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Archives / Re: 2017: Spirit and Global Spirit Tour
« Last post by Angelinda on 28 April 2017 - 02:11:54 »
2017-04-27 - Rolling Stone (Colombia) - Andy Fletcher, de Depeche Mode, habla para Colombia

http://www.rollingstone.com.co/principales/blog/exclusiva-andy-fletcher-de-depeche-mode-habla-para-colombia

EXCLUSIVA: Andy Fletcher, de Depeche Mode, habla para Colombia
“Somos claramente una banda de izquierda”. El músico de Depeche Mode nos aclara que no quiere nada que ver con la ultra derecha, y que recuerda gratamente su primera visita a Colombia.
POR JUAN FERNANDO RAMÍREZ

Andy Fletcher (teclados) es uno de los tres miembros sobrevivientes y fundamentales de Depeche Mode. ROLLING STONE conversó con el músico británico sobre el buen momento que atraviesa la banda, sus recientes controversias y el momento que todos estamos esperando: su segunda visita a Colombia.

¿Cómo ha sido la recepción de Spirit?
A la gente parece gustarle, hemos recibido buenas críticas. Saldremos de gira esta semana. Este es un buen momento para Depeche Mode.

Mucho se ha discutido sobre el carácter político del álbum…
Bueno, Martin de hecho escribió estas canciones hace dos años porque estaba muy frustrado por las cosas que estaban pasando en el mundo. Por supuesto, las cosas han empeorado en esos dos años con cosas como el Brexit y la presidencia de Trump. Normalmente no escribimos tan directamente. Nuestras canciones tienen sus propios mensajes, y estos suelen ser ambiguos. En este álbum fuimos muy directos.

Conocemos la reacción de Dave Gahan a los comentarios de Richard Spencer, quien dijo que Depeche Mode era la banda sonora de la ultra derecha. ¿Cuál fue tu reacción?
Es buena publicidad. Él es fanático de la banda, le gusta Depeche Mode desde los 7 años. No sé si lo que dijo fue un chiste. Somos claramente una banda con inclinaciones de izquierda, no de derecha. La mayoría de nuestros fans saben eso.

Si oyes canciones como People are People es bastante claro que ustedes no están a favor de la exclusión…
Sí… no sé por qué lo dijo, tal vez no lo dijo en serio. Es importante que hayamos aclarado que no es cierto [que seamos de derecha].

Varios miembros han dejado Depeche Mode en estos años y ahora solo están ustedes tres. ¿Cómo les afectaron esas salidas?
La salida de Vince [Clarke] pudo haber sido muy mala porque él era nuestro compositor principal, pero Martin empezó a escribir. Lo de Alan [Wilder] no cambió nada en realidad. Seguimos estando tres miembros originales, y hemos logrado hacer unos grandes álbumes sin ellos.

¿Te sientes más cómodo en esta estructura de tres?
Sí. Por supuesto, cuando estamos de gira tenemos músicos adicionales. Pero la química de la banda es muy buena, nos llevamos muy bien. La energía en el estudio es grandiosa. Es todo lo que puedo decir.

Quienes los hemos visto en vivo sabemos que sus shows están en otro nivel. ¿Qué planes hay para esta gira?
No me vas a creer, pero no tenemos ni idea. Vamos a salir hacia Estocolmo y nuestro maestro visual, Anton Corbijn, preparó todos nuestros visuales y el show escénico, y lo vamos a ver por primera vez en Estocolmo la otra semana.

Y ahora que mencionas a Anton, me gustaría saber sobre la relación que tienen con él, que ha trabajado en sus fotografías, videos y en casi toda la identidad de la banda.
Ahora decías que éramos un trío…podrías decir que con Anton somos cuatro. Él está encargado de todos nuestros visuales, nuestras portadas, sesiones de fotos. Lo genial de Anton es que entiende que Depeche Mode tiene un sentido del humor, que es muy importante para comunicarse bien. Y además hace que nos veamos bien. Nosotros nos encargamos de sonar bien. En los ochenta sonábamos bien pero nuestra apariencia era terrible. Anton llegó para hacernos cool.

Estamos muy emocionados de que regresen a Colombia…
Nos encanta volver allá, en realidad recuerdo lo que sentí estando allá. Estamos muy al tanto de lo que ha pasado en estos años. La última vez que fuimos fue impresionante ver que no solo podías tener una visita normal, sino que era realmente hermoso.

¿Qué recuerdas de la visita?
Recuerdo mucho las casas, el estilo del lugar. Fue impresionante para mí leer todo lo que había pasado allá, y de repente llegar a esta ciudad hermosa.

Depeche Mode es una banda que suena universal, no necesariamente británica…
Siempre hemos dicho que somos más europeos que ingleses.

¿Cómo les ha afectado el clima de las relaciones entre el Reino Unido y Europa?
Es frustrante. Fue un voto patético, ni siquiera había razones para hacerlo. Al final, 50% votamos para quedarnos y 50% para irse, y nos iremos [de la Unión Europea]. Debió ser 60 – 40 o 70 – 30 para semejante cambio constitucional.

En todo el mundo parecemos estar divididos en dos bandos. ¿Qué puede hacer la música frente a eso?
Pronto tendremos un concierto en Londres, y te aseguro que será una celebración. Tenemos fans de otras posturas ideológicas. No me importa si Richard Spencer va a mis conciertos. Todo el mundo tendrá visiones diferentes, pero son fans de Depeche Mode.

