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Author Topic: 2014: Other News  (Read 5557 times)

Offline Angelinda

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2014: Other News
« on: 29 January 2014 - 06:50:27 »
This thread contains all news items about Depeche Mode which have been published in 2014 but are not regarding Delta Machine or its tour or any other specific DM/solo project.
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Offline Angelinda

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Re: 2014: Other News
« Reply #1 on: 29 January 2014 - 06:51:36 »
2014-01-23 - Rolling Stone (US) - 25 Artists Who Have Never Won a Grammy: Depeche Mode

http://www.rollingstone.com/music/pictures/25-artists-who-have-never-won-a-grammy-20140123/depeche-mode-0761829#ixzz2rjcn1T67

Depeche Mode
Times nominated: 5
As far as Eighties rock bands go, Depeche Mode are just one small rung of success below the U2s and Bon Jovis of the world. Dave Gahan, Martin Gore and Co. have sold huge amounts of albums, consistently play arenas and, in Gahan's case, come back from the dead. But they've never won a Grammy. Perhaps just as weirdly, four of the band's five nominations have come since 2001.
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Offline Angelinda

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Re: 2014: Other News
« Reply #2 on: 02 February 2014 - 15:44:12 »
2014-02-01 - Rhino - Pre-Order: Depeche Mode on 180-gram vinyl

http://www.rhino.com/article/pre-order-depeche-mode-on-180-gram-vinyl
http://www.depechemode.com/depeche-mode-catalogue-reissued-on-180-gram-vinyl/

Pre-Order: Depeche Mode on 180-gram vinyl

Depeche Mode's catalog, over a dozen albums in all, will be reissued on vinyl throughout the winter and spring. Everything from their 1981 debut, SPEAK & SPELL through last year's release will be available in glossy gatefold sleeves with thick slabs of 180-gram vinyl, all containing inserts and liner notes.

Next Tuesday, February 4th, the reissue campaign begins with the following albums, available for pre-order now:
SOME GREAT REWARD
MUSIC FOR THE MASSES
BLACK CELEBRATION
SONGS OF FAITH AND DEVOTION
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Offline Angelinda

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Re: 2014: Other News
« Reply #3 on: 14 February 2014 - 02:05:28 »
2014-02-13 - Ham & High (UK) - Tiger Woods, Rory McIlroy and Depeche Mode among long list of stars supporting Swiss Cottage schoolgirl

http://www.hamhigh.co.uk/news/tiger_woods_rory_mcilroy_and_depeche_mode_among_long_list_of_stars_supporting_swiss_cottage_schoolgirl_1_3320066

Some of the world’s biggest sports stars, music legends and Hollywood actors have lent their support to an 11-year-old schoolgirl as she becomes one of the first members of the public to swim in the London 2012 Olympic swimming pool.

Golfing legends Tiger Woods, Rory McIlroy and Colin Montgomerie joined electronic music superstars Depeche Mode, actor Rhys Ifans and a host of other big names in donating to Mia Moon’s bid to raise money for Sports Relief.

(...)

“Our first donation was from Depeche Mode – as one of the members of the band is a neighbour, but we’ve had so many other big names donate too, it shows how global fundraising can be nowadays.”

(...)
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Offline Angelinda

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Re: 2014: Other News
« Reply #4 on: 05 May 2014 - 06:29:23 »
2014-03-20 - Classic Pop (UK) - Synthpop Summit

[Thanks to Depeche Queen for scanning this for this forum!]









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Offline Angelinda

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Re: 2014: Other News
« Reply #5 on: 06 May 2014 - 00:11:04 »
2014-04-15 - Lust For Life (Netherlands) - Depeche Mode: Stille Kracht

[Scanned by me.]


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Offline Angelinda

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Re: 2014: Other News
« Reply #6 on: 09 June 2014 - 02:41:18 »
2014-05-05 - Today (US) - Jenna Elfman reveals past as Depeche Mode video star: 'They told me to dance badly!'

http://www.today.com/entertainment/jenna-elfman-reveals-past-depeche-mode-video-star-they-told-2D79619917

Jenna Elfman reveals past as Depeche Mode video star: 'They told me to dance badly!'

Jenna Elfman is adorable in just about anything she does … including showing off her moves in a music video for Depeche Mode.

As the “Growing Up Fisher” actress revealed on TODAY Monday, she had been front and center (and brunette!) for a few scenes in the British band’s 1990 video for “Halo,” which was directed by Anton Corbijn.

