word of mouth chorus

Voltron Music Headcanon AKA Lance and Shiro start a band

• so one day Team Voltron (finally) has a day to rest and Shiro and Lance are just sitting in the common room.

• Lance absentmindedly starts humming the beginning to a song (I personally imagine that it’s Floral and Fading by Peirce the Veil. I’m just putting that out there.)

• Shiro starts tapping along to it

• Lance starts singing the lyrics and it is BEAUTIFUL.

• Shiro’s heard Lance “sing” to annoy Keith (He chased Keith through the entire castle singing MCR horribly out of key in a Heavy Metal voice, it was as impressive as it was hilarious), but in reality, saying “Lance had the voice of an angel” is an insult to Lance. Holy quiznak, Lance can sing.


• They finish the song and Shiro pulls a General Shang being all like “You… You sing good.”

• Lance: Thanks, Shiro!


• Lance jokingly tells Shiro that they should start a band.

• Shiro seriously thinks starting a band is a great idea.

• Lance mentions the fact that the castle wouldn’t have any instruments to use.

• “Hey Coran, would the Olkari be able to make musical instruments?”

• “Of course!”

• Lance secretly makes Coran SWEAR not to tell Allura or Keith what they’re doing.

• Shiro and Lance ask Allura to make a wormhole to Olkarion. When questioned why, Lance bullshits a detailed “explanation” as to why Lance and Shiro need to be there.

• Allura buys the whole thing and Lance and Shiro are off to Olkarion.

• “Lance, why did you lie to the Princess?”

• “Dude, you can TOTALLY use this as a way to woo her into falling in love with you!”

• “With me? I thought YOU were the one who wanted to be with the Princess.”

• “I like her and everything, but I KNOW you have feelings for her, so I’m gonna help you lock it up, dude! Bros before Hoes, right?” (In truth, Lance wants to woo Keith instead because he’s been pining for him for a while. Everybody but Keith and Shiro are aware of this.)

• “Whoa, don’t call her a hoe!”

• “Case in point!”

• They get to Olkarion and they describe the equipment they’ll need, along with additional instruments they want to have just in case (drumset, guitar, bass, mics, amps, etc.) as best as they can.

• Lance is surprisingly eloquent with the descriptions. The instruments the Olkari make are better than anything found on Earth. Lance tells the Gibson guitar company to eat their fucking hearts out

• Hunk and Pidge HAPPEN to be in the hangar when they return.

• Shiro freezes as the Green and Yellow Paladins spot him walking out of his lion with a fucking bass drum in his hands

• “Don’t tell Allura.” says Shiro looking like a deer in the lights of an oncoming bus

• “…Or Keith” adds Lance sharing the same expression as the Black Paladin

• Pidge and Hunk look at each other for a moment. “Why not?” Asks Pidge.

• Lance tells them the plan of forming a band to win the affections of Keith and Allura.

• “How about we join the band and help you?” Says Hunk.

• “Deal” says Lance and Shiro in unison.

• Pidge finds a completely soundproof room in the castle and watches the security cams so they won’t get noticed by Allura. (Keith spends all his time in the training room, so he won’t be a problem)

• They successfully metal gear solid all the equipment to the room without getting caught by Allura. They spend an hour in the room rehearsing.

• Lance is on Lead Guitar and Vocals (Lance’s guitar solos are what dreams are made of.)

• Hunk is on Bass and backup vocals (okay, listen to a song with vocals only and tell me the bass guitar isn’t important you fricks.)

•side note: they also sing lead vocals for Paramore songs, which they are surprisingly good at.

• Shiro is on drums. (Shiro sweats a lot when he plays, so he doesn’t wear a shirt. He also does that thing where he twirls one of the drumsticks while he plays with one hand. Because of course he can. Space Dad can do anything.)

• Coran calls Allura and Keith to the common room

• They start playing Dear Maria, Count Me In by All Time Low the moment Keith and Allura walk through the door.

• During the verses of the song, Lance gets up close and personal with Keith as he sings, hitting him with the smolder™ (he brings his fucking A-GAME. Puffed up chest, confident grin, the occasional hair flip, and “fuck me” eyes that gave a whole new meaning to “if looks could kill”.)

• Homosexuality, thy name is Keith.

• Shiro decides to wink at Allura, as well as mouth the words “dear Allura, count me in” during the chorus.

• rip allura

• once the song is over, Allura compliments Shiro and caNNOT STOP STARING AT HIS CHEST. She kisses him on the cheek and tells him she really enjoyed it and that they should do this more often. (Obviously, she doesn’t know that that sounds really sexual. OR DOES SHE?)