¿Cómo balancean una trayectoria tan ecléctica en sus shows?
Bueno, nuestras nuevas canciones suenan muy bien en vivo. Es difícil encajar todo lo que queremos tocar en dos horas. Pero creo que la gente no va a quedar insatisfecha.

Muchas bandas como U2 y Pearl Jam están tocando álbumes completos en sus shows. ¿Depeche Mode ha pensado en hacer algo así?
No lo hemos considerado. Nos interesa más hacer álbumes nuevos.

¿Es decir que vamos a seguir recibiendo música de Depeche Mode?
No lo sé, eso espero. No podemos planear las cosas con diez años de anticipación, pero las cosas se ven muy bien.
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Archives / Re: 2017: Spirit and Global Spirit Tour
« Last post by Angelinda on 28 April 2017 - 02:06:25 »
2017-04-26 - a "Special Thank You Show" at the Masonic Lodge in Hollywood Forever in Los Angeles

https://www.depechemode-live.com/wiki/2017-04-26_%22Special_Thank_You_Show%22,_Masonic_Lodge_at_Hollywood_Forever,_Los_Angeles,_CA,_USA

A teaser announcement was put on la.depechemode.com on April 20, 2017. The next day, the site revealed: "As a thank you to fans in LA for supporting Spirit and helping create history, DM are hosting a special, exceptionally exclusive performance in Hollywood on Wednesday, April 26th. Fill out the form below to enter to win free admission for you and a guest. Venue details and show specifics will be provided to contest winners. Winners must provide their own travel, transport and accommodation." 50 winners will be selected in a random drawing.

Instagram user @dannycarrasco posted on his account on the day of the event a screenshot of the invitation, which reads: "The show will take place in the Masonic Lodge at Hollywood Forever Cemetery."

Singer Lana Del Rey as well as Martyn LeNoble were in attendance.

Set list:
Going Backwards
So Much Love
Corrupt
A Pain That I'm Used To
World In My Eyes
Cover Me
Home (*) (full-band)
Where's The Revolution
Barrel Of A Gun
Walking In My Shoes
Personal Jesus
Enjoy The Silence
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Archives / Re: 2017: Spirit and Global Spirit Tour
« Last post by Angelinda on 27 April 2017 - 01:35:13 »
2017-04-26 - Nerdist (US) - Nerdist Podcast: Dave Gahan

http://nerdist.com/nerdist-podcast-dave-gahan/

NERDIST PODCAST: DAVE GAHAN

Dave Gahan (Depeche Mode) talks to Chris and April Richardson about doing early morning radio, when he knew he wanted to be a musician and growing up in England. He also talks about meeting his father for the first time, bands he was in before Depeche Mode and Depeche Mode’s upcoming tour!
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Archives / Re: 2017: Spirit and Global Spirit Tour
« Last post by Angelinda on 26 April 2017 - 22:55:22 »
2017-04-24 - CBS (US) - The Late Late Show with James Corden

http://www.cbs.com/shows/late-late-show/video/KV5igdAjxTYDVvOPuwa6kR8HvRVSGB2X/the-late-late-show-4-24-2017-jason-schwartzman-nicole-richie-geoffrey-rush-depeche-mode-/
https://www.youtube.com/watch?v=RiyV7Bqg2m8



Late Late Show music guest Depeche Mode performs their new song "Where's the Revolution."
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Archives / Re: 1990: Violator and World Violation Tour
« Last post by Angelinda on 25 April 2017 - 04:25:05 »
2017-04-06 - Long Live Vinyl magazine (UK) - Classic Album Violator

[Downloaded as a PDF file from vk.com/stopthepress.]






Classic Album
Depeche Mode
Violator
by Andy Jones

In the late 1980s, Depeche Mode were huge Stateside. Appearances would cause riots and they could easily wow 70,000 people in a single sitting. But after six varied and successful albums in one decade, how could they possibly get any higher? Welcome to Violator…