But there was a surprise once she got on set. “They told me to dance badly,” she laughed. “I’d spent my whole life trying to dance well, so that was really hard.”

At least she had fun, and went to the band’s concert later that year.
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Offline Angelinda

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Re: 2014: Other News
« Reply #7 on: 15 June 2014 - 02:46:38 »
2014-06-05 - Wyborcza (Poland) - Brian Griffin interview

http://wyborcza.pl/1,75475,16096019.html

Najlepszy fotograf lat 80. dla "Wyborczej": Pracowałem dla Depeche Mode, pracuję dla premiera
Olga Szymkowiak

(...)

Powiedział pan, że pomógł niektórym zespołom w rozwoju kariery. Miał pan na myśli Depeche Mode? Kiedy ich pan poznał, byli dzieciakami.

- Tak. Rzeczywiście zachowywali się jak dzieciaki, nie mogli się na niczym skupić, jak to młodzież, a ja czułem się, jakbym był ich nauczycielem. Po raz ostatni pracowałem z nimi w 1998 r., kiedy reżyserowałem teledysk do "Only When I Lose Myself". Byli już wtedy dojrzałymi mężczyznami koło czterdziestki. David Gahan przeszedł przez wiele dramatycznych zakrętów i pokonał narkotykowy nałóg. Byłem pod jego wielkim wrażeniem. Byłem też jednak zadowolony, że nie muszę fotografować ich przez dłuższy czas, jak wcześniej. Za każdym razem, kiedy robiłem zdjęcie na okładkę, modliłem się, żeby artysta nie chciał się na niej znaleźć. Uważałem, że bez niego można stworzyć znacznie ciekawszą kompozycję promującą płytę. Wyjątek stanowił Iggy Pop, który był niesamowicie intrygujący i świetnie wychodził na zdjęciach.

Zdjęcie, które znalazło się na okładce płyty "A Broken Frame" Depeche Mode, uchodzi za jedną z najlepszych fotografii lat 80. i jedną z najwspanialszych okładek płyt w historii. Ale wcześniej przygotował pan okładkę pierwszej płyty Depeche Mode "Speak and Spell" - ta z kolei uznawana jest za jedną z najgorszych okładek wszech czasów. Co poszło nie tak?

- Daniel Miller z Mute Records, wydawca Depeche Mode, przeprowadził się do budynku, w którym pracowałem. Mój agent namówił go, żebym mógł zrobić okładkę dla Depeche Mode. Wcześniej robiłem udane zdjęcia okładkowe Iggy'ego Popa, przygotowałem także oprawę płyty "Look Sharp" Joe Jacksona, którą uznano za jedną z najlepszych okładek lat 70. Daniel Miller chętnie się zgodził. W tamtym czasie twórczość Depeche Mode przypominała plumkanie. Boże! Lubiłem niemiecką elektronikę, Kraftwerk, dlatego postanowiłem sobie trochę zażartować z Depeche Mode. Powstało zdjęcie łabędzia owiniętego folią. Nad tą okładką pracował również znakomity grafik Barney Bubbles. I zaprojektował najokropniejszą okładkę, jaką można sobie było wyobrazić! Zespół był przerażony, wytwórnia też, a przedstawiciele przemysłu muzycznego zgodnie stwierdzili, że to najgorsza okładka, jaką kiedykolwiek widzieli. Najdziwniejsze jest to, że teraz wszyscy tę okładkę uwielbiają (śmiech).

Taka sytuacja zdarzyła się dwa razy w karierze. Wcześniej zrobiłem zdjęcia zespołu The Teardrop Explodes na okładkę ich płyty "Kilimanjaro". Tak wielu ludzi uznało ją za najgorszą okładkę roku, że wytwórnia postanowiła wydrukować w drugim tłoczeniu nową. A teraz wszyscy chcą mieć moją!

Wracając do Depeche Mode, nie mogłem zrozumieć, dlaczego chcieli, bym zrobił dla nich drugą okładkę. Może to dlatego, że płyta sprzedawała się dobrze?

A jak powstało słynne zdjęcie z okładki "A Broken Frame"?

