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Author Topic: 1993-1994: Songs of Faith and Devotion Release and Tour  (Read 115953 times)

Offline Angelinda

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Re: 1993-1994: Songs of Faith and Devotion Release and Tour
« Reply #30 on: 13 May 2012 - 02:22:48 »
1993-01-08 - Evenimentului zilei (Romania) - Depeche Mode va cînta la Bucuresti

http://www.evz.ro/detalii/stiri/memoria-evz-in-1993-depeche-mode-sustineau-primul-concert-la-bucuresti-1054702.html





1993-01-27 - Depeche Mode - EPK (Edit)

http://www.depechemode.com/video/epk/sofad.html
https://www.youtube.com/watch?v=v7qVoSxcBvE
https://www.youtube.com/watch?v=XBCKYdX2c6o

Songs Of Faith And Devotion E.P.K.
Video Director: Anton Corbijn
Video Source: DVD

This E.P.K. features David, Martin, Alan and Andy being interviewed by Paul Gambaccini. It was filmed in sepia (by Anton Corbijn), and contains some scenes from the band recording the album in Madrid.
 
SPECIAL NOTE: The E.P.K. has been edited for the net. This is simply a "highlights" feature. The full E.P.K. can be found on the The Videos 86>98 + home video release.

Songs Of Faith And Devotion - Electronic Press Kit
(running time: 5:49)

[Taken from the now-defunct website www.sacreddm.net.]

SONGS OF FAITH AND DEVOTION EPK / INTERVIEW CD
[1993. EPK: taken from The Videos 86-98+, MF042. Interview CD: VERBONG1.]
" You mentioned the religion and the sex thing; I think they’ve always been very tied in for me. And like, the album title is Songs Of Faith And Devotion, which has a very strong religious leaning to it. We wanted to portray that in the title, but it’s also fairly ambiguous in that, faith in what and devotion to what? "
Summary: Paul Gambaccini interviews the band members separately, asking detailed and thought-provoking questions about the development of the band, the making of Songs Of Faith And Devotion, their attitude to contemporary music and media, and Depeche Mode's internal chemistry. The material was also released on a promotional CD, minus a few short segments and Gambaccini's questions. A highly intelligent interview, indispensable for anyone interested in this era. [3795 words]

Please note: This transcript is given below in the order in which the questions are asked on the EPK. On the CD, parts are missed out and the answers are also given in a totally different order. To read the piece in the order of the CD, follow the bookmarks at the end of each paragraph. The numbers given in square brackets, e.g. [1], mark the beginning of a track on the CD.
               