Depeche Mode might well be judged by the (admittedly now often confused) old man of time as being as important as The Beatles. The  band is fast-approaching four decades in music making – yes, really – and in that time, has spread the word of the synth, married it to rock, sold a gazillion albums and singles and become the electronic Rolling Stones (wow, I literally ‘just can’t get enough’ of these classic-band comparisons).
Only whereas the Stones arguably stopped making great albums mere years into their history, the Mode made many well into theirs. And the best of all is Violator… This is was the band’s Revolver (alright, I’ll stop now), a peak of creativity that introduced their trademark synth tones to the world of rock music.
Previous albums had seen the Depeche output mature from its pop sound (on 1981 debut album Speak & Spell and largely on its follow up A Broken Frame), through the industrial sample-laden Construction Time Again to the darker, more thoughtful trio of Some Great Reward, Black Celebration and Music For The Masses. This is last album did what it said on the tin, introducing the band’s sound to America – which led to a US tour documented in the excellent 101 documentary, and closing with an epic concert at the Rose Bowl stadium in Pasadena in front of 70,000 people.
So with six varied albums already released in the 1980s as the band marched to perfect their sound, with a bigger following than any other band in the world right then – what were Depeche to do as the 80s closed? Only go and record their best album to date…
Violator was recorded in Milan and Denmark and mixed in London by François Kevorkian, who had worked previously on Kraftwerk’s Electric Café. It might sound like a complicated process, but the band had every intention of making it as simple as possible – at least at the outset…
“We wanted to take a different direction with this album, for the songs to come across in a more direct way and not to be so fussy,” Gahan said in an interview shortly after the recording at Puk Studios in Denmark, where they completed Violator before it was mixed in London. “We didn’t want to be so critical about things and wanted to get more of an energy on to tape when we were recording, rather than play around with sounds for so long that by the time it came to recording, you’d have forgotten about the original direction of the song. So we wanted to work a lot faster but in fact, we’ve probably taken more time, as you end up experimenting more until you find the right direction for the song! But the songs sound a lot harder, not just in a rocky way, but they are a lot more edgy in terms of sound and feeling.
“We didn’t want it to be so cluttered, we wanted it to be more direct,” he reiterated to MTV later in 1990. “We worked with Flood [aka Mark Ellis] who helped us a lot. He steered us in a direction that we were trying to find but didn’t even know ourselves. He helped develop the songs into something that maybe we wouldn’t have done before.”
Indeed, Flood and long-time Depeche Mode band member Alan Wilder’s inputs cannot be understated. The two worked tirelessly during the album’s recordings to provide the atmospheric frameworks within which Martin Gore’s songs for Violator sat. Yet there was another factor that led to the success of the recording, that is perhaps less well known. Kevin May is the author of HALO, a forthcoming book about the making of Violator. “Martin Gore, who was still the sole songwriter in Depeche at that point, said years later Violator was the last time they had fun making a record. It shines a light on the mood of the band at the time and, in particular, the excitement that was being generated with what was then a new producer in Flood and how they were approaching the entire process.
He saw an opportunity to marry the band’s core synth sound with ‘traditional instruments and really pushed a new tactic for the band, urging Gore to strip his demos back to as basic a form as possible so that they would be more open to manipulation during the recording – essentially allowing Alan Wilder and Flood to add atmospheres, melody, percussion and other elements to each track.”
“I just thought it needed another perspective,” Mute Records owner and band mentor Daniel Miller told Electronic Beats on why he brought the producer in, “and Flood is technically very good, very musical, and very open. He’s not one of these, ‘This is is the way it has to be.’ It’s more like, ‘How can we do it differently?’ He was in sync with the band’s mentality – and my own.”
A fresh approach to the instrumentation also offered a new perspective to everyone, combining electronics and traditional sounds. And it seems Flood was the perfect producer to link these two elements. Martin Gore, the album’s songwriting architect, however, downplays his own talents as ever, and told a very bored MTV reporter in 1990 of the songs on Violator: “I don’t have a natural process, I just sit down and write a song. Words come, melodies come and that’s it.”

VIOLATOR VERSUS SOFAD
It’s difficult to talk about Violator without talking about the tour that preceded it – with that Pasadena closing show – and the album that came aer it. Songs Of Faith And Devotion couldn’t have had a more different sound: gospel, soul, rock and electronics, and that’s just on the track Condemnation. Yet its inception was hell – the opposite to the apparent happiness permeating the Violator sessions. Ironically, though, it’s hailed as the other Mode masterpiece – although it nearly destroyed the band, as the egos spawned by success, drugs and rock ’n’ roll nearly swallowed their owners.
“During Violator, the band had still managed to keep their feet on the ground,” says May. “While they had an inkling early on that they were creating something important, unique, creative and what would eventually turn out to be an important album for fans and acclaimed by critics, they were, in the words of many in the camp at the time, extremely down to earth and often didn’t appear to understand how big they were becoming. This is is perhaps difficult to believe, given the success of the previous records and tours… Yet they were still young (Alan Wilder was the oldest, in his early 30s) and, at least outwardly, had largely avoided the trappings of fame.”
After the recording, François Kevorkian mixed the album – the most difficult part of the process. “He’s one of the most intense people I know,” Daniel Miller told Electronic Beats. “He would work for 18 hours a day and I think he got through at least three different engineers, because they couldn’t take it. He’s so obsessive and so brilliant, and made a great record in Violator.”
Miller made a very important contribution to the final recording, taking an early version of Enjoy The Silence that he wasn’t pleased with and remixing it with engineer Phil Legg. “I think they were so burned out by the end – it took a long time making that record – that they said, ‘Okay, whatever you say,’ and they used that version.” That version went on to be the single and contributed greatly to the overall success of Violator. And what a success that was. All four singles from Violator charted around the globe while the album even scored a No. 2 in the UK – the home country finally embracing its own band.

AFTERMATH
The Violation tour followed, one as crazy and excessive as anything that had gone before. Over 88 dates, the band played to 1.2 million people. The experience would wipe the Mode out for a while and it would be two years until they got their breath back to reform for Songs Of Faith And Devotion. “A lot of things happened to the individuals in the band during and after the Violator tour,” Miller told Electronic Beats. “They never changed as people, they were always very down to earth, but they’d been elevated into superstars and that does have an effect on people.”
Kevin May adds: “Gahan had moved to Los Angeles and found his life being consumed by a heroin habit, as well as falling in with the emerging grunge scene and sound; and there was a general feeling that Flood and Wilder wanted to push the musical style that they had generated on Violator even further, using full segments of live musical performance in the recording.” Where everything came together so well for Violator, it fell apart for SOFAD.
Even though that album was a huge commercial success, it couldn’t have happened without the experiences of Violator. The two are linked intrinsically because of this, even though the styles and the experiences recording them are so different… “Inevitably, Violator laid the foundations for when things started going wrong structurally,” May agrees, “but that is often what happens when important moments in the history of a band take place and things begin to unravel. Depeche’s legion of fans argue endlessly as to the merits or otherwise of everything that the band produces, yet none will begrudge Violator’s pivotal role in the evolution of the band and the impression that it left.”
Wilder would leave the band after SOFAD, but his reasons perhaps stem back from those earlier sessions working with Flood. “The simple answer is I’d just had enough of being in the group and felt I couldn’t really do much more,” he told this author in 1997. “There were diffculties and communication breakdowns. I think most of the detailed work was too boring for the other members of the group, so they tended to disappear and allow me and Flood to get on with it.”
Since then, of course, Gahan has once again become the cleanest he’s been, and Depeche Mode have released several further albums. However, none have matched Violator – it really was the sound of a band on fire and form, and one that worked as a unit in its most creative phase of the last four decades.