- Spotkaliśmy się z zespołem i Millerem, podyskutowaliśmy i zdecydowaliśmy, że będzie to rosyjska żniwiarka na polu kukurydzy. Lubiłem fotografować ludzi pracujących fizycznie, interesowałem się rosyjską sztuką, a konstruktywizm i socrealizm były w modzie. W tym czasie pracowałem ze stylistką Jacqui Frye, która zaprojektowała ubranie dla modelki. Miejsce znaleźliśmy godzinę drogi na północ od Londynu. Bohaterką fotografii była kobieta w średnim wieku, tancerka. Pogoda przypominała tę, którą dzisiaj mamy w Łodzi. Było okropnie - ulewa, szare niebo i ta kukurydza, bardziej szara niż żółta. Kiedy wreszcie deszcz przestał padać, rzuciłem na kukurydzę trochę żółtego światła, ustawiłem tancerkę na polu i zacząłem czekać aż chmury ułożą się w interesującą strukturę. Przez chwilę wyglądały wspaniale, ustawiłem ekspozycję, balans i szybko nacisnąłem spust migawki. Kiedy to zrobiłem, wszyscy cieszyliśmy się tak, że aż podskakiwaliśmy jak dzieci. Kiedy po paru dniach zdjęcie było już gotowe, Miller nie mógł uwierzyć własnym oczom! To był historyczny moment. Później zdjęcie wybrano na najlepszą fotografię w Wielkiej Brytanii, pojawiło się na okładce magazynu "Life". Pismo zobaczyłem w kawiarni w Berlinie, niesamowite uczucie. Najważniejszy magazyn fotograficzny na świecie, a ja miałem okładkę! Ta historia pokazała mi, że w fotografii z niczego może powstać coś niezwykłego.

(...)
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Offline Angelinda

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Re: 2014: Other News
« Reply #8 on: 11 August 2014 - 23:50:51 »
2014-08-08 - NME (UK) - NME's 100 Most Influential Artists

[Thanks to Kloon from the HOME forum for uploading this scan.]



http://www.nme.com/photos/nmes-100-most-influential-artists-50---1/346061/17/1

34. Depeche Mode.
Any stadium-aimed rock sound that deals equally in mammoth synths and filthy guitar riffs can be traced back to Depeche Mode. Some of the current crop are less subtle in their approach to going full-on Mode, whereas others have taken their hedonistic approach to unquenchable melody mixed with abrasive production and upgraded it.
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Offline Angelinda

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Re: 2014: Other News
« Reply #9 on: 07 September 2014 - 03:03:13 »
2014-09-03 - Agrpress (Italy) - La personale esperienza di Ippolita Santarelli con i Depeche Mode in Behind the wheel

http://www.agrpress.it/musica/la-personale-esperienza-di-ippolita-santarelli-con-i-depeche-mode-in-behind-the-whell-3148

La personale esperienza di Ippolita Santarelli con i Depeche Mode in Behind the wheel
Antonio Marchetta