• rip shiro

• the space parents become a flustered, giggly mess. Shiro pulls her into a passionate kiss. Not only that but Allura is also pulled into his sweaty rock hard chest.

• rip allura part 2: electric boogaloo

• Keith starts violently making out with Lance, and they do that thing where they walk and make out at the same time until they get to the hangar, where Keith (who’s still getting all icky-sticky with Lance) knocks on red’s foot so she’ll open up.

• they “have a bonding moment” in the cockpit.

• Red is… Surprisingly okay with this development.

• they do the walk of shame™ back to the common room

• Lance [internally]: I have no shame. This is the greatest thing that’s ever happened to me.

• when they return to the common room, everyone is applauding them. Because red and blue finally made purple. They finally did the mambo with their clothes off. They finally did the bedroom rodeo. They finally did whatever fucking euphemism for sex Pidge could think of.

• Hunk bakes Keith and Lance a “congrats on the sex” cake the very next day.

• this becomes a common occurrence within the castle (the performances, not the sex. Okay, also the sex. You get the point.)


Unknown feelings 2

I was freaking out, I’d just confessed that I liked Jack, and now he was probably going to try even harder to come see me. Lucky for me i wasn’t at skates apartment for the moment. I was staying at Johnson’s spare apartment that he’d lent me. I needed to unwind so, I turned off the notifications for my text messages and turned on Pandora. Dancing around the apartment in nothing but a baggy t-shirt. Sure it was jacks but I didn’t care. I wasn’t ever going to see him again. No matter what he thought.

Pillow talks by zayn Malik came around,so I started to grind slowly and took my long hair out of its pony tail shaking it and mouthing the words, when I heard the doorbell ring. I danced to the door thinking it was the Chinese food is ordered awhile ago. I was still mouthing the words when the chorus came on.

So well piss off the neighbors in the place

that feels the tears the place to loose your

fears, yeah reckless behavior a place that is

so pure so, dirty and wrong Ain’t no better

than Better than fucking and fighting on its

our paradise

When it gets to the part where he says fucking I look up into the eyes of my supposed delivery boy, biting my lip afterwords and this song was just sexy. Too bad the person I’m starting at with fuck me eyes, is Jack. He’s grinning as he slowly takes only outfit and licking his lips slowly.

“What are you even doing here?” I ask.

“I told you I came to see my girl.”

Lol maybe a part 3 with smut?

You jumped once again as a loud crack of thunder echoed through the house, a soft whimper escaped your lips as you buried your head further into the crook of Jason’s neck, yet another rumble of thunder ripped through the house, this time you completely jumped in Jason’s strong grip “What are you doing?” He rasped groggily letting out a loud yawn, you looked down shyly hugging his torso tighter “I’m afraid of thunder.” You admitted sheepishly

He grumbled something under his breath before sitting up, your forehead crinkled in confusion as he turned to you “Lay down and take off your shirt.” He commanded sternly, you obeyed silently already forgetting about the raging storm taking place outside, slowly he crawled on top of you careful not to crush you with his weight

“Oh god Jason.” You cried out when his lips attached to your sweet spot and began to suck and bite gently, his hands reached up and pinned yours high above your head giving you no chance to wiggle out of the “Keep them up here or I will stop, understand?” His eyes pooled with darkness as he quickly shed off your panties “Yes Jason- oh god.” You moaned at the top of your lungs when his tongue ran up your wet folds

“So wet for me huh baby?” He teased lowly lightly blowing on your sex making you wiggle wantingly “Keep those hands up there baby.” He whispered before his mouth came down against your sex, his tongue worked slow figure eights sending a shock wave of pleasure throughout your body “JASON!” You screamed when he plunged his middle finger into you, slowly easing it in and out making sure to hit your g-spot every time

“Jesus Jason- faster please.” You cried out struggling and fighting the urge to reach down and tug at the soft ends of his hair, he obeyed adding another finger, that all too familiar knot formed in your stomach making your toes curl “Let go for me baby.” His soft words sent you into your undoing, a chorus of moans left your mouth involuntarily as you struggled to steady your breathing, he licked up every inch of you as well as his fingers

“Still thinking about the thunder baby?”

AU with drunk!Dean getting up during karaoke and everyone groans, expecting a slurred rendition of some classic rock song. They’re pleasantly surprised and confused when the telltale notes of a country song come through the speakers and Dean begins to sing the opening line with a slight alternation.