[23] Do you find sometimes with the British critics that because they knew you when you were a young and poppy band they don’t take you seriously?
Martin: I think we’ve always suffered from that slightly in England, but as years go by it’s probably less and less of a problem. I think we’re thirteen years on now, so most of the people and most of the journalists are too young to remember. [on to track 24]
[17] As you look back over the history of the group, which is now about thirteen years I guess… you said you never enjoyed actually doing them, but are there any that you’re proud of having done?
Andy: All of them, I think. Actually, all of the recent ones… I wouldn’t say I’m proud of the early videos. I think we was used as an experiment for some dodgy ideas in some of those. But that was really at the start of videos anyway, in 1981, that’s when videos really started to be made, really. And there was these “storyboard” videos, and that type videos, and we had to do a lot of acting and we just wasn’t any good at that, and we realised we wasn’t going to be the new Beatles. [on to track 18]
[19] If we were to look back at key records in the history of the group, Just Can’t Get Enough would be one of them.
Andy: Obviously, that is the one – especially in Britain – which a lot of people still remember us for. Which is a shame really, because we’ve come on quite a way since then.
[20] I don’t want to believe everything that I read, but I did read once that you thought that People Are People, which was your breakout record in the States, was perhaps a bit too simplistic for your subsequent tastes. Do you believe that it was perhaps a bit too preachy?
Martin: I just think it’s not very subtle and just probably my least favourite song out of all the ones we’ve ever done.
What would be your favourite?
Martin: There are so many songs… I really like Shake The Disease, I still like Stripped for certain atmospheres, and with this record I think you can’t really tell until at least a couple of years later. You’re just too close to it. I never know, until it’s actually out, even with Violator last time, I wasn’t eve sure if I actually liked it until a year or so after it was out. [on to track 21]
[11] One advantage that you’ve had is that you’ve never been too associated with any particular musical trends, so therefore you don’t go out of fashion when the fad does. Do you find yourself listening to much music now that you live in America?
Dave: Yeah, all the time. I listen to as much music as possible all the time. Everything, lots of things, classical stuff, and I think it’s really important to get out and see bands and go to gigs and listen to music and totally be involved in it all the time. Because otherwise it’s just too fake.
Alan: As far as pop music goes I don’t tend to follow it, I buy a lot of CDs and I listen to a lot of music in the car, for example, and I watch things that I tape off TV, specific things that I want to see, but I don’t really just switch on the radio and have it in the background or follow the charts really, I don’t really have much interest in it.
Martin: At the moment I think everybody expects us to come out with a techno album, like a hard dance album, but I think there’s so much of that music around at the moment and the song’s really getting lost, so I don’t think I consciously sat down and tried to react against that. But I think it’s just something that you do because you listen to the radio, you go to clubs, and you’re just like immersed in this same sort of music everywhere you go, that you go home, and for me I think that when I sit down and write a song it just comes out differently because I want to hear something different. [on to track 12]
[5] It is fascinating really that you’ve each evolved into a different kind of role – one is the songwriter, one is the singer, one is the technician, and you’re the businessperson. It’s an amazing mixture.
Andy: I think it’s the way a modern band should be, really. And I think if more bands were like that, they could run their affairs more successfully, you know. [on to track 6]
[1] What’s the evolution in your mind from having been at one point the new boy to now the keeper of the instrumental sound, if you may call it that? When did you realise that this particular responsibility was coming your way?
Alan: Well I suppose with experience you want to take more control; the more you learn, the more you realise you can usually do something better yourself than putting it into other people’s hands. I’ve always had a strong interest in the production side of making music, and that’s just really evolved over the years. It seems that the way we’ve delegated roles within the group – a natural delegation, if you like, something that’s happened without, really, us sitting down and deciding – it’s left me with most of that responsibility, and I enjoy that.
Martin: I’d always written songs, from the age of 13 or so I started writing songs. Not a lot, but a few songs, a back catalogue anyway. I was just thrown into it, and fortunately we were young enough not to worry about things. I think if the same thing happened to us today, we’d have probably been going “Oh my God, what are we going to do now?” because I think as you get older you tend to be more practical about things. But we just went straight back into the studio and didn’t worry and fortunately things just turned out. I mean, I don’t think the second album was a masterpiece, I think we just about got away with it! [on to track 2]
[7] You find yourself in a position like that of Roger Daltrey in The Who, who sang the songs written by Pete Townsend. This successful relationship with Martin has been going on for so many years now, has it ever given you chance to reflect on what kind of mental or spiritual relationship you have with this man?
Dave: Over the last couple of years I think I’ve felt a lot closer to Martin, I’ve got to know him a lot better, I’ve liked him a lot more. I’d like to think he felt the same about me. I feel – I don’t know – in some way really close to his songs. When I was wanting something else, he’d write that song. No, I really love singing Martin’s… Martin’s a brilliant songwriter, and I’d like to think that the rest of us – Alan and myself and Fletch – bring out the best of those songs. [on to track 8]
[2] Who were your early favourite songwriters, or did you have even any, did it just come out of you?
Martin: There were people that I was really influenced by when I was growing up; I think I really used to like Gary Glitter, yeah I think that was my inspiration when I was twelve, thirteen, fourteen when you’re probably at your most influential. And when I got a little bit older, I got into people like, I really like Jonathan Richman, things like that. Probably a bit strange really, it’s not what people expect me to like. [on to track 3]
[12] Do you think that as many people of the current generation want to make music as did of yours? And if not, what was it that was special in your mind that encouraged you to do this?
Alan: I’m sure there are just as many people now that are interested in making music as there were when I was growing up. The reason I got involved really was because it was in the family – I was encouraged by my family to learn the piano, which I did, as a young lad, and that just evolved into interest in popular music as opposed to classical music, which presumably they expected me to be interested in or to follow my brother through – my two brothers are both pianists, and I was sort of expected to follow suit. But for some reason I got interested in blues music and rock’n’roll. [on to track 13]
[3] I can’t help but notice that it’s three years since Violator, does this mean that you’re writing less or recording less?
Martin: I think we have to get things right after – I can’t remember what it is now – ten albums or so. It just takes longer until everybody’s happy with the end result. Your standards go up, and also you’ve tried so many things that to be experimental and to do things that are different for us just takes longer.
Alan: There’s been big changes in each individual member of the group, which I couldn’t sum up in a few sentences. But particularly over the last few years I think, since we’ve got to our thirties, and you can see within everybody that certain aspects of their lives have become much more important to them. What with having had a significant break away from each other before we started making this record, when we came back together you could really see the changes within everybody.
Dave: Really during the making of that record and touring with it, a lot of things changed in my life. I found myself breaking down a lot of things that were no longer giving me anything at all apart from heartache and grief, to be quite honest. So I tried to change everything, and I fell in love, and flew away to another country and got married and everything, and started a new life, really. [on to track 4]
[16] Of course, I’ve noticed that between us, and slightly behind us, there is a large drum kit, and I gather that you’ve been doing a bit of practicing.
Alan: Yeah, I’ve got quite a lot more practicing to do as well, if I’m to play them live, which is what I intend to do on the next tour, on certain songs or all the songs. [on to track 17]
[8] Condemnation is a riveting-sounding track – I must admit when I first heard it I thought “Oh my God, have I got this on at the wrong speed?” because it starts very slowly. You must have had a lot of fun working on that one.
Martin: Yep, that is one of the tracks that we used other people on, backing singers, gospel singers; but it is actually sung in a very gospel quartet style, old gospel quartet style. And we basically worked out the parts and sang them, we didn’t sample vocals off, we just sang the parts like a quartet. So it was very interesting to do that, and I think Dave’s given his best vocal performance ever on that track.
Alan: We managed to find a good environment, we did that particular vocal in Madrid, and the house where we set the studio up had a very echoey tiled room down in the garage, and he sang down there, and he enjoyed singing in that space – just the way the room set off the sound of his voice, was pleasing to him and therefore he sang well. [on to track 9]
In Condemnation you’re all singing along; do you enjoy taking part?
Andy: Most of the time that’s not me, Paul. My voice has been criticised – unfairly so, I think [laughs].
You don’t fight for roles, do you?
Andy: The roles are… basically Martin and Alan are so good, very red hot with their harmonies, and I get criticised a lot – my voice isn’t up to it, really. I think it’s better than they think it is [laughs].
[9] Martin said that he thought Condemnation was your best vocal performance to date, do you feel good about that track?
Dave: To me that song is definitely the best vocal that I’ve ever… the best lyrics, I think, and melody that I’ve ever been given to sing, That’s the song that I wish I could have written. It was one of the first songs that we done out in Madrid, I just felt everything that I was saying was making sense, and it was kind of breaking down and crushing or opening up new things for me, breaking down old things, and it was kind of like getting to the end of it, and when I heard it back I just thought, you know, it sounds great! And Flood, and everybody in the studio was like… I could tell, there was a feeling when I walked back into the control room everybody was like, “That was really good.” And that’s the first song I would have liked everybody to hear first, because I just think we captured something really really special. [on to track 10]
How do you improve your voice after having been on record for many albums now?
Dave: Wouldn’t you like to know, Paul?
I’ve always thought of the band as having a European influence and appealing to European –
[there is a knock at the door of Martin's hotel room]
Martin: Who is it? [he opens the door to a woman who appears to be a call girl]
Guest: It’s me, it’s me.
Martin: [manhandling her back out] We’re filming.
Guest: Well what’s going on? But time’s money – shall I come back later then, or what?
Martin: Just – go on.
Guest: Just come back later?
Martin: In a bit, in a bit. [he shuts the door on her]
Martin – what are you doing?
Martin: [laughs] Sorry?
[21] I always thought of the band as having a European influence, and appealing to Europeans. Would you agree with that?
Martin: No, I don’t think so at all, I think I used to think that, but I think that our success in America has really sort of shown that up to be false. We sell just as many records in America now as we do in Europe put together. [on to track 22]
[4] Well, the four of you do work together, and it is noteworthy that after all this time there hasn’t been somebody saying, “I’m going off and doing my own thing,” or three of them saying, “You’re not carrying your own weight – leave.” This happens with so many groups – do you think it’s because you were fortunate enough to find your own tasks, or is it just some sort of special chemistry?
Alan: I think most successful groups have a unique blend, if you like, that chemistry thing. And I’m sure we do have that, but we also have had the type of problems that you talk about, it’s just that you don’t hear about it, I’m sure. You always have internal wrangles; you always have internal problems. There isn’t a group that exists that hasn’t had that, and we’re no different in that respect, but we tend to keep that kind of thing fairly private because it’s not for anyone else’s ears really. But generally speaking we’ve managed, as you say, to delegate it and allocate our roles in quite a new way, a way that works, and most of the time we’re happy like that. [on to track 5]
[6] Do you find you get on just as well as ever?
Martin: I think… obviously we have our disagreements, and after thirteen years you know everybody’s personality so well, and when there are disagreements you can predict how they’re going to go. But I think we get on as well as we can after thirteen years, which is… That makes it sound bad, but we actually get on well.
Dave: To be honest I find it a little bit sad that I haven't become much closer to the other people that I work with, and have worked with for a lot of years. I'd like to have changed some of the things that we done, in that... you know, our relationship: to me it's really important, what we have, the whole atmosphere that Depeche Mode creates when they're in a room together, as much as, sometimes, I hate it, I love it so much as well. And each person I love, as well. [on to track 7]
[14] Were there ever moments where you’ve been on stage and you find yourself watching Dave?
Alan: Yeah, many moments. I mean, what he does on stage is very difficult, and I try to encourage him, or at least let him know that I value what he does on stage because he really does take the brunt of the attention. And it’s a very difficult thing to do – there are very few good frontmen around, and I think he does it well.
[15] As we contemplate your stage act, I’m reminded that many people now have genuine designers work on their stage sets. Will you be going in this direction?
Alan: Well we always work in conjunction with other people when we’re putting stage shows together; Anton’s working on this particular stage set with us and we’ll be looking to him for some very strong ideas. Plus we’re trying to put as much thought to it as we can, and try and do it in a very different way than we have before, which is generally how we approach most things. [on to track 16]
Martin, before I say anything else, I’ve got to tell you I’m knocked out by this guitar; is it one you’ve had for a while?
Martin: Yeah, I’ve had it now for about five years or so, it’s actually my favourite guitar. I’ve got quite a collection now, and we try them all for every guitar part in the studio, and I always go back to this one.
What’s special about it?
Martin: It’s just a very full sound, it’s quite old, I think it’s early sixties or something.
[10] I remember the excitement in concert when you came forward to play a guitar piece. Will you be using the guitar more in the show, do you think?
Martin: With every album I think we incorporate more guitar parts just because it seems more natural, so I have to perform live then. I actually enjoy it as well. I think we’ve managed to get a good balance between rock and electronics, I don’t think the show’s over-rocky, which was always our worry, I think it just adds a new dimension to the show. We’ve actually come forward, instead of the three of us being stuck behind keyboards. I think we’re going to try and do more of that sort of thing on the next tour with drums and stuff. [on to track 11]
[24] You say you’ve been dissuaded from singing. Have you ever wanted to write?
Andy: I’ve tried writing… Again, I’ve been in a band with two of the best modern-day songwriters really, and it doesn’t really do much for your confidence. You present a song and it’s not really up to scratch, so I basically gave up and sort of concentrated on what I thought I was good at. [on to track 25]
Dave, I have to say this, as you’ve been animated in our conversation your tattoos have seemed to come to life, and I suppose this is –
Dave: Oh! Don’t say that, for God’s sake!
[25] - This is probably the best chance we’ll ever have to have a guided tour of these tattoos, if you don’t mind. Could you explain which are new?
Dave: They all tell a story, really, to me. They all mark some kind of personal change or something that went on in my life, right from the first one that I had, I had very young. I have another one here that I had removed just because I didn’t like it. At that time I thought about getting both of them removed. But there’s been some other things done, they all kind of mark events really, but it’s personal. And they’re kind of like my war-paint really. I’ve got to have some more done yet before we go on tour. [end of CD interview]
[13] You certainly seem to have trusted Flood, with whom you’ve been working, as a producer. Now, for four guys who are relatively so protective, how did he come to win your trust?
Alan: Well, Flood’s become a very important part of our team over the last two records. We really needed a change from the production team we had been working with before that and it was suggested to us that we try and work with Flood who had a good knowledge of electronics and synthesizers but also had a good perspective as a producer and was probably someone we could get on with, and so we just entered into an album with him and it sort of clicked from there. And as I say, he’s now become a crucial member of our team and his contribution is vast. [on to track 14]
[18] Now that the novelty of making videos has worn off, do you find this a genuine outlet for your artistic expression or is it just a chore?
Martin: Well, to be honest, there was never any novelty in making videos. We hated making them from the very first one, and it wasn’t until we started working with Anton we actually started liking to make them. And I think we felt we could just never trust the directors and… I mean you’re totally in the director’s hands, you’ve got no idea how it’s looking when you’re filming it, you basically don’t ever see it until it’s finished, and by that time it’s too late to change anything, basically it’s got to go out. So for our first fifteen videos or so we pretty much hated them, and now we’ve got into this routine of working with Anton and he explains things to us. And also because we have this trust in what he’s doing, we know the end result is going to be quite good, which makes it a lot more enjoyable to actually film. [on to track 19]
[22] Martin: You mentioned the religion and the sex thing; I think they’ve always been very tied in for me. And like, the album title is Songs Of Faith And Devotion, which has a very strong religious leaning to it. We wanted to portray that in the title, but it’s also fairly ambiguous in that, faith in what and devotion to what? [on to track 23]
You’ve now agreed on I Feel You as the first single – was this a pretty general consensus?
Andy: No – nothing is these days [laughs]. The trouble with this album, we seem to have so many different options, we just felt that I Feel You made the right sort of statement.
Dave: It’s full ahead, it’s right in your face – that’s what it’s supposed to be, and it’s pretty sexual and it’s got a really heavy feel about it. It’s not actually my choice for what should be the first single or what we present to people as our first recording, if you like. But I understand why people think it should be.
Have you got any ideas yet for what you’ll be doing for I Feel You?
Martin: No, he’s too slow [laughs]. We gave him the tape a few weeks ago, he hasn’t come up with anything yet.