Era il 1987 ed i Depeche Mode sceglievano l’Italia per registrare uno dei loro video musicali più articolati e suggestivi: Behind the wheel.
Il video è stato diretto da Anton Corbjin, uno dei maggiori fotografi e registi nell’ambito del settore musicale e non solo.
Il video, interamente in bianco e nero, è pieno di riferimenti all’Italia e si apre con Dave Gahan in aperta campagna e con le stampelle. Dave Sembra perso, soprattutto emotivamente, e in difficoltà, come se cercasse un qualcosa che lo svegliasse dal torpore in cui è caduto, fin quando non arriva una donna in vespa, la cui bellezza raffinata, affiancata alle suggestioni del video, sembrano quasi ricordare alcuni quadri di hopper, con la presenza di donne combattute fra desolate campagne, stanze d’albergo e solitudine.
La donna che appare in Behind the whell è Ippolita Santarelli, modella romana, che nel pieno della popolarità dei Depeche Mode lavorò fianco a fianco di Dave Gahan, che oggi possiamo considerare una delle massime espressioni musicali degli anni ’80. Oggi la incontriamo per porle delle domande e cercare di rievocare i ricordi di quei giorni.
Qual è il tuo personale ricordo di quell'esperienza e di Dave Gahan?
Il mio personale ricordo è soprattutto relativo alla loro semplicità, sono persone carinissime e gentilissime, erano molto attenti alle mie esigenze. Per quanto riguarda, invece, i rapporti fra di noi oltre le ore di lavoro tieni presente che come professionisti noi al di fuori del set non abbiamo avuto nessun contatto, ci incontravamo per lavorare e ci salutavamo finito di girare le scene. Non siamo mai nemmeno stati a cena fuori una sera.
Quale è stato il ruolo di Dave Gahan nella scelta della protagonista del video?
Il ruolo di Dave nella mia scelta non posso saperlo, so che avevano bisogno di una modella che ricordasse il modello della donna tipicamente Italiana (tipo la Loren) e che sapesse guidare bene il vespone ed io avevo questi requisiti, se poi sia stato Dave, o il regista a scegliermi, o magari entrambi non saprei dirtelo.
Behind the whell è una delle canzone più apprezzate e conosciute, qual è stata la tua sensazione nel fare parte di un progetto destinato ad entrare nella storia della musica internazionale?
Devo confessarti che quando mi chiesero di fare il provino io quasi non li conoscevo, non era un gruppo che mi piacesse in modo particolare, ma dopo l'uscita del video ho cominciato a conoscerli ed apprezzarli, arrivando anche a comprendere benissimo il perché del loro successo.
Quanto tempo avete impiegato per produrre Behind the whell ed in quale parte d’Italia è stato registrato?
Per girare il video siamo stati quattro giorni a Milano, ma giravamo nelle campagne vicino al lago, non saprei dirti bene se Como o altro, a Roma altri tre giorni, per l'esattezza a Santa Maria di Galeria
I Depeche Mode nel 1987, anno di uscita del singolo Behind the whell, erano al massimo della loro popolarità, lavorare con loro ti ha agevolato nel tuo personale percorso professionale?
È stata una bella esperienza, ma non ha portato nessun giovamento se non quello che sto raccogliendo ora dopo oltre venti anni, con i fans dei Depeche Mode che mi ricercano come se fossi un personaggio. Non lo avrei mai creduto tutto ciò se me lo avessero detto allora, ma è stata una sorpresa fantastica scoprire che in qualche modo sono riuscita ad entrare nei cuori di alcuni e magari ad accaparrarmi un pizzico di eternità grazie a questo video che credo entrerà nella storia della musica, perché è bellissimo a prescindere da me.
Oggi di cosa ti occupi?
Oggi sono una normalissima cinquanteenne che non lavora più nello spettacolo, se non saltuariamente. Nell’ambito dell’esperienza che feci con i Depeche Mode, mi preme ribadirlo, sono felicissima dell’affetto che mi mostrano i fans dei Depeche, i quali mi riempiono di gioia come poche cose al mondo.



2014-09-06 - TVP INFO (Poland) - Teleexpress Extra

[A mention of DM having played for 34 years now, and few fragments of their videos. Thanks to Riven for sending us this file.]

http://www.tvp.info/16464556/06092014-1715
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Offline Angelinda

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Re: 2014: Other News
« Reply #10 on: 13 September 2014 - 08:37:27 »
2014-09-12 - Direct Relief - Martin Gore Calls for Increased Support

https://secure2.convio.net/dri/site/Donation2?df_id=2360
https://www.youtube.com/watch?v=4ODM7PB0z7M
https://www.directrelief.org/2014/09/double-your-impact-in-the-fight-against-ebola-depeche-modes-martin-gore-commits-to-50000-match/

Join Martin Gore of Depeche Mode:
Support Direct Relief's Ebola Response

After visiting the Direct Relief warehouse recently, Martin Gore of the band Depeche Mode is calling upon people like you to join the fight against Ebola. He has committed to matching up to $50,000 in donations for Ebola relief when you donate here.

“Right now we are witnessing a human catastrophe in West Africa with the Ebola crisis,” he says in a video released to raise funds and awareness for the response efforts. “Please join me in supporting Direct Relief.”

Direct Relief is sending protective gear such as gowns, masks, and goggles to health workers in Ebola-affected areas as well as medicines such as antibiotics and oral rehydration solutions to help treat patients.

So far, ten shipments valued at more than $862,000 have been sent to Sierra Leone and Liberia, with another airlift of urgently requested supplies on the way. But more is needed. Your contribution can have twice the life-saving impact when you join Martin and donate here: http://dpchm.de/ebola_dr.
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Offline Angelinda

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Re: 2014: Other News
« Reply #11 on: 16 September 2014 - 09:02:40 »
2014-09-15 - The Quietus (UK) - Thirty Years On: Depeche Mode's Some Great Reward Revisited

http://thequietus.com/articles/16246-depeche-mode-some-great-reward

Thirty Years On: Depeche Mode's Some Great Reward Revisited
Ned Raggett
Our man in Orange County, Ca, Ned Raggett gives us his Stateside view of another classic UK album… this time, Depeche Mode's fourth LP

In 1984, George Orwell has Winston Smith overhear one of the anonymous proles sing a song described thus: "The tune had been haunting London for weeks past. It was one of countless similar songs published for the benefit of the proles by a sub-section of the Music Department. The words of these songs were composed without any human intervention whatever on an instrument known as a versificator." The only quoted lyrics:

"It was only a 'opeless fancy,
It passed like an Ipril dye,
But a look an' a word an' the dreams they stirred,
They 'ave stolen my 'eart a wye!"