Boy, I been thinking ‘bout us
And you know I ain’t good at this stuff
These feelings piling up won’t give me no rest

As Dean continues the first verse, his voice surprisingly steady for the amount of beer he’s had, he wanders across the stage and his friends are even more lost but also thoroughly entertained and taking out their phones for video blackmail later in life until Dean comes to stop and points a flirty finger at one person in their group as the chorus starts up.

You’ll be my soft and sweet
I’ll be your strong and steady
You’ll be my glass of wine
I’ll be your shot of whiskey

Cas is blushing furiously in his seat as Dean sings to him and all of their friends are now roaring with laughter, tears in their eyes. He tries to wave at Dean to get down because he’s so drunk and he’s going to hate himself in the morning, but Dean just keeps going, his bright eyes never leaving Cas’s face.

You’ll be my sunny day
I’ll be your shade tree
You’ll be my honeysuckle
I’ll be your honey bee

And as the final words of the chorus leave Dean’s mouth he throws a wink to Cas and, dammit, Cas can’t stop smiling. He tries to hide it behind his hand but it’s absolutely no use as Dean starts the second verse.

Yeah, that came out a little country
But every word was right on the money
And I got you smiling honey right back at me

Cas is getting whacks in the arm now from his friends who cannot believe this is happening right in front of them and Cas has completely erupted into giggles because Dean is trying to shake his hips to the beat of the song while launching into the second chorus and he’s just a little off and his attempt at a southern twang is flat but damn if it isn’t the cutest thing Cas has ever seen.

By the bridge of the song Dean has jumped off the stage and he swaggers slowly over to Cas who is trying to push his chair back but his friends hold him still. Dean bends, face just inches from Cas’s and Cas braces himself for he doesn’t know what but all Dean does is press a kiss to his right cheek.

You kiss just said it all
I’m glad we had this talk
Nothing left to do but fall in each other’s arms
I could have said “I love you”
Could have wrote you a line or two
Baby, all i know to do is speak right from the heart

Dean runs back to the stage, singing the final choruses passionately into the microphone.

You’ll be my sugar, baby
I’ll be your sweet iced tea
You’ll be my honeysuckle

He points at Cas again, lips and eyes smiling and Cas can’t help but smile back.

I’ll be your honey bee

Dean hops off the stage to a standing ovation and goes right to Cas whose laughing as he opens his arms to wrap Dean in a hug. When they sit, their fingers are entwined and Cas doesn’t let it go beyond that because Dean is still pretty wasted and he doesn’t want Dean to have any regrets. 

But the next afternoon when Dean finally drags himself out of bed and finds Cas camped out in his living room he is quick to run over and finally get his kiss. Followed by another and another and another…

Song is “Honey Bee” by Blake Shelton

All I Want for Christmas is You


Summary: Vaguely based off of Dan and Phil’s radio show 07/12/15. Phil announces his Christmas song choice, “All I Want for Christmas is You,” and unknown to the audience, dedicates it to Dan.

Genre: fluff

Word count: 788

(A/N: not quoting exactly from the radio show because I just wanna write this and not faff around having to rewatch it.)

“And here is my Christmas song choice, ‘All I Want for Christmas is You’ by Mariah Carey,” Phil announced.

He pressed the play button for the song once Dan had finished making comments about his playing of the song for three hours straight on the first day of the month. Once the camera was off them, he mouthed the words of the chorus to Dan, looking him in the eye.

A shocked expression crossed his face, followed by a mischievous one.

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For You ~ pt. 14

| all parts up to date |

Originally posted by jeonsshi

~ Recharging ~

It wasn’t that bad. That is probably because the boys were being dorks most of the time, especially Namjoon, which surprised me because as a leader I thought he would have a no shit policy.

I still am not able handle Jungkook’s charismatic expression whenever he dances and to be honest he was a distraction more than anything.
Jungkook had actually pulled me away and then called for Yoongi for the solo rap part and he had actually it, blowing me away with his strong charisma.

All in all, they are truly amazing and really funny people to be around.

“Wuah, really awesome (jinjja daebak).” Taehyung whirls in my direction while clapping his hands excitedly.

“Really, really amazing.” Hoseok praises me as well with two thumbs up.

Flattered and flustered from all the attention, I bow deeply. “Kamsahamnida (thank you).”

Jungkook having kept his arm around me pats my back encouragingly.

“She’s even better than Jin.” Jimin says making Jin stare at him bewildered.

“But I do agree, I’m speechless. Although, you won’t be able to beat this.” Jin proceeds to throw his arms out straight then diagonal, reminding me of a police officer stepping in for the traffic lights.