1993-01-28 - Bravo (Germany) - Die Neuen Depeche Mode

[Thanks to fatherlesschild for this scan!]






1993-01-xx - PopRocky (Germany) - Was machen eigentlich Depeche Mode?

[Thanks to ScannedPress of Scannedpress.blogspot.com for scanning this!]





1993-01-xx - Bong Newsletter:

[Taken from the now-defunct website www.sacreddm.net.]

Summary: Occasionally it was necessary for Bong Magazine to send out newsletters in addition to the regular magazine to publicise special events. Here is a small selection of these newsletters.
Many thanks to Michael Rose for kindly supplying photocopies of the newsletters.

[Thanks to Marblehead Johnson for scanning this.]



[1] - c. January-February 1993
            Announcing the pre-release listening party for Songs Of Faith And Devotion at the Ministry of Sound, London, 12th March 1993. [view transcript]
       

[Bong Newsletter [1] - c. January-February 1993.]
Dear Fan Club Member,
    We are holding an exclusive pre-release listening party for the new Depeche Mode album "SONGS OF FAITH AND DEVOTION". This event will be held at the Ministry of Sound in London on Friday March 12th and will include the chance for one fan to ask a pertinent question to the band.
    Apart from getting to hear the album prior to the release on one of London's premier nightclub sound systems there will also be an hour long question and answer session with the band that will be satellite linked live to other parties around Europe.
    The evening will be hosted by Radio 1's breakfast DJ Simon Mayo and will also include a full showing of the new Anton Corbijn electronic press kit which is a half hour film of interviews with all members of the band. [1]
    Tickets will be strictly limited to the first 700 replies received by the Fan Club and all applications must be marked FAITH and include a stamped addressed envelope. The fan who includes the best question will get the chance to put their query to the band. All replies should be addressed to the official Depeche Mode Fan Club.
    The doors will open at 5.45pm and the evening starts with the Cyberwerks' DJ Paul Green and finishes at 10pm.
    Due to the exclusivity of this event NO CAMERAS and NO RECORDING will be tolerated and anyone found with either will be refused entry.
[1] - A transcript of this press kit can be found here [link coming soon].



1993-02-04 - Bravo (Germany) - Depeche Mode Tour

[Thanks to Milik for offering to send in this scan!]





1993-02-07 - Unknown (Spain) - Martin (5 min)

[We don't have this audio interview.]



1993-02-07 - Canal+ (Spain) - Interview with Martin Gore

https://www.youtube.com/watch?v=lk_Jo3iIOps



1993-02-12 - Press Conference in Czech Republic:

(go to 4:07 minutes into the video): http://www.youtube.com/watch?v=ZgJXaRaakm8

Transcript:

http://www.dm-museo.cz/clanek/tiskova-konference-12-02-1993/730
http://depechemode.cz/prilohy/zapisy/halo_05.pdf

Tisková konference 12.02.1993

Depeche Mode připravili na předem utajovaném místě tiskovou konferenci k vydání alba Songs Of Faith And Devotion. Přinášíme vám přepis této tiskové konference z hotelu Relax v Podkozí, které se zůčastnili Martin Gore a Andy Fletcher a zástupci médií.

Proč jste natáčeli desky v rozdílných studiích, v Dánsku, v Londýně a různě jinde? Chtěl bych vědět, proč jste si vybrali právě studio v Hamburku?
MG: Nová deska byla pro nás velmi důležitá.

Kterou desku považujete za nejpodstatnější a nejlepší, kterou jste udělali v průběhu své kariéry?
MG: Bude to ta nejnovější.

MF DNES (Alex Švamberk): Proč uplynuly tři roky od vydání poslední desky a proč jste tak dlouho čekali s nahráváním?
AF: My jsme byli po našem posledním LP na ročním turné, pak jsem si dali jeden rok volna a další rok jsme připravovali tuto desku. To bylo zhruba období těch tří let.
MG: A kromě toho jsme spolu už 13 let a myslím, že je stále těžší udržet si stejnou úroveň práce.

FILIP: Já jsem se chtěl právě zeptat, zda je pro ně těžší natáčet 10. desku než prvou?
MG: Velmi často se nám ve studiu stává, že něco zkoušíme ... a zjistíme, že to vlastně připomíná něco, co jsme udělali před 4 roky. Z toho důvodu musíme daleko více experimentovat.

RÁDIO BONTON (Michal Jirák): Jak vás ovlivnil hudební materiál, který měl sólový projekt Alana Wildera?
MG: Nemyslím, že tyto naše desky nějak moc ovlivnilo, ale jeho projekty se mi líbí.

MELODIE (Jaromír Tůma): Dvě otázky - jedna pro pana Fletchera: Očekává pan Fletcher odlišnou reakci na novou desku v Americe, na britském trhu a na evropském trhu? A pak otázka pro pana Gorea: Jaký je momentálně názor ve skupině na funkci kytary?
AF: My zatím nerozlišujeme tu reakci podle jednotlivých zemí, v tomto okamžiku víme, že ta reakce je dobrá
a můžu požádat o tu druhou otázku?
MELODIE: Jaký je momentálně ve skupině názor na kytaru, na funkci kytary?
MG: Když jsem začínali byli jsme něco jako elektroničtí puristé ... začali jsme uvažovat i o jiných formách ...

RÁDIO 1 (David Bernatský): Kde jste čerpali inspiraci a jestli jste inspiraci čerpali taky u jiných skupin jinačích žánrů?
MG: Hudebně jsme byli ovlivněni především Kraftwerkem a způsobem jejich práce se syntezátory a pokud jde o textovou stránku, myslím, že mě nejvíce ovlivnil John Lennon.

10:15 PROMOTION (Milan ...): V názvu desky a v těch písničkách je dost víry a náboženství v podtextu, mě se ale zdá, že je tam vyjádřena sexuální touha?
MG: Vždycky se mi velmi líbil koncept víry, ale nikde jsem nenašel něco v co bych mohl plně věřit a jediné věci, kterým věřím hodně jsou láska a sex a to je proč o tom píšu, protože láska, sex a náboženství jsou navzájem propojeny.

FILIP (pan Polák): V poslední době je známo, že členové skupiny prošli různými životními peripetiemi. Jak se jejich rodinné poměry a problémy promítly v jejich tvorbě?
MG: Co tím přesně máte na mysli?
FILIP: Mám na mysli, že tam došlo k několika rozvodům a svatbám, jestli se to nějak projevuje...
MG: My se snažíme udržet věci v rovnováze, to znamená, že když se David rozvedl, tak v tom případě by se někdo jiný měl oženit. Aby se tato rovnováha udržela.