The implication is mechanized social control, diversion from truth and reality, silly love songs, and not a little generalized snobbishness. One has to wonder what Orwell might have thought of Depeche Mode in 1984 when Cold War propaganda was still thick in the air. In musical terms there was a critical environment where too often 'real' instruments were seen to have more validity than anything made with electronics which was supposedly being MTV pop for the ignorant and fashionistas. In this Depeche Mode were an all-electronic band with its own songs haunting London and elsewhere included this as a lyric on its fourth album, following crisp pulses and hi-hat recreations, a snaky bass part and a distorted woodwind feeling of a melody:

"Come on and lay with me
Come on and lie to me
Tell me you love me
Say I'm the only one"

Or further in the song:

"Truth is a word
That's lost its meaning
The truth has become
Merely half-truth
So lie to me
Like they do it in the factory
Make me think
That at the end of the day
Some great reward
Will be coming my way."

The great thing about Martin Gore as a lyricist is that he reduces so much to blunt imagery for it to work as a hook. No, really, it IS great. It's a knack, a talent. It's not always successful and he'd be the first to agree with that, but if you ever wanted to know why Depeche Mode succeeds, or rather one of the key reasons, it's not just that he would write that lyric, it's that he would write that opening set of four lines, laden with romantic/classic song imagery, and then go ahead and call it 'Lie To Me' anyway, foregrounding the moment that blows it all up. And then take another line in the song, make it the album title, and end up with the third in a series of great cover photographs via Brian Griffin, a bride and groom backlit in front of a very grey factory indeed. Sure you can analyze it all to bits from there, drawing on everything from Marx to the Gang of Four (the band, in this case), but again, that's Depeche's knack - you almost don't need to. THERE it is. And it's been put together brilliantly.

Some Great Reward was Depeche's fourth album in as many years, the culmination point of one phase before yet another phase in the remainder of the eighties as the band slowly but surely became one of the biggest bands on the planet, getting up nearly everyone's noses along the way and still pissing people off now just for existing even as they've become relaxed elder statesmen. Stepping back, hearing this album fresh for what it was rather than what it further pointed towards, turns memories into new appreciations. Because this is one ridiculously rich album, an industrial pop fusion of dreams, shot through with more subtlety than it's given credit for, sequenced perfectly and in the end so accomplished that it's no surprise Depeche shifted gears in the end for Black Celebration to create another landmark instead. Why rest on your laurels, especially when you're young?

Depeche's youth really is the key here still, the amiably geeky/wannabe flash of Essex kids on the make still there but just a little older now, Gore's angst dividing into desperation and dreaminess and bitter contempt, Dave Gahan still some years away from singing lessons but able to use his baritone to match all appropriate moods, a self-contained boyband playing to its strengths in the most unexpected ways. Alan Wilder was well en route towards being one of the late eighties' best pop arrangers, period, while the production team of Mute boss Daniel Miller and John Foxx assistant Gareth Jones, coming off their fine work on the previous year's Construction Time Again, upped themselves further. And if confidence bred confidence everyone had to feel pretty well chuffed by the time Some Great Reward came out thanks to a lead single some months before that had blown through the ceiling.

'People Are People', in retrospect, takes a place for Depeche Mode that matches 'Creep' for Radiohead - the breakout hit early on (if a little later for Depeche), the song that established their name well beyond their home country (it went number one in West Germany, then became their first top twenty single in America a year later), the song that after a while the bands in question just wanted to ignore and leave behind them, however powerful it was for listeners at the time. It was how I first heard about the group, though in a weird indirect fashion - I vaguely remember seeing a live clip of the song from their American tour on MTV after moving back to California from New York in 1985, thinking it was an odd band name and noting Gore's massed blonde hair more than anything else. But it was catchy, relentlessly so, and that was point - it was STUPID catchy.