ENJOY THE SILENCE
The Mode’s most celebrated song was released as the second single from Violator, in January 1990. It won the 1991 Brit Award for Best Single and was also Depeche Mode’s biggest hit in the US
POLICY OF TRUTH
The third Violator single was the only Depeche Mode single ever to chart higher in the US than in the UK
PERSONAL JESUS
Violator’s lead single, released in August 1989, was a worldwide hit and the fi rst Depeche Mode song to foreground a guitar riff. It was also the fi rst Depeche Mode single to be released with remixes by artists other than the band. Voted one of the 100 Greatest Songs Ever by Q magazine, it was for a time the best-selling 12" single in Warner Bros. history
WORLD IN MY EYES
The final single from the album is keyboard player Andy Fletcher’s favourite Depeche Mode track

The Songs
1 WORLD IN MY EYES
Described as one of Depeche Mode’s sexiest songs, World In My Eyes very much sums up the mood of the band at the point of recording Violator – all were involved and in perfect unity. It originated from a Gore demo, as most Mode songs do, of course, but its evolution in the studio was a dramatic one. Not only that, but all the band contributed vocals to it – a rare occurence but perhaps one that signified the unity and friendship that ran through the Depeche Mode camp at the time.
2 SWEETEST PERFECTION
Interestingly, Sweetest Perfection could well have been a Gahan-led song, according to the lead singer. “There are songs on the album where I might have sung, but Martin did instead,” Gahan told MTV in 1990. “Sweetest Perfection is a song that maybe I would have sung.” This swapping of traditional roles on Violator was intentional – partly because Flood bought a ‘no rule book’ approach to the recording of the album. In this case, Sweetest Perfection was originally more suited to Gahan, but Gore sang it – the opposite happened on the later track Waiting For The Night. Sweetest Perfection is not the best track on the album – but in the context, is still great. It builds to an almost psychedelic conclusion, complete with filtered beats and layers of atmosphere – “the kind of thing you resort to when you haven’t really got an ending,” Wilder recalls – and while not the strongest, is perhaps the most timeless track.
3 PERSONAL JESUS
Gore, Wilder, Flood synths and production “Obviously, it has religious overtones,” Gahan said in 1990, “but the idea for the song actually came from when we were touring America. When you are in America, there are all these TV channels where you switch on and there is someone trying to sell you some sort of religion and you usually have to pay like $20 or something and then they send you your own personal rainbow or whatever you want to call it. These sorts of people seem to be very hypocritical of their own religion. To be a Christian or whatever is supposed to be private and you find something that is important to you. It’s also when you are at your most vulnerable that you turn to religion, so these sorts of people who take money from people who ring up who just need someone to talk to, it just seems all twisted and wrong – that’s why Martin wanted to write the song, because he felt this was making a mockery of the Christian movement.” Martin was also apparently inspired by how Priscilla Presley had described her relationship with Elvis. Either way, the song caused enough controversy to help make it become one of Depeche Mode’s biggest hits around the world (13 in the UK, 28 in the States). It also notably featured a guitar riff, one of the first Mode tracks to feature one so prominently. The song was also famously covered by Marilyn Manson and Johnny Cash (separately, not together) and not so famously by Tori Amos and many others.
4 HALO
HALO is one of the unsung heroes of Violator, perhaps because it sits in the shadow of …Jesus (the song that is). Yet of the two, HALO has actually worn far better over the following 27 years. It’s Depeche Mode at their best, with a stomping electronic intro – the bass produced from two classic synths, an ARP and Minimoog – and searing string-laden chorus. Alan Wilder also states on his own Recoil website that it is one of his favourite tracks from the album. “I like the string arrangement and the fact that we used drum loops on it – something we had hardly done before that time.”
5 WAITING FOR THE NIGHT
The low-key Waiting For The Night is an astonishing Depeche Mode track for many reasons, not least because such a simple arrangement resulted in such a memorable track. It was also one of the few completely shared vocal tracks that Gahan and Gore have been credited with. “It was a song that Martin would possibly have sung,” said Gahan, “but is actually a duet between us. I just phoned him up and said ‘I really like the song, can I sing on it?’” With that stunning and simple arrangement, it’s Flood and Alan Wilder that once again steal the show. “Flood and I had been listening to Tangerine Dream and decided to try and create a similar atmosphere for this track,” Alan Wilder says on shunt3.0.recoil.co.uk. “The main sequence was put together using his ARP and the sequencer that accompanies the synth. The charm of the ARP sequencer stems from the slight tuning and timing variations that occur each time the part is played. This gives a sense of fluidity and continual change, which seems to suit the song.” He’s not wrong there – the results are still simply mesmerising.
6 ENJOY THE SILENCE/INTERLUDE CRUCIFIED
“It’s just about a feeling of not wanting anything else, feeling totally satisfied, when even words are an intrusion,” Martin told MTV in 1990 when asked about Enjoy The Silence. “You just don’t need anything else.” The track was the second single from Violator, and went Top 10 both in the UK and the States and even won the band a Brit in 1991. The final version of Enjoy The Silence was very different to the original demo, something that appears to have happened a lot with many of the songs on Violator but in this case it was the most dramatic change of all. “Strangely, the thing that immediately came to mind was that I could hear Neil Tennant singing it in my head,” Wilder says of his first listen of the original demo. “Something about the line ‘all I ever wanted’ sounded very Pet Shop Boys to me. Most Depeche Mode songs changed tempo to some degree from the original demo, although none I can think of have been that extreme.” The song was also backed by a video that has split the Mode community with some citing it as cheesy. The truth is even its star believed that shortly after fi lming it… “We did it in Portugal, in the Swiss Alps, Scotland and London,” Gahan told MTV in 1990. “It took about a week, mainly me walking around with a king’s outfit on which I hated, but was convinced by everyone it would be okay, and everyone after said it looks great, but I still think I look a prat in it… The only thing the band did were two hours in London looking moody.”
7 POLICY OF TRUTH
The third, and some would say best, single from Violator landed Depeche Mode another Top 20 hit in both the States and the UK. Again, it’s classic Mode with singalong verses and a chorus to get any 70,000 stadium going. The only thing that lets it down is the rather screeching sound that follows the ‘the time before’ lyric at around two minutes (and now we’ve pointed that out, we will ruin that part of the song for you). The video is slightly less memorable than that of Enjoy The Silence and indeed less controversial.
8 BLUE DRESS/INTERLUDE
Blue Dress is Gore at his stalking best, a song about him simply watching someone get dressed, but don’t get too caught up in thoughts of Martin doing this – you might miss the fact that Blue Dress is an exceptional song. It’s one that marries guitar riffs and electronics perfectly and builds through layers of strings and class, all the time underpinned and undermined by a cat-like sleazy synth and some rather terrifying, perverted cackling at its close before it drifts into a second Interlude on the album.
9 CLEAN
By God Clean is good – the fact that it closes the album shows the strength and depth of Violator. Clean opens like a great stomping track from any previous Mode album, but when those tearing strings come in at around three minutes, the hairs on your arms will stand such is the emotion they bring in. You can’t ignore the irony of the lyrics either. Gahan might have been the ‘cleanest I’ve been’ during the recording of this, but little did he know he would one day be so immersed in drug addiction that it would kill him – albeit for just two minutes…