RÁDIO CITY (Šárka Šálená): Já bych se chtěla zeptat, jestli se Dave Gahan ztotožňuje s texty, které napsal Martin?
MG: On nikdy neměl problémy s texty písní, občas jeho interpretace je jiná než by byla moje, ale pokud cítí nějakou vášeň nebo touhu, myslím, že je to v pořádku.

ROCK & POP (Petr Čáp): Co si myslíte o hudebním průmyslu, o tom velikém soukolí a velikém kolotoči peněz a zda máte plnou kontrolu vašeho produktu od natočení až po realizaci obalu? (pak bych měl ještě jednu otázku)
MG: ...Já jsem se vždycky snažil držet stranou od toho hudebního průmyslu a to je také důvod, proč vydáváme na nezávislé značce a myslím, že se nám daří proto, že nemáme managera a všechna rozhodnutí činíme sami. Dá se říci, že máme plnou kontrolu od začátku až do konce.

ROCK & POP: S tím obalem souvisí ještě jedna otázka, jestli by jste mohli prozradit, co znamenají na obalu singlu "I Feel You" ty číslíčka?
AF: Je to velmi tajné (TOP SECRET), ale když se nad tím dobře zamyslíte, tak na to možná přijdete.
Karel Peniš: ...porovnejte si čísla a potom vyhoďte 19 jo?, myslím, že to snadno rozluštíte
Pozn. - číslo 19 se nemá vyhodit, ale přidat

10:15 PROMOTION: Když už jsme mluvili o zpěvákovi kapely, který poslední dobou změnil svoji vizáž, jestli je to vizáž související s tím náboženstvím a s Kristem?
AF: Jako, že vypadá jako Ježíš Kristus? No, chtěl vypadat jako Ježíš Kristus.
MG: On hlavně změnil svůj životní styl a myslím, že to ho ovlivňuje daleko více.

MLADÝ SVĚT (Roman Lipčík): Martin Gore řekl, že bude velice těžké natočit na další desce věc lepší než byl Violator. Tak se chci zeptat, zda si myslí (oba dva), že se podařilo natočit LP lepší než byl Violator a pakliže ano, ve kterých ohledech je tato nová deska lepší než Violator?
AF: My jsme především nechtěli, aby to byla deska Violator II. Obzvláště Martin měl na počátku problémy pokud šlo o psaní písní. Zda je lepší nebo horší, to uvidíme až třeba s ročním odstupem.

RÁDIO VOX (Wendy): Moje otázka zní - nakolik měli oba dva pánové možnost seznámit se s tvorbou českých skupin, které jsou zjevně spřízněné se skupinou DM a myslím, že jde především o Oceán a Shalom, a pokud měli tuhle možnost, tak jak tu tvorbu hodnotí?
MG: Abych byl upřímný, tak jsem žádnou z těchto skupin neslyšel, ale dostal jsem jako dárek tašku, ve které je několi CD desek a doufám, že si je budu moci poslechnout doma ve studiu.

ČT - KONTAKT (Pavel Svoboda): Po vydání LP Violator a po absolvování turné jste tvrdili, že jste všichni v pohodě a že se těšíte na další desku. A budete to tvrdit i poté co vydáte tuto desku a absolvujete turné? Vyjádříte se k tomu oba dva?
AF: My jsme se na turné velmi dlouho připravovali, protože půjde o velmi náročné turné, ale ve skutečnosti se těšíme jenom na ty první zastávky...
K. Peniš - jen poznámka, počítá se, že na přelomu července a srpna by mohl proběhnout koncert v Praze.

RÁDIO 1: Před léty jste řekli, že ve stylu House music, Dance floor..., je velká inspirace, což se trošičku ukázalo na tom vašem posledním singlu "I Feel You" - Babylon mix, míníte pokračovat v předělávkách věcí stejně a nebo počítáte s nějakým vydáním takového toho spíš tanečnějšího LP, nebo nějakého předělaného LP?
MG: ...písničky jsou spíše pomalé, pokud jde o ty remixy, vždycky nás zajímalo to, jak by předělali naši práci ... si vždycky pozveme nějaké nové zajímavé lidi, aby zkusili něco jiného s naší hudbou.

DMF (Eva Krausová): Co byste prostřednictvím této tiskovky chtěli vzkázat svým fanouškům, kteří očekávají nejen jakýkoliv kontakt s Vámi, ale také se těší na koncert v Praze?
AF: Já bych jenom řekl, že jsme tady rádi a aby jste vzkázala našim fanouškům, že tedy v červenci tady budeme na koncertě.

MF Dnes: Z toho, co jsem slyšel, jak z té desky, tak v mnohých písních, je zvuk výrazně takový hrubší, důraznější, méně průzračný než byl dříve. Čím je to dáno, jestli je to dáno třeba úspěchem elektrotrendu v posledních letech, nebo jestli je k tomu vedli nějaké osobní důvody, proč ty podklady jsou velmi často až hlukové?
AF: Nám se zdálo, že naše předchozí desky nebyly tak uvolněné, to znamená, že tahle poslední desky byla taková uvolněnější, syrovější.

MLADÝ SVĚT: Co vedlo pány k tomu, že se odmítli nechat fotografovat?
MG: Takže, my jsme si během let vybudovali dobrý vztah s Antonem Corbijnem, který jako jediný má na starosti veškerou vizuální stránku naší práce, fotky, videoklipy...

FILIP: Jsme velice rádi, že jsme se mohli setkat s polovinou DM a přitom mi dovolte otázku - Máte představu, co dělá druhá polovina?
AF: V tomto okamžiku se připravují na naše turné, Alan je ve studiu, připravuje se na živé koncerty, zatímco David je někde v tělocvičně a posiluje, aby byl fyzicky fit na naše koncerty atd., my jako druhá půlka děláme propagaci tomuto LP.

Počítá pan Gore s nějakým sólovým projektem nebo jestli vůbec ještě pracuje na nějakém novém svém sólovém projektu?
MG: Přemýšlel jsem o tom, když jsme měli ten rok volna, ale pak jsem si řekl, že by bylo lepší si odpočinout a začít za rok psát písničky čerstvé, než abych půl roku strávil ve studiu.

RÁDIO BONTON (Karel Novák): Já bych se chtěl pánů zeptat, zda-li už se nějak hlouběji zamýšleli nad tím, proč vlastně jejich hudba zaznamenala takový úspěch? A pokud ano, tak k čemu došli?
MG: My jsme se nesnažili věc takhle analyzovat, protože myslím, že bychom mohli propadnout panice, kdybychom se těšili jenom na hlubší analýzu. Prostě děláme věci přirozeně a necháváme je tak jak je uděláme.

RÁDIO VOX: Já bych si ještě jednou zahrál na tenkou strunku a to sice dvěma otázkami - jednak - jestli se v novém koncertním turné uvažuje o postu předkapely a pokud ano - jestli je teoretická možnost, že by se třeba pro koncert v Praze ta předkapela rekrutovala z těch kompaktů, které mají v tuhle chvíli pánové v igelitové tašce?
AF: V tomto okamžiku se teprve rozhodujeme o naší předkapele, a jsme otevřeni všem návrhům. Zatím jsme se stále ještě nerozhodli.

MELODIE: Co si myslíte o současné hudbě Vince Clarka? Kdyby býval zůstal ve skupině DM, byl by ještě potřebný?
MG: Pokud jde o ty mezilidské vztahy, tak si docela rozumíme, i když máme oba spoustu práce. Když se nám podaří sejít se, tak zábava nevázne. Ovšem abych vám řekl pravdu, osobně jeho hudbu nemám rád.

RÁDIO CITY: Jedna malá osobní otázečka pro Martina - s jakými pocity jste psal svoji skladbu Martine při písničce "Motherless Child"?
MG: Já jsem tu píseň nenapsal.
Šárka Šálená: Zpívá se v ní "... sometimes I feel like a motherless child..."
MG: Já jsem to nenapsal, to je staré tradiční blues.

10:15 PROMOTION: Chtěl bych se zeptat Martina, měl takové období, kdy vystupoval v ženských šatech. Zajímalo by mě, jak to vysvětlí své dceři až povyroste, když se podívá na staré fotky?
MG: Musím říct, že to je moje velká obava, myslím, že lidé mne nepochopili, já se prostě tímto bavil a nic jiného za tím nebylo. Ale doufám, že se mi jí to podaří vysvětlit, myslím, že mne pochopí.

otázce bohužel nebylo rozumět
AF: Máme nového režiséra, protože s ním natáčíme rádi, s těmi předchozími nás to už tak nebavilo.