“Did you used to have dance lessons when you were younger?” Taehyung asks me.

Before I can answer, Jungkook motions for me to sit back down. “Hm, my mother was my ballet teacher, so I had that for many years, then I switched to dancing classes a few years ago.”
His head snaps to me at the mention of my mother but I give him a reassuring smile.

“No wonder, you posture is great. Namjoon-ah, you should get some ballet lessons.” Tauntingly, Hoseok wiggles his eyebrows.

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Laundry Room

You wrinkled your nose as you shoved the armful of dirty clothes into the washer. You swore Luke hadn’t done any washing since he had left for tour, clothes were not meant to smell so rancid. You had taken it upon yourself to make sure his clothes were washed while you were here, and since Luke had an interview with a radio station in the morning, you decided to complete your self-appointed task. After pushing the last reluctant leg of another pair of black jeans into the machine, you slammed the door satisfyingly and fiddled with the buttons and knobs to start the washer. As it started running, you sighed contentedly, finally Luke would have some clean clothes to wear and he would smell more like Luke and less like he had been living in a gym for three months. You hummed to yourself as the washer ran, the slight thumping of clothes serving as a makeshift beat for your rendition of Hey Everybody. You were so caught up in the song that you failed to notice a six-foot presence in the room until a voice joined your humming, “Hey, everybody, we don’t have to live this way.” You broke off your humming immediately and whirled around, meeting the chest of your favorite singer.

Your cheeks heated up, always a bit embarrassed to be caught mid-song, even if it was just by Luke. “Luke,” you whined while burrowing your head in his t-shirt (the last clean one he had stowed in his suitcase), “you know I don’t like when you come up behind me like that.” His chest jiggled your head as he laughed.

“Aw, c’mon! I think it’s quite cute!” He rubbed your back and you became even more pliant in his arms. You hadn’t seen Luke much since you arrived, he had been busy with band duties, but now the boys had a few days off and you were determined to spend it all with Luke.

You stood with Luke until he pulled away, leaving your body feeling cold after Luke’s warmth. “Hey, what are you doing?” you questioned as his hands grasped your sides, lifting you onto the washer. He smirked, seemingly pleased with your new position. “I just want to try something,” he stated. The fluorescent lights reflected off of his skin, making him appear more pale than usual, his black shirt in stark contrast with his skin. The look in his eyes made you a little wary of what he was planning. Knowing Luke it was probably incredibly stupid, and loving him as much as you did, you would probably find it incredibly endearing.

He pecked your cheek, smooth lips touching your skin, before moving from between your legs and hoisting himself up next to you. You looked inquisitively at him, curious as to what the blond would do. He opened his mouth and sang the first few words of the chorus again, “Hey everybody,” he broke off, a grin making his eyes crinkle.

“Did you hear that! My voice was all vibrate-y and I sounded like a robot!” His blue eyes gleamed, he was clearly giddy with joy. You raised your eyebrows at his, trying to keep a straight face, but you couldn’t stop the giggles erupting from your mouth.

“Luke, you are ridiculous,” you laughed out. His face fell slightly, but brightened at your following words, “And I love you for it.” You leaned over, pressing your lips against his in a full kiss. He pulled away again and you cocked your head at him, confused at his actions.

“I love you too,” he spoke with a smile, the shaking from the washer causing his words to come out disjointedly, “And I love kissing you, but can we try singing first, it sounds so cool!” You shook your head at him, smiling at your man-child of a boyfriend. But, you could never resist his blue eyes and pink lips delicately folded into a pout, so you complied, and started humming the next bit of the song as Luke sang. Maybe washing clothes and singing in a poorly lit hotel laundry room wasn’t your first idea when spending time with Luke, but as far as you were concerned, any time with Luke was perfect.

anonymous asked:

A concept: HL slow dancing to 'This Town'. Any thoughts?

yeah i have a lot of thoughts

number two. it coming on shuffle while they’re making dinner and louis coming up behind harry and wrapping his arms around his waist humming along and mouthing the words of the chorus into his neck. his breath tickling harry’s skin and a soft little smile growing on harry’s face until he turns around, resting his forehead against louis’ and singing soft n sweet, everything comes back to you…