In both senses of the word. Depeche haven't played the song live since 1988 and are quite content about that, Gore writing off this particular lyrical exercise as a misstep not worth repeating. I wouldn't say it's down with the near contemporary Culture Club single 'The War Song' in terms of "Uh, am I really hearing this?" but it is a little off, a nursery rhyme with a little ultraviolence, where there's nothing wrong at all with the actual sentiment, just how it comes across. Thing is, EVERYTHING else about the song, everything, is jaw-dropping genius. Depeche had already heard and figured out a way to transmogrify Gore's beloved glam rock of his youth via industrial music's metallic frenzy, Einstürzende Neubaten in particular, and the blasting electro coming out of New York and elsewhere - check out Construction Time Again's 'Everything Counts', especially the long version - but 'People Are People' put it all together in an arrangement that really did sound like a factory coming to life, busting out moves, stomping all before it by the time the last relentless beats kick in. It's almost overstuffed with clatter and clangs, a sample collage programmed and played as music that rivals Hank Shocklee's own soon to come work - and then on top of that, however goofily well meaning the lyric might be, it's delivered with immediate singalong impact, both Gahan and Gore at their then best, harmonizing, then trading off verse and bridge and back again. Gore later cited classic doo-wop as one of his own sources of inspiration for those vocal tradeoffs here and elsewhere, further evidence of just how well he knew his 20th century pop, and just that one song itself was more legitimately heavy than most hard rock or heavy metal at the time. Yet as ever too many people just went "No guitars? A nice beat and you can dance to it? TEENAGERS enjoy it? NOT REAL," and, at least in America, adding on additional charming 'limey synth fags' complaints as they went, went back to talking about horrible new records from classic rock burnouts nobody actually cared about, the sole, unshared and unshareable virtues of punk rock, and/or how Bruce Springsteen was the only real musician. (And if you're still like that, sucks to be you.)

If Some Great Reward had been nothing but a variety of 'People Are People'-styled songs after another, it would still be a hell of a shock-of-the-new moment for that time, but thankfully Depeche had shown even from the Vince Clarke-led start that everything from slow ballads to high speed dancing was on the agenda. Songs like 'Stories Of Old', taking images of courtly love and smashing them out of desperation, and 'If You Want', Wilder's last major direct songwriting contribution, split the difference between the extremes, a little stronger energy, a little calm. Meanwhile opening track 'Something To Do' is 'just' another song like 'People Are People' to a degree, with plenty of its own tricks and fillips like the strident electronic brass bit during the breaks, the gurgling burble of an opening sample sounding queasily biologic, the piano underpinning the arrangement for full impact. But 'Master And Servant' twisted everything around again - as direct as 'People Are People' lyrically but far more sinuous and unsettling in impact. Again Gore has the knack: the inspiration may have been extreme sex clubs in Berlin where they were recording, but the end result distills Bataille and Foucault almost without trying, a perfect opening vocal tradeoff of "It's a lot like life" serving as both introductory hook and mocking commentary, a surrender from the get-go so why not embrace it to the full? And instead of 'People Are People''s compacted crunch there's a looser swing at the same velocity, tones setting the stage, screeches ripping across main melody lines along with shouts, gentle croonings of "Come on…" betraying just a little of the nervous/trying-too-hard figure Gore in particular was at this time with his black leather and fingernail polish.

Then again that nervous try-hard approach that was also part of a big point - Gore's secretly affectionate nature, or at least his all-too-perfect shy boy act, as encapsulated in his singing. With Gahan taking the lead on the hyperactive singles, becoming ever more of a crowd-working frontman as he went, Gore's understated approach became perfectly suited as a lead for the ballads and the deep cuts scattered throughout Depeche's time. With a purer singing voice as such, soothing instead of amping up, it not only gave Depeche a perfect internal vocal contrast but an expanded palette overall - as much a dude approach to singing as Gahan's swagger, say, but not as immediately lounge lizard as Bryan Ferry's arch approach, more slightly ruined choirboy who can't get certain thoughts out of his head no matter how hard he prays. He only takes the lead twice on Some Great Reward and the first, 'It Doesn't Matter', plays out as a slippery tangle of nervous synth jitters, understated clangs and calmer melodies on the verses before a lovely glam-derived descend on the chorus. It's a fine moment, but 'Somebody' - famously or infamously recorded by Gore in studio without a stitch of clothing on - that's something else.