MLADÝ SVĚT: Říkáte pánové, že oba vaši kolegové se připravují na turné, není pro vás nudné takto se setkávat s novináři?
AF: Není to až tak zábavné, ale je to lepší než být ve studiu. A kromě toho jsme tedy mimo Angliii teprve pár dnů ... minulá noc byla např. velmi strhující...

EVROPA 2 (Hanka Kousalová): V Praze je jedna stanice metra a ta je popsaná nápisy "I love DM". To je pro vás lichotivé. Já bych se Vás chtěla zeptat, psali jste taky někdy někam na zdi a když jste psali, tak jaké skupiny nebo co jste tam psali dřív a co by jste tam napsali dneska?
MG: Já jsem nikdy nerozuměl téhle obscesi s hudebními skupinami. Já když jsem byl mladý, tak jsem rád Garyho Cliptna, ale nikdy jsem ho nějak nepronásledoval, měl jsem jeho fotografii, ale nepsal jeho jméno po zdi.

RÁDIO 1: Já jsem se chtěl zeptat také jednu otázku k historii, jestli sem tam si najdete čas na poslech svým starších desek a kdy jste si naposledy poslechli svoji první desku?
AF: Já v tuto chvíli poslouchám staré desky hodně, protože se připravujeme na turné a musíme si vybrat, co budeme hrát.
MG: Už si opravdu nepamatuji, protože až tak staré písně nemáme na turné, to znamená, že tak hluboko jsme nešli.

RÁDIO VOX: Neskrývá náhodou kulich páně Gorea nové překvapení, co se týče image?
MG: beze slov se smíchem kulicha sundavá

otázce není rozumět, něco ve smyslu připravovaných překvapeních, originálních efektech...
MG: Takže my hodláme změnit... Alan je docela dobrý bubeník, ale není zase fyzicky tak připravený, aby vydržel, takže má doma ve sklepě bubny a trénuje, a kromě toho použijeme možná sbor.

RÁDIO VOX: Trošku o módě, ta barva černá je váš image, nemáte někdy v soukromí takovou chuť vzít si třeba na sebe nějakou jinou barvu, červený kalhoty, trošku se odvázat?
MG: Já mám šedou. Můžu říci, že jednou jsem si na sebe navlékl barevnou košili, ale pak jsem se viděl v zrcadle a připadalo mi to tak nemožný, že jsem ji okamžitě musel sundat.

Proč megamix nevyšel pod značkou Mute Rec; a chtěl bych ještě vědět, kdo ho dělal, který mistr?
AF: Musíte mít nějakou černou kopii!

LIDOVÉ NOVINY (pan Vlasák): Z té muziky, ve zvuku té desky, je cítit určitá vstřícnost jiným vlivům i určité řekněme hudební vyzrávání. Chtěl bych se zeptat členů skupiny na kolik se sami cítí být hudebně i lidsky dospělí?
MG: Já osobně se nyní cítím jako dítě, dítě, které má další děti.

MF Dnes: Hovořil jste, že Alan má ve sklepě bicí, uvažujete někdy o nějakých akustických verzích svých písní a pak by mne zajímalo jestli při skládání používáte třeba kytar?
MG: Takže, když komponuji, tak většinou začínám s kytarou, abych zjistil, jak to půjde dohromady se slovy. My už jsme připravili některé věci akusticky, např. píseň "Personal Jesus" a v průběhu koncertu zpívám jenom s akustickou kytarou, myslím, že je to velmi zajímavé pro naše fanoušky.

MELODIE: Proč Alan Wilder na deskách DM nedostává více příležitosti jako skladatel?
MG: Z jednoho možného hlediska, protože má svůj vlastní sólový projekt, kde se realizuje...

10:15 PROMOTION: Právě kapela odjíždí na turné, já jsem se chtěl zeptat, slyšel jsem, že jsou nějaké rozpory ohledně toho jestli se bude turné hrát na stadionech nebo v menších formách. Zajímal by mne osobní názor členů kapely?
MG: Myslím, že máte chybné údaje. Máme koncertní turné rozepsané a připravené na rok dopředu a není tam žádný stadion. Pokud by došlo k tomu, že by nás turné bavilo a chtěli bychom ho prodloužit, pak bychom možná uvažovali o nějakých stadionech.

RÁDIO CITY (David Beck): Na jakých nosičích vyjde nová deska a zda skupina vsadila na technické novinky jako DCC a Minidisc, popř. co si o tom myslí?
AF: LP vyjde i na DCC A Minidisc. Ale klasickým nosičům dáváme přednost.

RÁDIO BONTON: Vy jste řekl, že Alan Wilder je v současné době ve studiu a připravuje živé turné. Do jaké míry je to předprogramováno na živo a třeba jestli se něco pouští z pásku atd... A kdo je vlastně v kapele zodpovědný hlavně za tu aranž, za ten zvuk, který je podstatně rozdílný, jestli Alan nebo to děláte všichni čtyři dohromady?
MG: Na rozdíl ode mne je Alan člověk s klasickým hudebním vzděláním na klavír, zatímco já mám takové základy vzdělání, ve 13 letech mne naučili dva akordy a moc jsem od té doby nepostoupil. Ovšem zase jsem schopen zachytit takovou vášeň, takovou touhu. Takže já udělám základní koncept a pak nechám na Alanovi, aby ho nějak rozvíjel, vždycky samozřejmě sedím vedle něj a dívám se, co s tím dělá. Pokud se mi zdá, že ztrácí myšlenku nebo, že se ubírá jiným směrem, pak mu to vždycky řeknu a takto se vzájemně ovlivňujeme. A pokud jde tedy o to naživo, tak se vždycky snažíme hrát co nejvíce naživo, ale jak víte naše písně a hudba je složitá a my jsme jenom tři muzikanti, kteří jsou pak na podiu tzn., že určitou část si musíme předem připravit na pásky.



1993-02-12 - Depeche Mode Friends (Czech Republic) - Daryl Bamonte interview

http://depechemode.cz/prilohy/zapisy/halo_05.pdf

"jak bylo v praze"
(na otázky DMF odpovídá osobní asistent DM Daryl Bamonte)

1. Jak dlouho už pracuješ s Depeche Mode a jak jsi vlastně získal tuto práci?
S DM jsem již 13 let. V podstatě jsem se s nima znal už předtím než začali pořádně hrát. Byl jsem stále ve škole a jen občas jsem si vydělal nějakou tu libru. Neměl jsem moc peněz a proto jsem někdy kluky požádal, jestli by mě nevzali dodávkou na jejich koncert. Nechali mě taky jí zadarmo, takže jsem jim přirozeně pomáhal se stavěním aparatury. Takhle nějak se ta naše spolupráce začala rozvíjet.

2. Co je vlastně náplní tvé práce u Depeche Mode a jakou máš zodpovědnost při nahrávání, turné, propagaci...?
Jsem jeden ze stálých spolupracovníků na plném úvazku a proto jsem zapleten do veškerého dění okolo kapely v značné míře. Moje zodpovědnost se v současnosti rozrostla i na tour management, ale přesto mám stále dost práce s osobními záležitostmi kapely. Koordinoval jsem většinu záležitostí při natáčení nového alba, čímž mi byla prokázána veliká čest. Během nadcházejícího turné budu v roli spolu-manažera turné společně s Ivanem Kushlickem.

3. Jaký je tvůj vůbec největší zážitek za celé ty roky?
Největší zážitek? Ve všeobecném měřítku bych řekl, že je to koncert v Rose Bowl v Pasadeně, 18. června 1988. V osobním měřítku bylo plno velikých zážitků, např. když jsem seděl ve studiu vedle Martina a Daveho, když zrovna zpívali vokál k "Waiting For The Night" v červenci 1989.

4. Jaké je tvé nejoblíbenější DM album?
"Songs of Faith and Devotion" je mé nejoblíbenější album vůbec. Každá skladba je velice ojedinělá, ale i ostatní alba obsahují plno mých dalších oblíbených skladeb - "Halo" a "Personal Jesus" z "Violator", "Stripped" a úvodní píseň z "Black Celebration", "Shake The Disease" atd.