With the #Tonys tonight, some things that have been bouncing around my head for the past few days/weeks/years...
It’s possible to admire something for its originality and ambition without actually thinking it’s very good.  It’s possible to like something without actually thinking it’s very good.  It’s possible to hate something while recognizing that it is probably objectively good, just not for you. It’s possible to outright love a part of a show without thinking all the elements work together well as a whole.  We will never all like the same things, and that’s okay. The Tony telecast (not the awards themselves, but the telecast) is a commercial for Broadway and the road first, an awards show second. Performing on said commercial costs money. Like, a lot of money. Even if you’re nominated. Producers spend that money because it will benefit their shows. It wasn’t too long ago when we worried the Tonys might not be on TV at all, due to low ratings. And let’s face it, only a tiny fraction of the population will ever see the nominees, compared to those on the Oscars or Emmys or Golden Globes, and an only slightly larger fraction of the television viewing audience cares anyway. That’s not a bad thing, it’s just the nature of an entertainment form that can only happen in one place (maybe two or three if there’s a tour) at a time, only once or twice a day. That’s part of why we love it so much, isn’t it? That’s part of what makes it special. But it also makes it economically stupid. So to get it on TV we get cruise ships and movie producers and TV stars and shows paying for their own sets and rehearsals and covering a chunk of the cost. And then people around the world see bits of shows they want to see and they come to New York to see them and the circle of life continues. Shows fail or succeed for all sorts of reasons which have nothing to do with quality and are largely unpredictable. Marketing, timing, subject matter, titles, casting, word of mouth, cost, hot shirtless chorus boys. Most people who work in theater get this. You don’t go into acting for the stability. The next gig will come. Broadway is usually not the end of a show’s life. Sometimes it’s not a part of it at all. There is amazing theatre all over this country. Go see some of it.

We’re married. 

The thought hits Oliver in the middle of I-90 just outside Missoula. 

“Fry me,” Connor says from the driver’s seat, leaning over an elbow on the console between them with his mouth wide open. His fingers are tapping along to the song on the radio and his eyes fixed on the road ahead. 

Oliver turns in his seat a little, holding out a few French fries to feed Connor when he stops. 

It’s something about the sunset filtering in the window bathing Connor in a halo of deep purple and dusty orange. It’s something about the way Connor’s hair is falling across his forehead; the normally perfect locks an artless tangle long overdue for a cut. It’s something about the glint in Connor’s eye when he glances over to see what’s taking Oliver so long. The look is teasing of course - by now Oliver expects little else - but under that it’s warm and loving and home. 

It’s all of that and none of it but, either way, Oliver’s breath catches in his throat. 

We. Are. Married. 

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#DepecheMode ’ have changed a lot But it would be wrong to say that after 13 years, they have ‘grown up’ they are still growing Article I-D 10|93 by Michael Fuchs-Gambock + PromoSheet Songs Of Faith And Devotion |Sire US


Depeche Mode are both loved and hated, usually to extremes. They are one of Britain’s biggest pop exports, but the dedication of their fans is often matched by damnation from the press. We talked to songwriter Martin Gore about life, love, music, and why he wants the band to keep taking chances. Interview by Michael Fuchs-Gambock. Photography by Anton Corbijn.

Dave Gahan is less than a centimetre tall. There are about 15,000 people standing between me and him, and as he launches into the chorus of I Feel You, I decide to find out if I can get close enough to see what he actually looks like in the flesh these days. After heaving through a hundred yards of black-clad shoulders, dodging the wayward flames of raised cigarette lighters, Gahan has increased in size. He’s now nearly an inch tall.

As pop stars get bigger, they tend to get smaller. Further away, that is. If this is true, judging by the indications on this mild Saturday night in Crystal Palace’s football stadium, Depeche Mode are a very large phenomenon indeed. Some 35,000 people, or ‘Devotees’ as the band’s latest T-shirts would have it, have gathered in the twilight for the first UK appearance of the Songs Of Faith And Devotion tour.

Depeche Mode have become a pop paradox: a band whose lyrics concentrate on the introverted individual, on anomie and alienation, but who attract a community of fans who mouth every memorised word in chorus.

Gahan’s bellowed exhortations of “come on!” and “make some fucking noise!” also disrupt the introspective trance that the music creates, while Gahan himself offers the incongruous spectacle of a macho-camp Rock God in leather trousers, tattoos and tresses fronting intense songs about pain and isolation.

It all comes together for the final encore. Gahan, the high priest, allows his fans to sing the last few choruses ofEverything Counts acapella, ending the show in an expression of communal celebration: from alienation to togetherness.