Violator On Vinyl
With so many millions sold, and relatively recently, second-hand prices for Violator aren’t exactly sky high. Expect to pay anything between £10 and £20 depending on condition (although some people are asking for £50-plus for the original pressing, so don’t be tempted). There’s also a newer gatefold 180g version that retails for between £18 and £25 and several limited editions and picture discs that might be good investments. At the time of writing, a rare Mexican picture disc of Violator is up for £150, while a Violator 2000 remix album (with a white cover, but still the red flower) which was limited to 330 is up for what seems a quite reasonable £69.99. There are countless international versions available – expect to pay upwards of £30 for some of the Eastern European ones. The rarest version we found was a promo boxset containing the vinyl, cassette and CD of Violator selling for £572 back in 2008. This was one of just 100 ever made and sent out to DJs when the album came out in 1990. We’ve seen one of these that had been owned by popular Radio 1 DJ Mike Read that sold for £434. This was back in 2010, so expect to pay a lot more if you can track one down.

Anton - Just Do It
Unlike much classic album art, the creation of Violator’s cover was refreshingly conflict-free. Regular collaborator Anton Corbijn was responsible, but the band had little input. “We have complete confidence in Anton when it comes to things like that,” Andrew ‘Fletch’ Fletcher told xsnoize.com. “Basically, he can do what he likes, for the simple reason that we think that’s how it’ll turn out for the best.” And that is exactly what happened with Violator, as Anton revealed to interviewmagazine.com. “They [Depeche Mode] say, ‘Can you do the album?’ and I come up with an idea. With Violator, I just painted a flower red and nailed it to a board and wrote under it, ‘violator’.” Easy…

THANKS!
to author and journalist Kevin May for his input with this feature. His book Halo, the story behind Violator is due to be published soon. More from www.halotheviolatorbook.com
6
Archives / Re: 2017: Spirit and Global Spirit Tour
« Last post by Angelinda on 24 April 2017 - 04:15:10 »
2017-04-24 - BBC2 Radio (UK) - Steve Wright in the Afternoon

http://www.bbc.co.uk/programmes/p050zrfz

Dave Gahan: "There was a period in the late '80s and early '90s where we were living the rock 'n' roll life"

Dave Gahan talks about Depeche Mode's latest album Spirit and the band's tour plans.
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Archives / Re: 2017: Spirit and Global Spirit Tour
« Last post by Angelinda on 23 April 2017 - 03:05:52 »
2017-04-23 - ATV (Peru) - Día D

http://www.atv.pe/espectaculos/revisa-exclusiva-entrevista-vocalista-depeche-mode-328277
https://www.facebook.com/diad.atv/videos/1349518445087595/

Revisa la exclusiva entrevista con la espectacular voz de "Depeche Mode"
Dave Gahan compartió varios detalles de lo que será su concierto en nuestro país el 18 de marzo del 2018