5. V posledních letech jsi měl možnost několikrát navštívit Prahu. Ale během té poslední návštěvy (tisková koference 12. 2. 93) se vyskytlo několik problémů, co se týče letu, nepojízdného auta... Co se ve skutečnosti odehrálo a jak se vám nakonec podařilo dostat do Prahy?
Odletěli jsme z Copenhagenu v malém letadle a během letu nám pilot oznámil, že náš let byl odchýlen směrem na Linz (Rakousko). To tedy přidalo několik hodin k naší cestě. Když jsme konečně dorazili na letiště v Linzi, přivítalo nás husté sněžení, studený vítr a nedostatek možnosti k zakoupení čehokoliv k jídlu, pití atd. Pak nás čekala pětihodinová cesta do Prahy po místních silnicích a to ještě autobusem, který byl zkonstruonám dobrým králem Václavem. Hromadně jsme se shodli na tom, že naše letadlo muselo havarovat, všichni jsme zahynuli, a že to co právě prožíváme je to opravdové peklo. Nakonec nás vysadili v centru Prahy, místo na pražském letišti, jak nám bylo původně řečeno. Naštěstí to ale vypátral i George (Jiří Vatka) z Mute CS, takže nás včas na místě vyzvedl. Pak jsme se namačkali do ne zrovna prostorných aut, která byla zřejmě vyrobena stejným mužem jako ten předchozí autobus. "Nic špatného se stát snad už nemůže", prohlásil Martin optimisticky. V té samé chvíli se ale auto zastavilo a zůstalo nehybně stát na dálnici. Řidiči náklaďáků na nás křičeli, jak míjeli naše rozbité vozidlo, nevhodně postavené v rychlostím pruhu. George nám oznámil: "Žádný strachy, máme další auto a pak už je to jen 20 minut". Přesedli jsme tedy do dalšího auta a asi za hodinu jsme přijeli k něčímu domu na českém venkově. V tu chvíli nám bylo řečeno: "Toto je váš hotel". Zdálo se nám to "ohromně zábavný". Následující dva dny jsme strávili plánováním výletu do Mnichova, Vídně, Norimberku, cokoliv, jenom, abysme se dostali zpátky domů. Božstvo bylo ale tentokráte při nás. V sobotu ráno se mlha začala ztrácet a my jsme chytili let z Prahy do Londýna. Po dvouhodinovém zpoždění...

6. Máš někdy čas vyrazit s DM po práci někam ven? Zajít si na skleničku, popovídat si se známými, prostě se dobře pobavit?
Někdy jdu s Fletchem a Martinem uprostřed týdne na pivo. O víkendech zajdu s Martinem příležitostně do nějakého clubu a nebo jdu na návštěvu k němu domů. Někdy jdu na večeři s Davem (když je doma). Vždycky tu je nějaký čas stranou na zábavu.



1993-02-13 - Pop/Rocky (Germany) - Neue Mode

[Thanks to ScannedPress of Scannedpress.blogspot.com for scanning this! Cover photo was found on eBay.]






1993-02-15 - USA Today (US) - I Feel You

[Taken from an Intranet archive.]

89 words

Depeche Mode releases the single `I Feel You' today. The video, directed by photographer Anton Corbijn, premieres tonight exclusively on MTV. The single is from their upcoming `Songs of Faith and Devotion' album, due in stores March 23.



1993-02-15 - Depeche Mode - I Feel You

http://archives.depechemode.com/video/music_videos/38_i_feel_you.html
http://www.depechemode.com/video/music_videos/31.html

I Feel You
Video Released: 1993
Video Director: Anton Corbijn

The first video (and single) from "Songs Of Faith And Devotion".
 
Appears on the album:
Songs Of Faith And Devotion
 
Appears on the home video(s):
The Videos 86>98 home video
The Videos 86>98 + home video
The Best Of Depeche Mode, Volume 1 (CD + DVD) home video
2017-06-30: Photobucket has disabled external image hosting, all scans will have to be re-uploaded on another site.

Offline Angelinda

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Re: 1993-1994: Songs of Faith and Devotion Release and Tour
« Reply #31 on: 13 May 2012 - 02:23:13 »
1993-02-xx - Bong Newsletter

[Taken from the now-defunct website www.sacreddm.net.]



[2] - c. February-March 1993
            Cover letter sent with tickets to the Songs Of Faith And Devotion listening party, with further information. [view transcript]
            View pages:    page 1
[Bong Newsletter [2] - c. February-March 1993.]
    Enclosed is your ticket to the Songs Of Faith & Devotion listening party at the Ministry Of Sound.
    Please ensure that you arrive in good time as no-one will be admitted after 6.30pm.
    No cameras or recording equipment will be allowed inside the venue - anyone found in possession of either will not be admitted.
    How to get there:
Trains Buses and Tubes to the Elephant and Castle are as follows:
    BR
Trains run to Elephant and Castle BR Station from Kings Cross, Farringdon and Blackfriars. Also from Swanley and Sevenoaks in Kent.
    Tubes
Northern Line and Bakerloo Line.
    Buses
The following buses go to the Elephant & Castle;
1,12,35,40,45,45a,53,59,63,68,133,171,172,176,177,184,188,199,344,355,C10,P3,P5.
    NB:
    The listening party will be filmed and recorded for television. Acceptance of this ticket will be deemed as your permission to be filmed and included in any future broadcast of this event.
    If you have any queries, you can call me on 071-833-5595 during office hours.



1993-02-xx - Premiere (Germany) - Airplay (interview Martin Gore)

http://www.youtube.com/watch?v=2hlMZe2QWGw (starts at 1:10:12)
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Offline Angelinda

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Re: 1993-1994: Songs of Faith and Devotion Release and Tour
« Reply #32 on: 13 May 2012 - 02:41:28 »
1993-02-xx - Bravo (Germany) - Dave Gahan als Picasso!

[Thanks to fatherlesschild for this scan!]





1993-02-xx - KROQ (US) - Richard Blade talking about SOFAD (15 min)

[We don't have this audio interview.]



1993-02-xx - CFNY 102.1 Radio (Canada) - Alan & Dave

[We don't have this audio interview.]



1993-02-xx - Intercord - I Feel You press release

[Thanks to godflesh230773 from the Depmod forum for this scan!]

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Offline Angelinda

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Re: 1993-1994: Songs of Faith and Devotion Release and Tour
« Reply #33 on: 13 May 2012 - 03:05:32 »
1993-02-xx - MTV (US) - DM launch new album

http://www.youtube.com/watch?v=unai2ivHk_A

Depeche Mode interview from the launch of "Songs and Faith and Devotion", February 1993. Alan Wilder and Dave Gahan talk about the new album.



1993-02-xx - MTV (US) - XPO

Not hosted online, but the DMTVA has this file.



1993-02-xx - Maxisuper (Czech Republic) - Depeche Mode v Prahe

https://www.facebook.com/Dmf.cz


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Offline Angelinda

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Re: 1993-1994: Songs of Faith and Devotion Release and Tour
« Reply #34 on: 13 May 2012 - 03:33:34 »
1993-02-xx - Vox (UK) - DEVOUT MODED

[Taken from the now-defunct website www.sacreddm.net.]







DEVOUT MODED
[Vox, February 1993. Words: Martin Townsend. Pictures: Uncredited / Anton Corbijn.]
" "I'd like a life outside rock,' says Gahan, "but, at the same time, I'm in it right up to my fucking neck, and I'm going to remain in it. My wife would back me 100 percent, even if it meant us spending a lot of time apart. What we have is much stronger than that." "
Summary:  Article interviewing Martin, Alan and Dave (separately!) regarding the forthcoming Songs Of Faith And Devotion album and looking back at their career given that the members had just entered their thirties. The band members, open up more than previously regarding their personal lives, but the views aren't always balanced and with hindsight you can scrape the irony off of some of Dave's comments with a trowel. [3140 words]