This is all good stuff. Depeche Mode are, undoubtedly, part of a modern tradition of Great British Pop. Like other superlative white electronic pop groups – the Pet Shop Boys, New Order, Frankie Goes To Hollywood, The Human League, The Beloved – they have never let their intellectual baggage or pretensions to artiness get in the way of a good tune or a catchy chorus. Like most of these bands, their lyrics exude a painful naivete that’s almost embarrassing in its untutored frankness. This is what has turned a lot of rock press writers off and resulted in the acres of bad reviews they’ve had in the UK over the past 13 years. But it’s this same English gawkiness that appeals to their fans: they find it endearing, they relate to it, as if the lyrics were about their lives.

And this is where Depeche win again. As with New Order, the vagueness of their songs means you can project your own personality into them, replay your feelings and fears over their soundtrack. Their lyrics are a mirror which reflects anything you want to put in front of it. Never Let Me Down, for example, with phrases like “I’m taking a ride with my best friend” and “we’re flying high, watching the world pass us by… never want to come down”, could be about taking hallucinogenic drugs. It could be about sub-dom sex. It could, however, just be about a drive in the country with a mate. It’s up to you what you want to think, and Depeche, of course, aren’t saying; they know that being too specific ruins the mystery that’s at the heart of great pop music.

Depeche Mode’s is a career mapped out in a set of beautiful pop ‘moments’ – New LifeJust Can’t Get Enough,Everything CountsStripped; each one a soundtrack to a memory, a snapshot of youth past. Up until 1987’sMusic For The Masses, it was the singles that counted. The albums were often patchy affairs, rich in ideas and concepts, though cemented with filler. If the story of Depeche Mode is one of suburban lads growing up, it’s also the story of a singles band becoming an albums band: in commercial terms, considering albums are where the real money is, it’s a story of success. (Since their first single, Dreaming Of Me, in 1981, their fame has spread outwards through Europe and the Americas. The last album, Violator, sold over six million copies globally.)

Music For The Masses was a superb record, the one on which the sweeping orchestral arrangements that they have been developing finally gelled. Pure and electronic, the whole thing moved along like a giant, menacing juggernaut of perfectly integrated noise. Any sweetness and light had evaporated, to be replaced by this awesome, brooding thing. 1990’s Violator, their darkest hour, went further, splicing ambient interludes in between the ambiguously threatening songs (it should be noted here that Depeche Mode’s Alan Wilder has recorded two excellent albums under the name Recoil – the first in 1988, years before the current ambient boom).Personal Jesus, the anthemic rock-out hit, marked the start of Depeche’s affair with the guitar riff, one which would continue on this year’s Songs Of Faith And Devotion. Faith And Devotion is perhaps their most daring record: the final step in the three-album journey from uncertainty through darkness to redemption. This time, as well as almost becoming a Rock Band, the group have employed a gospel choir, string section and Irish uillean bagpipes to further deepen their sonic textures.

“I think we started off very closed-minded, we had tunnel vision like most rock musicians have – they think that rock is the only way,” admits Martin Gore. “We believed that rock music had stagnated, and computers and electronics were the way forward for music. And gradually we’ve realised that we shouldn’t be as closed-minded as the rock musicians who don’t consider electronic music. We’re more open now, not limiting ourselves through our instrumentation.”

Songs like Condemnation and Walking In My Shoes are both melancholy and messianic, truly epic in their proportions. Gahan acts as both sinner and confessor, interpreting Gore’s lyrics with total belief, as if he’d lived them. The album also demonstrates how his voice has matured from the androgynous teenage wisp of the early ’80s to a full-bodied masculine groan.

But the step forward wasn’t taken without trepidation. Even Gore wasn’t sure about using the gospel choir at first. It was their producer, Flood, who also works with U2, who convinced him. “I was very cagey about it – we’ve been going for 13 years now and we’ve never used another musician on any of our records. I always had this theory that if you do it yourselves, it doesn’t matter if you do it badly, you do it more passionately than bringing in outside musicians, because they just come in, they get paid for the day and they do their job, but at the end of the day there’ll be more passion in it if you do it yourself.

"We got the choir in and I was just sitting at the back thinking ‘this isn’t going to work, I don’t know why we’re trying this’, I was really nervous about the whole thing. But the moment they started singing, for me, it lifted the track onto another level, it was just up there somewhere, and so then I decided I shouldn’t be so closed-minded about the whole thing.”

Depeche Mode have been clever about their career. They’ve constantly strived to avoid descending into self-parody. “With every album we push ourselves to do things differently,” insists Gore. Examples abound: the adoption of industrial noise in 1983 on Construction Time Again, when, influenced by contemporary and industrial metal-bashing groups like Einsturzende Neubauten, Test Department and SPK, they went around the streets tape-recording building site noises for use as samples. The flirtation with edge sexuality and tainted religion which started on 1984’s Some Great Reward. The recent embracing of rock guitars (perhaps prompted by harder labelmates Nitzer Ebb and the screaming tekno-metal of Ministry?).

