Did you see Razmatazz yesterday? We were on it and all these little girls in the background were trying to imitate me – copying me weren’t they? I didn’t know when we were doing it but they were there doing exactly the same dance – like you go through loads of times before the real performance and the girls must have perfected it towards the end.”

Do you like appearing on television?

Andrew: “It’s alright. At first I felt a bit like a prune. Like pressing a keyboard and pretending you’re really doing it and singing into a mike with a lead going nowhere – half way through you think God what am I doing here, looking like a prat in front of millions of people. We’ve got used to it now.”

Second nature.

Andrew: “Yeah, it’s just funny now.”

THE INTERVIEW in the sun fades away after about 40 minutes. Depeche are obviously bored, and so they should be. We go boating. DeMode are recognised by almost everybody sunning by the pool. Now that they’re FACES are they into glamour? Shrug, stare into space, laughter.

“There’s no glamour. We drive around in Dan’s Renault… we don’t now because it’s broken, so we get trains. Don’t know about glamour. Nothing’s really changed. We might have a few more pennies in our pockets, and when I say pennies I do mean pennies, but same friends, same places to go to. You always think wouldn’t it be great to have a hit single, but when it actually happens nothing really changes.”

They seem remarkably unaffected and unimpressed by their success: likeably irreverent. “Oh, it’s great fun…” Glad to hear it. The three muscle men who hire out the boats recognise the local goodies Mode. One of them chats to the boys as he helps them into a boat. “What number are you this week then?” “Fifteen” “That’s the way – go get ’em!” He points out the group to what looks like his dad. “Hey this is Depeche Mode, they come from around this way.”

“Never heard of them.”

“It’s really odd, at first you think God, imagine being on TOTP, imagine being in the top ten, but it all changes when it begins to happen. When we got into the lower charts we thought it was good for a while, but then we thought well it’s no good unless we get into the top 40. Then we thought well it’s no good unless we get into the top 20…”

Depeche finish their boat ride. “All the way to number one!” shouts a boat man. Depeche are confused about what they want, why and what for, and are just beginning to work out guidelines. They intuitively realise that there is MORE than Radio One recognition: the charts the glossy magazines will unusually form the background to a hard artistic growth. Depeche Mode are casual but not silly. Would they mind the mythical mishap of ending up as one hit wonders? “I don’t think it would put us off in any way – although some people in the papers would love it. We’ve done a lot already, we’ve learnt a lot, but I hope we’re not one hit wonders!”

I walk around the pool as Anton focuses. Two little girls ask me if I’m in Depeche Mode. It’s nice to be asked, but I point at the threesome. Two early teen lads come up to me and ask me what paper the articles going to be in. Are Depeche Mode local heroes: “Oh yeah really well known!” The two lads argue about whether Stiff Little Fingers are the other Basildon pop stars.

Dave walks the NME back to the station: the deal was all over inside 90 minutes, as it should be. Do they get recognised a lot in Basildon?

“Quite a lot… it’s funny. The people round here sort of think that if you’ve got a single in the charts you’re going to be driving round in a Rolls Royce, but we still use buses. They see you in the chip shop or the Wimpy and they think it’s really odd.”

Is his mum excited? “Oh yes. Mum says to my aunts – make sure you see them on Razmatazz! She’s been really good about it - she’s kind of let me have my own way. She could have been harder.”

She had a banking career in mind? “No, no… I went to college doing Design and shop display, but I left. The College were pretty good about it. They sent me a note the other day, saying congratulations on the success.”

Detached Dave quietly says goodbye to the NME, and straight away seems to have forgotten about them. What did I do today? He might wonder later that night. Tomorrow is just another day… but the day after? Depeche Mode can make intimate and challenging pop art out of routine and insecurity! Dave walks off towards sunsets and sunrises and certain surprises. Depeche Mode will grow and grow. Tomorrow… all the time in the world.


Depeche Mode ‘Policy Of Truth | Kaleid’ release 7|5|1990,

Policy of Truth” is Depeche Mode’s 3rd single for the album ‘Violator’’.

The B-side is “Kaleid”  from kaleidoscope & was produced by Depeche Mode self. The Cover art & Video was produced by Anton Corbijn;

Highest Chart peakings; #7 Spain, Germany & Italy and #1 U.S.Alternative Songs Billboard


Happy Birthday Depeche Mode with your Album

‘Playing The Angel’ - released on 17|10|2005,

8 years ago today !

Playing the Angel is Depeche Mode’s first album to feature Dave as co-writer.

The name “Playing the Angel” is taken from a lyric in the closing song “The Darkest Star”. It is the fourth Depeche Mode album to get its name from a lyric in its album.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 Volume 1 Album. Other songs include “Free”, which ended up on the “Precious” single and the Japanese version of PTA.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”.

The character on the album cover is a little creature called “Tubby Goth” (by the band) and “Mister Feathers” (by the label, the webmaster and the fans). The cover design by Anton Corbijn is believed to be a tip of the hat to a famous still photograph of The Cure‘s Robert Smith.

The Album reached  #1 in 16 countries & retrieved Gold|Platinum also in 16 countries !

On the Internet was also a leaked version spreading around of the whole album as a  Instrumental Edition

Here is a link (4 Parts) via Youtube of the Making of the album;

1- http://www.youtube.com/watch?v=X5qNvGKUG-E&list=PLXYi2KVOlMV7pVeno_O-lCcFE_g0aPQ2Q&index=8