    Half a mile from the studio in Barnes, South London, where Depeche Mode are recording their tenth studio album - a short walk across the ragged common - stands the tree where Marc Bolan met his death, two weeks before his 30th birthday.
    Quite how Pop's glamorous elf would have struggled with the problems of being a famous thirty-something are for the angels to tell, but, for the four members of the Mode, that third decade has been a period of reflection, transition and depression.
    "Over the past few years, I went from being a lad to being a man," Dave Gahan will say, a good hour into the interview. But, by that time, the other things he has said will drain that phrase of all sense of cliche. In those two years, he explains, his marriage broke up - amid, it seems, more than the usual amount of heartache - and he did exactly what his own father had done to him: walked out on a five-year-old son. Earlier this year, he was re-married.
    "Suddenly I've been able to breathe and really take control," he says. "It's been a long, painful process which I'm still healing from, but suddenly I have a lot more perspective on what I want from life."
    Much of Gahan's turmoil, during this period, finds expression in the Depeche Mode album we are here to discuss: Songs Of Faith And Devotion. Seldom has he sung with more strength and conviction - particularly on the opening 'Condemnation' - and rarely have Martin L Gore's lyrics seemed so peculiarly apt to his situation. But in the main, the album has a positive, uplifting air. Gore, the thoughtful Alan Wilder, and pragmatic Andy Fletcher, seem to have coped with their early 30s (and with the band's gradual shift into the global super-league) much better than their front-man. Their confidence is reflected in the use, for the very first time, of outside musicians, Gospel singers and even a full-blown orchestra.
    Still, it's Gahan - now sporting shoulder-length hair and a goatee beard - who best expresses the intent.
    "We're trying to lift people to a higher level, to take them somewhere where they can find something spiritual, or whatever you want to call it," he explains. "Everything's in such a sorry state at the moment."
    The band started work on the new album in March, 1992, after taking a full year off. They insist in being interviewed separately, so it's hard to get a consensus view, but it seems that it took much longer for the group to 'gel' after their return.
    "It's been a difficult album at times, there's no doubt about it," says Wilder. "The fact that we took a break away from each other, that people went and did things with their own personal lives - had children and moved to different parts of the world - has given us all a different perspective on what the group was and is, and what it means to us all. Coming back together has taken a long time to get used to. It's probably only now, in the last two or three months, that the unity of the group has solidified again. I think, for a long period this year, there were a lot of disparities between the different members of the group."
    The "disparities" are not elaborated on, but it's not difficult to surmise what they might be. Gahan was obviously unhappy and unsettled, "living out of a suitcase" between Los Angeles and London. Wilder had recorded a solo album, under the project name Recoil, during his year off, so he'd barely had a break from studio work. Fletcher and Gore had discovered the joys both of fatherhood and, in the case of 'Fletch', restaurant management: he's now a silent partner in an establishment in St John's Wood, North London. Clearly, they were being pulled in all directions.
    "At one point I was actually thinking of doing another solo record," says Martin Gore, "but then, when I had a daughter, it was like something else that was just more enjoyable than going back into the studio. [1] I'd rather have a daughter and get into Sega Mega-Drive and Super Nintendo. I ended up wasting months on Sonic The Hedgehog!"
    Depeche Mode's dilemma is thus the same as any of the bands who broke through in the early '80s: how do you combine a career with family life? For Duran Duran and Spandau Ballet, the answer was to split up and become easy fodder for Hello! magazine. For Madness - six out of seven of whom have two children or more - a reformation has meant regular group meetings to dove-tail their touring activities with school open-days. But Depeche Mode are different. Whilst recognising that the rock'n'roll lifestyle can wreck relationships, they are planning their longest tour ever in support of the new album - an astonishing eighteen months.
    "I'd like a life outside rock,' says Gahan, "but, at the same time, I'm in it right up to my fucking neck, and I'm going to remain in it. My wife would back me 100 percent, even if it meant us spending a lot of time apart. What we have is much stronger than that."
    Wilder is equally adamant.
    "My wife and I have been together a long time and it's become so normal," he says. "It doesn't seem weird to her when I go away.
    "I mean - there is no ideal situation is there? She'll come out to certain places of her choice - Paris, perhaps. She doesn't bother with Cleveland!"
    Depeche Mode's determination to thrust ahead into the '90s, whatever the risk to domestic bliss, is not arrogant (they all believe their family lives will stand the pace) but it has something of the nature of revenge about it.
    England has not been kind to them. Critics still snigger about the lacy lingerie and dresses Martin Gore wore back in the early '80s. Their music is dismissed as 'cold', because it was, but only for an album or two. Radio One only plays their records, Fletch reckons, because it feels it has to. They are a hugely successful export to every other country in the world - much bigger than, say, Queen ever were - but they remain unloved and uncelebrated at home. One solution, it seems, is to build on their American success, which began in 1985 with the Top Ten success of 'People Are People', but they won't do it by climbing into bed with MTV - "all of a sudden it's like they've grabbed you", shudders Fletch - or by advertising Pepsi. They're even split on the idea of playing stadiums any more, with only Gahan, it seems, particularly keen on the idea.
    No, they'll release their LP, play their 18 months of dates and see what happens.
    "We won't blindly rush into anything," says Wilder. "Perhaps, sometimes, that's been to our detriment, perhaps we needed to be a bit bolder and we could have hit this point a couple of years ago. But in the end, caution's a good thing."
    If Depeche Mode's approach to success has been cautious, the records and tours they have produced have not been. On single alone, they have trounced the idea of a merciful God ('Blasphemous Rumours'), glorified in sado-masochism ('Master And Servant') and explored obsessional love ('Stripped', 'Personal Jesus'). Their songs can brood, but they can also tick along beautifully from moment to moment, and they never lack compassion. Martin L Gore is a master of changing emotions and the shifting view-point.
    "I think I've always written nice songs," says Gore in his careful Cockney way. "Even when I've been accused of being depressing, I think the songs have always shown the light at the end of the tunnel.. 'Master And Servant' is the one that people will pick out, because they think it's just about S&M. If you analyse it, it's not.
    "The pop song is such a harmless format. If we were just screaming over noises and we were called 'avant-garde', we probably wouldn't get away with some of the things that we do..."
    Is S&M actually important in Gore's life, then, or is he just playing provocative games?
    "No, I've always tried to write from a personal point of view. I don't see any of the things I write about as being pervy, you know? I actually really like the imagery of S&M, and the clubs and things like that, but I wasn't just glorifying it."
    There doesn't seem to be much of that sort of thing on the new album.
    "Oh, I think it's probably there if you look for it," he laughs. "We had someone down the other day who's writing a biography for us, and it was really funny because he was talking about this pervert thing as well. We played him four or five tracks and when it got to 'One Caress' and it started off, 'Well I'm down on my knees again', he went, 'Oh good!'." Gore gives another one of his sudden, exploding laughs.
[1] - Martin's first solo album was the six-track 'Counterfeit' EP of covers, released in 1989. [continue]
[Vox, February 1993. Words: Martin Townsend. Pictures: Uncredited / Anton Corbijn - page 2 of 2]
    With his Thunderbird-puppet features peering out from under a ski-hat, slightly hunched shoulders and the ubiquitous leather trousers, Gore cuts a flamboyant figure in the pub, just across from the studio, where we talk. He's good company, holding his cigarette, oddly, between thumb and forefinger and drawing on it deeply like a sinning schoolboy as he ponders the questions. Some strange conspiracy between his teeth and his tongue means that he doesn't pronounce the ends of a lot of words and the beginnings of ones that start with 'th' or 'sh'. It's like a ventriloquist trick.
    With dozen of fine songs to his name, Martin L Gore should have been publicly lauded, alongside more ordinary songwriting talents like Mick Hucknall and George Michael, for a decade or more - but it's not something that concerns him.
    "We've been invited to the Ivor Novello Awards, we just never go," he says. "I mean...awards ceremonies. Who wants to go anyway? I don't want to belittle them, but how important are they? It's embarrassing having a gold disc on your wall. It's like saying, 'Look how important I am'." [1]
    It does frustrate him, though, that British critics still label his music cold and doom-laden, and invariably mention his past penchant for wearing women's clothes onstage.
    "It was such a small phase," he says, "and so insignificant. It was totally blown out of proportion."
    Do you regret doing it then?
    "Well, I probably will in about four years, when my daughter can look back and see pictures. Try explaining that!"
    As befits its positive, uplifting message, the new album is chock-full of religious references. At some points, Gore has Gahan sounding like a crazed whisky priest, announcing, 'Friends, if you've lost your way...' in the middle of the extraordinary 'Get Right With Me', and declaring 'I have to believe sin can make me a better man' on 'One Caress.
    "I've always had a fascination with religion," explains Gore. "I've never actually been a devout Christian or followed any religion particularly, but I've always liked the idea of belief...
    "For the title of the album, we wanted to get something with religious overtones but also a hint of ambiguity. Songs Of Faith And Devotion sounds very devout, but at the same time, faith in what? Devotion to what?"
    In Gore's case, the answer to both questions might be 'sex'. For all its biblical overtones, the new album is still suffused with sexual desire. In fact, 'In Your Room' may be the most sensual piece they've ever recorded.
    "I think, probably, 70 percent of our songs are about, or touch on, sex,' says Gore. "Personally, I find it an important thing, I find it amazing when I talk to people and they consider it a secondary thing in life. For me, it isn't something that's very secondary."
    Ask Gore to elaborate on the meanings of particular songs and he'll shake his head, citing the example of Chuck Berry, who confessed he'd only written 'Sweet Sixteen' because his publisher had told him that was the age of most of his listeners, so why not target them?
    "For me, that lost it," Gore laughs. "I can't listen to that song any more."
    Pressed on his preferred songwriters, however, he'll cite Leonard Cohen - "that won't surprise the people who think I'm a doom merchant" - and Kurt Weill, "especially when he wrote with Bertolt Brecht."
    Gore writes exclusively in minor keys - 'Get Right With Me' is his first ever to feature a Major one - never tries to write hit singles ("The moment you do that, you've lost it"), and, although their boss at Mute Records, Daniel Miller, will drop by during recordings and offer advice, neither Gore nor the others are bullied by record company interference.
    "The last time that happened at all, I think, was in 1986 when our American record company (Sire) made us flip 'Stripped', which we'd spent three weeks perfecting - for the B-side, 'But Not Tonight', which was a throwaway thing we did in a day, because there was some naff film, called Modern Girls, that wanted to use it. It bombed, they lost our respect and that was it."
    Much of the band's irritation over that decision must have stemmed from the fact that 1986 was the year when almost everything else was going right for them Stateside. They were not US stars, by any respect, but Los Angeles' now-famous K-ROQ radio station, and various others in New York, had championed their case to the point where tickets for Depeche Mode concerts in those cities could sell-out in a few hours.
    The outdoor shows that summer were elegantly-designed, beautifully-lit in purples and reds and very, very loud. Gahan's assertion that Bono came along to the band's 'Violator' tour, three years later, and "nicked a lot of our fucking ideas" is said with an affectionate laugh, but it may not be too far from the truth. [2] In his white Levi's, white vest and short, spiky hair, closer to the style of Marc Almond than Axl Rose - Gahan himself, from 1986 onwards, was already stirring plenty of camp and irony into the concept of the crotch-wiggling rock front-man, even if he lacked the head-hugging 'fly' sunglasses...
    "What you've got to be careful about," he says, "is that there's a fine line between 'Come and look at me, I'm God' and 'Come and look at me, I'll entertain you and make you feel like going home and fucking your girlfriend'. I definitely fall into the latter category."
    Just as Gahan could be tempted to lose his head onstage, so his offstage life began to fall apart during the mid-to-late '80s. Perched on a stool, in the half-light of the studio, clearly nervous - the laughs, when they come, arriving just a little too suddenly and loudly - Gahan nevertheless seems keen to air his problems, publicly. He's being brave. Depeche Mode have rarely discussed their personal lives in interview, but this time around, he gives the impression that he thinks it may help.
    "Over the years, I think I was a pretty shitty person," he says. "I didn't like what I saw and what I was creating very much in my own life. This is very personal, but it's also very relevant, I think, to the way I've wanted to push myself with this album.
    "I'd been with my ex-wife, Joanne, for a long while, and we used to be really great friends, and that had deteriorated - mostly on my part. Ninety percent of that was my doing, definitely. But I now know that it had to end, as much heartache as that brought on for everybody concerned, because I had to regain perspective on what I'd really wanted to do, and be able to put all my heart and soul into making music, which is what I really love to do. It's easy to lose your perspective on things."
    A lot of people might say you made the selfish choice - choosing a career over the health of your marriage...
    "Well, I wouldn't want it to be seen like that. There was a lot more to it than that choice. There's a big difference between what you believe is love and what hits you as actually being love."
    Gahan was married for the second time - to an American, involved in the music business - earlier this year. [3] "That was an easy decision to make. It was black and white, the difference." But, though he claims to be happier than ever, he's tormented by the idea that he walked out on his wife and five-year-old son and is obviously far from recovered from the trauma. It is much this pain, rather than the positive feelings engendered by his new relationship, which feeds his extraordinary performances on the new album.
    "It's really difficult for me to talk about this because I still haven't got over the fact, really, that I'm now a part-time dad, you know? And that, no matter how hard I want to think I can influence my son's life, there's very little I can do.
    "My dad left myself and my sister when we were very young, in a very vulnerable position, and I've done the same thing with my son. But at the same time I haven't," he says, "because I'm determined to make it work. I'm determined, much as he might hate it, to force myself on him. I'm going to see him next week, actually. I'm going down to his school next Friday to meet all his teachers and that kind of stuff. And Joanne's really good about all that - she understands the importance of me seeing him and Jack being able to see me. She's been really good about it.
    "What I hope," he says, "what I really hope, is for her to meet somebody and fall in love and realise that, probably, we weren't in love at all. That would be the best thing for me, because it would remove a lot of the guilt that I now feel..."
    If that last comment sounds selfish, well, perhaps it is. But, rightly or wrongly - and perhaps most strongly because there's still so much certainty elsewhere in his life - Gahan has moved his work with Depeche Mode into the centre of things. It's important to him that it's based on honesty.
    "For me, at the moment," he says, "'average' is no good, 'okay' is no good, or 'we'll get away with it'. I want brilliance out of life, I want the best: passion, sex, love. I want to feel moved by things."
    For the moment, at least, it sounds like the cry of a numbed man.
[1] - In 1999, Martin received an Ivor Novello Award for "International Achievement". [continue]
[2] - The World Violation tour was in fact four years later, in 1990. [continue]
[3] - Gahan's second marriage was in the spring of 1992 to Teresa Conway, whom he had met when she was a publicist for the Music For The Masses tour in 1987. [continue]