The image overhauls and costume changes are part of it too, though the band would rather play those down. “I really think that too much emphasis is put on image and I don’t like that,” says Gore. “We wear a lot of black because we feel comfortable wearing black.” But certainly, they are now taking more control over how they are seen. They are only photographed by one man, Dutch auteur Anton Corbijn (who – again – also works for U2). He directs their videos and art-directs their record sleeves, too. It’s as if they were so pissed off at being portrayed as fools in leather skirts by the music press, they decided to grab back their image and recreate it for themselves.

“In 1981, when Speak And Spell, our first album, came out, we were 18 years old; we were young, we were naïve, we didn’t have a clue! From one day to the next, we were being thrust on TV, we were being put into the press, and at that time we thought we should do every interview that came along, and we didn’t particularly care about our image; we were just kids, y’know?” Gore confirms. “It took us a long time to get to grips with what was actually happening, how to take control of our image and the things that we put out to the world.”

In Germany, the music press has just woken up to the fact that Depeche haven’t been a teen-pop sensation for a very long time, and are suddenly treating Dave Gahan as if he was Keith Richards or some other raddled rock roué: “They’re writing these stories at the moment that Dave has AIDS or he’s dying or he’s on heavy drugs, and it’s so funny because it doesn’t actually do us any harm, it sells more records,” Gore laughs. “Anyone reading it must think ‘that sounds really interesting, I’ve got to go and buy that’!”

Perhaps it’s not surprising that unlikely stories abound. Depeche have developed some sort of bunker mentality – it’s them against the world (or rather, the media). In interviews they have tended to close themselves off, keep their guards up, be vague about specifics and hesitant to commit to anything, mainly because they hate the idea of their lives being scrutinised. Naturally, cynical pundits have asked whether they’ve got something to hide. Unsubstantiated tales of on-the-road excess have been compounded by Gahan’s confessions about his alcohol and relationship problems. The interview situation is never one they’ve felt comfortable with, as Gahan admitted to the Melody Maker a couple of years back. Even here, ensconced in the cosy confines of a London hotel, Martin Gore is holding a lot back. Chatty, cheery, but impeccably circumspect.

One thing he is direct about is that Depeche Mode are in no way the ‘godfathers of techno’. This story has long since passed into the realm of media cliché. True, their supple, undulating rhythms came direct from Kraftwerk and were blueprinted during Britain’s last genuine groundswell of technologically-led music in the early ’80s. Certainly, remixes by American maestros like Francois Kevorkian and Shep Pettibone have (in the States at least) gained them an audience in dance clubs. But despite their stated love of “any club which serves alcohol” and sightings of Martin Gore at London’s industrial-techno mecca, Hardclub, Depeche Mode do not belong todance music in the way that, say, The Beloved do. Their roots and intentions are elsewhere.

“The dance aspect is not that important,” says Gore. “Half of every album is slow, atmospheric ballads. We’ve been labelled a dance band throughout our whole career, and I find that very funny, because I would like to see somebody dance to half our records – you can’t do it!” he laughs. “I like to dance and I like dance music; we always try to use interesting people to do remixes of singles, but to me it’s not the most important thing.” As if by way of illustration, the remixes of the first single of 1993, I Feel You, were completed by Brian Eno. His ambient textures and weather-static noises accentuate the brooding emotion in what is perhaps the most successful remodelling of a pop song this year.

Songs Of Faith And Devotion was three years coming. After finishing the Violator tour, the band took a year off. Gahan got divorced and remarried, moved to Los Angeles, and started listening to Neil Young, Jane’s Addiction and Soundgarden. Wilder produced another Recoil solo album, Bloodline, using the vocals of Moby and Curve’s Toni Halliday amongst others. Gore chilled out. “I had a daughter in that year off, and that had a really positive effect on me. The new album has a very uplifting feel to it and I’m sure that is due to my daughter. You see a life being born and growing, it’s just wonderful, it moves you.”

He also indulged himself in his record collection. “I’m not passionate about anything other than music. I bore my friends to death with music! I often invite friends to come and stay with me, and I get drunk and I play them every one of my favourite records. At the end of the night, everybody is crawling to bed, and I’m still left saying, ‘But youhave to listen to this one!’”