A friend once said that he figured every woman in Southern California of a certain age had this song as their all time Depeche favorite to this day. Another friend went to the trouble of going down on one knee and singing this song to his girlfriend - a trained singer like himself - in hopes she would accept his proposal of marriage. (It did, BTW, and they're still together well over a decade later.) 'Somebody' for me is one of those songs that works beyond its context just that little bit more, and also one of those moments where Gore moves just a little beyond what became his well established themes - it clicked, and resonated, the gentle piano and the restrained, distant samples, the album's quietest overall arrangement, supporting his killer vocal. The twist of sour in the sweet - lines like "Though my views may be wrong/They might even be perverted" and "Though things like this make me sick/In a case like this I'll get away with it" - reminds me of one of Gore's glam heroes Sparks and their jaundiced view of the human creature. But by coming from the other direction, heart over snark, yet leaving just a hint of it in, the smallest touch of metacriticism of love songs but beautifully sung, the result is suddenly profound. Maybe only a few later songs like Ultra's 'Home' and especially Playing The Angel's Gahan-sung 'Precious', the latter a love song to children in a family riven by divorce, reflecting his own then-recently failed marriage, has Gore aiming for such emotional nakedness to match the physical and, indeed, getting away with it.

'Somebody' was released as part of a double A-side for the album's final single, probably because they wanted to hedge their bets a bit. Because 'Blasphemous Rumours' is something else again. It's the album ender and it points the way to Black Celebration in more ways than one, lyrically and musically. Not entirely - if anything, Black Celebration is when you remove 'Blasphemous Rumours''s cheery sounding chorus (and that's definitely cheery only on a musical level), add in even darker moods and samples and then head straight to hell. Which, considering that 'Blasphemous Rumours' begins with a distant minimal melody looped and chimed, big slow grinding bashes and beats, what sounds like a spine being stretched and disassembled and then the return of the burbling sample from the start of the album and more besides, is saying something.

And lyrically? I'll quote two friends in an exchange from a few years back: "'Blasphemous Rumours' is stupid too, in that adolescent Show of Depth way." "I remember thinking this song was SO DEEP when I was 13, so mission accomplished." And for all that's understandable criticism from a safe distance, again, that's exactly the thing with Gore, reducing problems from the dawn of humanity and related philosophical questions down to a distilled mass, welding it to a melody, and the next thing anyone knows it's four years later and a Rose Bowl audience of tens of thousands of fanatics are chanting the words back at the band. It might not work later in life for most but it sure worked for a lot of folks then, and there's always another batch of 13 year olds, and when the song is about teenage suicide attempts, rediscovering faith and then dying in a car accident anyway, it's pitch perfect melodrama for any kind of high school trauma setting. Add in a dollop of a chorus about God's "sick sense of humour/and when I die I expect to find him laughing", and you got it, Depth Shown in a big and blunt way, a meat cleaver or a mace rather than anything resembling a rapier. But it still works, and I'll take it over whatever Richard Dawkins has said lately.

All that and there's so much quiet detail throughout the album, the way samples shape a beat or a bass line or a melody, echoing off the vocals, how the vocals themselves are treated or used differently from song to song, sometimes crystalline, other times distanced and reverb-laden, and always, always, ALWAYS going for the hook. Whatever it is, wherever it appears, everything hangs off of it, or them, and what could have been admired for abilities with new technologies fused with older tricks was subsumed, intentionally, with fully conscious thought, behind the fact that Gore as the main mind kept reeling off a series of songs to start with that allowed themselves to be transformed without ever disappearing. (And hey, no knocking Andrew Fletcher in all this - he may always be the quiet man on the creative front, but as the band's then de facto manager and built-in focus group for whether a song worked or not, they couldn't've done better for themselves if they tried.)

So for all that Some Great Reward was the key step for what was to come for Depeche, for all that you could easily hear where Trent Reznor went 'whoa' at some point in the mid-eighties, for all that the sheer gifts that the band had in abundance kept returning throughout, aided and abetted by the right coproducers and engineers, it wasn't enough for some in the end, whether rockist blowhards or experimental extremists or some other group again. It was too poppy, it was too easy, it was too obvious, it was too silly, it was too electronic, it was too English, and so many kept raging and raging and raging against the band and pointed to an album like this and a lead single like that as an example. But music, and art, has its own sick sense of humor, and it's clear who all has laughed last and loudest.
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Offline Angelinda

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Re: 2014: Other News
« Reply #12 on: 10 October 2014 - 00:04:34 »
2014-10-08 - Direct Relief (US) - Thank You Martin Gore & Depeche Mode Fans

https://www.youtube.com/watch?v=TaEggJMogYA

A Direct Relief-chartered Boeing 747 departed John F. Kennedy International Airport with 100 tons of emergency medical assistance for communities gripped by Ebola. The West Africa-bound airlift — the largest to depart the U.S. since the outbreak began — arrived in Sierra Leone and Liberia last week.