Hace pocos días se conoció una noticia que impactó a los seguidores de la banda inglesa, Dave Gahan confirmó que vendrán a nuestro país el 18 de marzo del 2018. Por este motivo es que quisimos conocer todos los detalles de la presentación que tendrá Depeche Mode en Perú y quién mejor para contarnos que en la voz de su propio vocalista.
Dave Gahan aseguró que vienen a lanzar su nuevo disco Delta Machine, aunque también tendrán espacio para sus conocidos éxitos como “Personal Jesus”, “I Feel You”, “Policy of Truth”, “Halo”, “Enjoy The Silence” y “A Question of Time”.
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Archives / Re: 2017: Spirit and Global Spirit Tour
« Last post by Angelinda on 22 April 2017 - 01:20:47 »
2017-04-22 - Loud & Quiet (UK) - Tell Me About It

http://www.loudandquiet.com/short/wesley-gonzalez-cover-loud-quiet-85-stores-saturday
https://issuu.com/loudandquiet/docs/issue85




[Text derived from the PDF file from issuu.com. The text was uploaded here later on: http://www.loudandquiet.com/interview/tell-me-about-it-dave-gahan-on-crappy-gigs-addiction-and-escaping-death-twice/.]

TELL ME ABOUT IT
Dave Gahan
The Depeche Mode singer does all the talking, about shit gigs, addiction, escaping death (twice) and how new album ‘Spirit’ reflects our lost times
Photography: Anton Corbijn / Writer: David Zammitt

Dave Gahan is stationed in the basement of the swanky Bulgari Hotel in Knightsbridge. As I wait outside his room in music journalist purgatory, waiting for an interview with some other mag to round up, I’m told that it shouldn’t be long but, well, unfortunately, Dave is enjoying the conversation so much that he wants to keep chatting. Maybe we’ll get on really well too, I think.
When I am finally beckoned in, Gahan welcomes me to the conference room that’s become his office for the day. He is warm, full of smiles, and even offers me a smoothie. Radioactive green, it’s a sign of the journey from Gahan’s dark days in the late ’80s and, well, most of the ’90s. It’s fair to say that the rider requests for a man who’s come through heroin addiction and bladder cancer is a little different these days. With hair slicked back, pencil moustache neatly groomed and a silver skull ring nestling on his middle knuckle, it’s hard to equate him with the 19-year-old Epping boy in the oversized suit who nervously bopped his way through ‘Just Can’t Get Enough’. Of course, a lot of well-documented water has passed under the bridge since Gahan and Depeche Mode arrived with the synthpop agendasetter ‘Speak & Spell’ in 1981. Fourteen studio albums is a pretty solid achievement in itself, but when you hear the context of the hurdles that had to be negotiated in order to do so, it pulls the feat into sharper focus. Through ailing health, substance abuse and a couple of run-ins with the law, Depeche Mode have somehow stayed united. Depsite the chaotic highs and creativity-sapping lows, the release of their latest LP, ‘Spirit,’ continues a run of at least one album every four years for the last 35. Impossibly, Depeche Mode have become one of British music’s most reliable forces.
As Gahan speaks in staccato – all full-stops and short and rapid-fire sentences – he flits from topic to topic and I may as well have left my nice, crisp A4 sheet of questions at home, because I barely say anything. Jumping from the band’s recent gig at Glasgow’s Barrowlands to the merits of theatre and the ethic behind Depeche Mode’s ‘depressing’ sound in the first five breakneck minutes, at 54 Gahan is full of energy. But while it can be hard to keep track, Gahan’s passion is the thread that ties our conversation together.

“THE BARROWLANDS IS A SMELLY, DIRTY OLD VENUE”
There’s not many of them left like that. We just played there for BBC 6 Music festival, but we first played there in the early ’80s – someone told me it was 1984. I remember at the time it was pretty heaving. The stage moves a bit because the floor moves a bit. So once it gets going…
It was fun to do that show last week, which was maybe an hour long – much shorter than the two-hour show that we usually do. I got a couple of texts from Bobby Gillespie that said: “perfect time.” For performing, an hour is the perfect time.
We had a beautiful few days in Glasgow. To be in England or Scotland or Ireland and it to be good weather, you actually get to see how beautiful it is, really. And I love the people up there. People in the hotel and on the street – everywhere. Good people!

“‘WHY IS YOUR MUSIC SO DEPRESSING?’ IS A REALLY LAME QUESTION”
I recently saw the play Buried Child by Sam Shepard. I love all Sam Shepard’s stuff. They’re usually based in the American heartland and what it’s really like – not the American Dream. Buried Child is about a child who wasn’t wanted and ended up being buried in the garden and haunts the family, spiritually. So everything they do for their drunken lives is haunted by that. Some people would say that it’s a miserable story, but stories like that, to me, are real life.
It’s like, the question I’ve had to answer many, many times, is where people are like, ‘Why is your music so doomy?’ First of all, it’s a really lame question, but the answer is always the same – ‘Well, I don’t find it like that.’ I just never have. I don’t. I get that some of the subject matter is quite dark, and musically it can be quite dark, but I’ve always felt that if the lyric was really black and if we were going into some weird, dark place, there’s a melody or a sound or something there that lifts you out of that. Like in a good book, or a film – there’s a story there.
I tend to dwell there quite a lot. And it’s OK because I find that it’s the only place you can find any real light anyway. You’ve got to dig deep because all the surface bullshit – all this stuff [he lifts up his iPhone and shakes it] – is where we seem to waste our time.