Did those boozy hi-fi sessions show up in Songs Of Faith And Devotion? “We don’t analyse things a lot; I think that’s the best way. People who analyse a lot come to conclusions before they make the first step, and that’s wrong. You should do things more naturally. Things that we listen to just come out in our music subtly. Personal Jesus, when we recorded that, it wasn’t until we finished it I realised the obvious influences that were there. I’ve always liked glam rock, and there were obvious connotations of glam rock in there. But also I really like blues music, and I realised after we’d finished it that the main riff was pure John Lee Hooker.

"Over the last few years, I’ve listened to a lot of gospel music, but it wasn’t a conscious decision to ‘go more gospel’ on this album, it’s just something that came out naturally because it’s what I listen to. Blues and gospel are probably my two main influences, but also thrown in the bag is glam rock, dance music… I like virtually every sort of music, everything except jazz. I don’t like jazz, I’ve tried, but I don’t get it!”

It turns out that the genesis of Depeche Mode is in this thirst for musical discovery, the quest for tunes. “When I was ten or 11, I discovered my mother’s old rock’n’roll singles in the cupboard, stuff like Elvis, Chuck Berry, Del Shannon, and I played those records over and over again, and I realised then that that was the only thing I was really interested in, and it went on from there,” Gore recalls. “We formed a band as a hobby. If we hadn’t become successful, I’m sure I’d just be doing a job somewhere but playing a gig somewhere every Saturday night because that’s what I believe in.”

The exact opposite of Andrew Fletcher, the non-musician who appears on stage but plays nothing, acting as the band’s business ‘sorter’. “Andy should have been a sportsman. He’s so funny. He pulls the rest of us back down to earth, because he comes in as a layman, he knows nothing!” Gore laughs raucously. “I think the last record he bought was Mr Blue Sky by ELO! If the rest of us get carried away, if we’re all sitting around the computer or something going ‘oh that’s really great’, he’ll come in and go ‘that’s terrible, I don’t get that’! He’s no worse at music than your average fan, so if he doesn’t get it, no-one’s going to get it.”

Dave Gahan has said that Songs Of Faith And Devotion is all about trying to take people to a higher level, above the depression and detritus of contemporary society. Do you agree?

“The world is always in a sorry state. I don’t think you can change that through music, but you can lift people and you can make people think. A lot of people find our music depressing and moody, but they’ve missed the point. Our music always offers something uplifting. I am a positive person and I hate negative music. What is the point of negative music?

"Our music is not happy music, our music is realistic. The realism is that it’s not going to be happy all the time, it’s going to be depressing, but there is always light at the end of the tunnel.”

Does this yearning for the ‘light at the end of the tunnel’ explain your interest in religious imagery, which has become more marked as the albums go by?

“I have a fascination with religion, but I’ve never found a religion to follow. I really like the idea of belief. I want to believe. But I’ve never found something to believe in. Maybe it’s very naïve, but the only religion for me is love. I believe in love. So that’s why the songs touch on love, sex and religion; for me they’re the same thing.”

How does this translate into lyrics?

“I don’t have a solution, I’m still searching. My confusion is put out in the music. As I say, the only answers I have are love and sex. I don’t sit down and write a song and say ‘this is the message I want to give to the people’. I don’t even know why I write songs, I don’t know what I want to say, but I do want to move people.”

The songs you write veer wildly between optimism and pessimism. One minute you are offering doom, the next minute hope.

“On the new album, I say ‘I will have faith in man’. Because if you don’t have faith in man, give up. But at the same time, I realise man has an inherent evilness, and things like the Third Reich and the Nazis fascinate me because they make you realise how evil man can be. Especially the average man – he can be so evil. But you have to believe that he will come through.

"Two or three years ago when the Wall came down and there was an end to communism, it looked like the world was suddenly going to be a happy place. It looked like we were all getting on. But then you get Yugoslavia… it will always happen; man is inherently evil, but you have to have faith in him.

"I actually think that the world never changes. If you think that everything’s going well, it’s not; in part of the world things will be going bad. In a way, it’s like music. Sometimes I look at the charts and I think the charts have just gone downhill so much, they are so crap, what is happening? And Andy, the layman, once said to me, ‘Well, when was music really good, then?’ And I said, ‘When I was growing up, 1972, 1973 – Gary Glitter, The Sweet, that was an excellent time.’ But then we got the chart for 1972 and we looked back – and it was crap then! It was crap then, it’s crap now – the world doesn’t change!”

But Depeche Mode have changed a lot. Developed. Achieved. Matured. But it would be wrong to say that, after 13 years, they have ‘grown up’. They are still growing.

For Non Profit Use Only | Photos by Anton Corbijn