As confirmed Ebola cases in the region surpass 5,000, with 2,453 deaths reported, the WHO and other public health experts warn of an exponential increase if greater assistance is not provided.

“We must do all we can to prevent further human tragedy caused by this deadly outbreak and help countries avoid an even deeper setback than has occurred already,” said Thomas Tighe, CEO of Direct Relief. “Direct Relief mobilized this airlift in recognition that the failure to act now will make the crisis all the more severe.”

Aid efforts to increase the flow of resources into the Ebola-affected areas have been limited by several factors that have arisen since the outbreak’s spread: commercial passenger and cargo flights have been severely restricted, prices have spiked on the few remaining commercial transport options, and the affected countries have by necessity diverted existing health budgets to combat the crisis, deferring essential action on other health priorities.
Ebola’s effect on regional supply chains is mirroring that of natural disasters – the distribution pipeline for medical essentials has contracted when it should be expanding. In light of the growing crisis and urgent need to replenish medical inventories, Direct Relief made the decision to charter this aircraft in the absence of other viable air transport options.
Materials contained on the 747 Charter

The shipment, the eleventh from Direct Relief to Ebola-hit regions, contains 9.8 million defined daily doses of medications; enough pre-mix oral rehydration solution (40,200 liters) to supply two Ebola wards for one year; and enough coverall gowns (170,000), masks (120,000), and gloves (2.8 million) to meet the annual needs of approximately 280 health workers.

Each item and quantity in the airlift was shared with respective national Ebola task force members and Ministries of Health, and each end-recipient placed and confirmed orders via Direct Relief’s VAWD-accredited inventory system.

The medical supplies will support the efforts of local nonprofits that include the Medical Research Centre and Wellbody Alliance in Sierra Leone, and Africare and Last Mile Health in Liberia. The Clinton Health Access Initiative will also assist in the national distribution of supplies.
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Offline Angelinda

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Re: 2014: Other News
« Reply #13 on: 15 October 2014 - 23:32:25 »
2014-10-09 - Legacy of Hope: The Nelson Mandela Children’s Hospital Initiative (US) - Gibson Initiative




[Depeche Mode are one of the many members to have signed one of several guitars for the “Legacy of Hope: The Nelson Mandela Children’s Hospital Initiative”. The Gibson initiative is managed by producer Eric Gast, pictured here next to Dave Gahan in a photo from 2007. They signed it before their concert in NYC in 2013. DM also donated some VIP tickets to their NYC gig last year to this initiative, which were up for auction. The guitar is likely going to be auctioned off.]

http://legacyofhope.org/guitarinitiative
https://www.facebook.com/media/set/?set=a.823820310995524.1073741831.414483085262584&type=1

"Achieving this through the beauty of music and art is what Legacy of Hope is all about." - Eric Gast, Executive Producer, Legacy of Hope Concerts

The Guitar Initiative is a campaign to increase awareness and support for Nelson Mandela’s Legacy of Hope through the medium of music. The Initiative has two main goals: to obtain musician and celebrity endorsements, and to produce ongoing recordings by artists to benefit the Children’s Hospital and its young patients. This campaign is supported by Gibson and managed by veteran music producer and executive producer of Legacy of Hope Concerts, Eric Gast.
At the end of the campaign, these signed guitars will be displayed on the walls of the Nelson Mandela Children’s Hospital, commemorating the significant role music and art played in building this historical state-of-the-art pediatric hospital. Selected guitars will be offered to the public during the upcoming Legacy of Hope fundraising campaigns.
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Offline Angelinda

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Re: 2014: Other News
« Reply #14 on: 25 October 2014 - 02:50:15 »
2014-10-22 - Charity Buzz (US) - Signed Depeche Mode Drumhead



[In January 2014, DM also donated a microphone, a microphone standard and a guitar to Charity Buzz.]

https://www.charitybuzz.com/catalog_items/588550

Explore more lots supporting: Lulu & Leo Fund

Bid to win a Depeche Mode Drumhead signed by all members of the band!
Originally a product of Britain's new romantic movement, Depeche Mode went on to become the quintessential electro-pop band of the 1980s. One of the first acts to establish a musical identity based completely around the use of synthesizers, they began their existence as a bouncy dance-pop outfit but gradually developed a darker, more dramatic sound that ultimately positioned them as one of the most successful alternative bands of their era.
Donated By: Depeche Mode

Estimated value: $1,000.00
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