“WE STILL CARE ABOUT REVIEWS”
Of course we care. The thing about reviews is that someone told me a long time ago that if you believe the good ones you’ve got to believe the bad. There’s always a bit in both and it’s all opinions.
What I liked about one review I read of the Barrowlands show was that the person was actually reviewing the sentiment in the feeling in the moment, and how they felt. And that was undeniable! If he had said anything else about that night – that he didn’t like my trousers or something – it would have been ridiculous because it was a special night. But they’re not all like that – trust me!
Sometimes someone will give me a newspaper in the morning and we’re off to the next gig, and I know it’s been a shit show the night before, or that it wasn’t quite right. The moment wasn’t really there, and someone's seen through it. And you read it and you're still like, 'Fuck you!' But they can't all be gems. Over the years you learn that [once in a while] you have this special feeling and you look around at each other and you're all floating on air, but most of the time you're getting through a song and you're thinking about something else. Well, not most of the time. But quite often towards the end of the show I'll be thinking about whether there's room service.

"I REMEMBER LAUNCHING SIX OR SEVEN BOTTLES OF WINE AT THE WALL BECAUSE I COULDN'T DRINK IT"
There was one time when we made the decision not to tour and that was with the album 'Ultra' [1997] because I definitely was not healthy enough to tour. I was trying to convince everybody that I was, and I had all good intentions but, put it this way, six months into the recording of the album, after a big session we did in New York, I went back to L.A. and then stuff happened and I ended up in jail [Gahan was arrested after overdosing on a speedball at the Sunset Marquis Hotel in 1996]. So it really was a good decision. After that album I think we put out a greatest hits — 1998, I'm thinking. And we did some shows. For me, that was the best and the worst tour we've ever done because I don't think I was in any of those performances. It was all new for me. I was no longer drinking any alcohol or using any drugs and I was like an open wound; a bag of nerves trying to fake it 'til I made it. I had no business being on the road and I had a few moments in dressing rooms. I remember launching six or seven bottles of wine at the wall because I couldn't drink it. That was my share and if I wasn't going to be able to drink it then it was going to go against the wall. While the band were all in the dressing room as well. It must've been quite scary, thinking about it. I was not happy at this idea of being sober and that I would have to do this for the rest of my life if I wanted to keep on living. And that's nearly 20 years ago, which is incredible in itself, although it's not been without its bumps and bruises along the way. It's been a real mind opener — much more than any drugs or alcohol.

"PHYSICALLY, I COULDN'T SING FOR LONGER THAN FIVE MINUTES"
I remember being back at my home in L.A. after being arrested. I got a phone call — and I never picked up the phone — and it was Martin [Gore], kinda angry and kinda pissed off that we were in the middle of recording an album and I was not going to be able to leave Los Angeles for two years. If I got into trouble, I was going to jail. So they carried on working on stuff and then created sessions for when I was allowed out of this place I was in, which I'd checked myself into. I ended up staying there for six months — I was terrified of going back home because I knew what I was going to do. I made some good friends there and I went to the studio with someone who was watching over my shoulder, but it saved my life. I couldn't sing at that point. I mean physically, I couldn't sing for longer than five minutes. And it was not good. There were times when I thought I was good during the first half of the making of that album, but I was probably high. I thought I was Frank Sinatra when I was up at the mic, but listening back it was like, `Jesus!'. So they made me work with this amazing vocal coach, Evelyn. She would only work with me — because I was a real scumbag at the time — if I would go to this church with her in downtown L.A. in a pretty rough neighbourhood in Inglewood, somewhere where she would do this thing every Sunday working with the choir. She said: 'You come with me and sing with the whole group; you've gotta be part of a team!' She was so nice and gentle with me and gave me a lot of her time. She kinda brought my voice back to me. And that album got finished.

"MY WIFE WAS LIKE: 'WHAT ARE YOU LOOKING AT PICTURES OF YOUR TUMOUR FOR?"'
During the making of 'Sounds of the Universe' [2009] I'd not been feeling good. I had no energy a lot of the time. I would have enough energy to do the sessions in the studio and I'd get home at night and say to the wife that I was so tired. I was kind of crashing out at 9 in the evening, and I wasn't really telling the guys. But then it all made sense when I was diagnosed.
I used to say to, Jen, my wife, 'I don't know if I'm going to be able to do these shows.' So then we were in Athens and I was having excruciating pain in my gut. Well, it felt like my gut but it wasn't. So that night the doctor came to the dressing room, five minutes before we were due on stage. I'd been throwing up a bit — I hadn't been talking about that. Little bit of blood in my urine — I hadn't been talking about that. I just thought all these things were wear and tear. But I got rushed to hospital and while the doctor was doing an ultrasound he looked at me and looked at the screen again. I said: 'I know I'm not pregnant!' and he said 'Well, I see something and I have to get someone else in.' So I said: 'What do you see?' and he said: 'I see a shadow.' I've heard that in movies. It just so happened that there was an oncologist there and I got on the MRI and they said that they could do the surgery there and then. You have a sac in your bladder and you have another sac on the inner sac, and the cancer hadn't got through the walls yet. It's an amazing looking thing! My wife was like: 'What are you looking at pictures of your tumour for?' But it looked like a sea urchin with all these alien tentacles! It's an amazing thing. But if they go undiagnosed and it goes into other organs you're done, really.

"WE SEEM TO BE PRETENDING WE'RE NOT, BUT WE'RE FUCKING LOST!"
`Spirit' is more of a social outlook on humanity itself, and we're lost. We seem to be pretending we're not, but we're fucking lost! It's a bit apocalyptic and bit post-apocalyptic in places, this record; 'Cover Me' being post-apocalyptic, 'Fail' being now, 'Poison Heart' being, you know — 'You're the devil and we all know it, but you're in power!' And then there are songs like `Going Backwards' or 'Scum', which are just horrified at humanity, at ourselves. Where's the spirit? Where's the spirit in really caring? And people say, you know, 'It's easy for you guys in your fancy houses,' but like Martin has said, just because you've had some success it doesn't mean you have to stop caring about what you see and feel. And you do the best you can. The way we can portray how we feel is through music, through art. And ultimately we're here to entertain you but to maybe entertain you with a sense of reflecting. This is not a record that's ramming something down your throat. This is not Billy Bragg.
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Archives / Re: 2017: Spirit and Global Spirit Tour
« Last post by Angelinda on 21 April 2017 - 22:15:00 »
2017-04-21 - Ticketmaster via email:

Due to overwhelming demand, Depeche Mode are adding a record-breaking fourth (and final) consecutive show at the Hollywood Bowl on October 18th, 2017!
As you had previously registered for the fan pre-sale for the first shows in Los Angeles, we want to make sure you are included in the fan pre-sale for the fourth Hollywood Bowl show, before tickets go on sale to the general public.
Your pre-sale code will allow you to purchase up to four tickets during the fan pre-sale which will begin at 10:00am PT on April 27th. You can access the pre-sale here: http://livemu.sc/dm-bowl4
Tickets go on sale to the general public at 10:00am PT on April 28th.

Additionally, as a thank you to fans in LA for helping make history, DM will be playing a special, exceptionally intimate, free show in Hollywood on the evening of Wednesday, April 26. For details on how to enter to win tickets, please visit LA.depechemode.com.

Thanks again for your support and good luck!
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Archives / Re: 2017: Spirit and Global Spirit Tour
« Last post by Angelinda on 21 April 2017 - 18:24:14 »
2017-04-21 - Variety (US) - Depeche Mode’s Love Affair with Los Angeles Explained, On Heels of Historic Hollywood Bowl Run

http://variety.com/2017/music/news/depeche-modes-hollywood-bowl-1202391792/

Depeche Mode’s Love Affair with Los Angeles Explained, On Heels of Historic Hollywood Bowl Run
Roy Trakin

The love affair between Depeche Mode and Los Angeles — kindled in the 1980s by L.A. radio station KROQ, and still going strong some 30 years later — continues with an announcement this morning that the pioneering British synth-pop band has added a record-breaking fourth night at the Hollywood Bowl, Oct. 18, to its previously announced concerts on Oct. 12, 14 and 16 on its Global Spirit Tour.
The 30-date Live Nation-promoted run kicks off August 23 in Salt Lake City. The tour follows the release of the group’s 14th studio album, “Spirit,” which came out March 17 on Columbia Records — their second for the label — accompanied by the provocative single/video, “Where’s the Revolution.”
“They actually could have done six nights,” admits Bill Silva, who is promoting the shows with partner Andrew Hewitt. He told just that to the band’s longtime manager Jonathan Kessler last year.
“I’m shocked at how quickly the first three shows sold out,” says Kessler.
Depeche Mode had sold out three Hollywood Bowl shows in August, 2009, during the world Tour of the Universe, tying them with previous record-holders Coldplay, Roger Waters, The Cure, Billy Joel, Carole King & James Taylor, and The Eagles, according to Silva. “It’s select company.”
The British group fronted by Dave Gahan has performed large-scale shows in L.A. before, most notably at the Rose Bowl in Pasadena on June 18, 1988, when the Music for the Masses Tour drew 65,000  — the biggest audience they’d ever played to at that point — and was  filmed for the D.A. Pennebaker documentary, “101.”  The group also played two sold-out shows at Dodger Stadium in 1990 for the Violator Tour, just months after causing a riot on La Cienega Blvd. when they made an in-store at Wherehouse Records the day after the album’s release.
In 2009, Depeche Mode shut down Hollywood Blvd. for an April 23, 2009, performance on “Jimmy Kimmel Live!” During the band’s last stop in L.A., they played three nights at Staples Center for their Delta Machine Tour in September 28 and 29 and October 2, 2013.
Kessler agrees that the band’s inordinate popularity in Los Angeles is due, to a large degree, to “the KROQ effect,” but that “the rest of the world has caught up in finding the group meaningful.” He also suggests the area’s heavy Latino population — like Morrissey, Depeche Mode has a sizable Hispanic fan base around the world — has a great deal to do with their success in Southern California as well as unlikely hot spots like Salt Lake City and Texas.
In conjunction with the record-breaking announcement, Depeche Mode will perform a free show at an “intimate venue” in Hollywood on April 26 “as a special thank-you to fans.” Tickets are available on a first-come, first-serve basis at LA.depechemode.com.
“The band seems very pertinent to what’s going on in the world right now,” says Silva, citing their new politicized single and video. “They’re very much relevant and in tune with the times.”
Adds Kessler: “The only stadium in L.A. we haven’t played is the Coliseum. But we’re ready for the new football stadium in Inglewood next.”
Tickets for the Oct. 18 concert go on sale Friday, April 28 at 10 a.m.
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