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Offline Angelinda

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Re: 1993-1994: Songs of Faith and Devotion Release and Tour
« Reply #35 on: 13 May 2012 - 03:35:57 »
1993-03-01 - WDRE Modern Rock Live (US) - Dave, Martin & Fletch

https://app.box.com/s/6nfjlbl4lmzmq5ef7hlw



1993-03-04 - MTV (U.S.) - Alternative Nation

http://www.depechemode.com/video/television/alt_nation93.html
www.youtube.com/watch?v=2RAYeFJeXi0

Alternative Nation - MTV (USA - March 4th, 1993)
Video Broadcast Date: March 4th, 1993
Video Broadcast Network: MTV (USA)
Video Director: n/a
Video Source: NTSC TV broadcast

David and Martin appeared on Alternative Nation (a daily version of the weekly show 120 Minutes) back in 1993 to promote the Songs Of Faith And Devotion album. Highlight of the segments is on part four, where David and Martin make fun of Flood's "stinky feet".
 
Due to the length of the clip, it has been broken up into four segments. Segment one is just the show intro, and the host of the show (Kennedy) announcing that DM will be coming up in the show.
 


1993-03-04 - Unknown (US) - TV Station IDs

https://www.youtube.com/watch?v=t6pSUWQ5sH0
https://www.youtube.com/watch?v=IeEFbsnRZmY



1993-03-04 - Sire Records (US) - US Satellite Feed

Not hosted online but the DMTVA has this.



1993-03-05 - KROQ (US) - Dave & Martin interview with Richard Blade and Jed the Fish

https://www.box.com/s/3lyxwl7yfbfvv7y20g0o
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Offline Angelinda

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Re: 1993-1994: Songs of Faith and Devotion Release and Tour
« Reply #36 on: 13 May 2012 - 03:38:03 »
1993-03-06 - Corriere della Sera (Italy) - I Depeche Mode in discoteca a Milano via satellite

http://archiviostorico.corriere.it/1993/marzo/06/Depeche_Mode_discoteca_Milano_via_co_0_93030611160.shtml

I Depeche Mode in discoteca a Milano via satellite

I fans del gruppo rock potranno ascoltare in anteprima via satellite il nuovo album "Song of faith and devotion" al Rolling Stone di Milano. Ingresso riservato ai primi mille acquirenti del biglietto per il concerto del 4 giugno.

I Depeche Mode via satellite a Milano. I fan potranno ascoltare in anteprima il nuovo album "Song of faith and devotion" (che uscira' il 22), al Rolling Stone il 12. L'ingresso e' riservato ai primi mille acquirenti del biglietto per il concerto del 4 giugno, e a tutti gli affiliati all' Official fan club. Alle 19.30 iniziera' l'ascolto dell' lp. Alle 21.30 il gruppo si colleghera' da Londra per rispondere alle domande dei fan. Oltre a Milano, saranno collegate Citta' di Messico, New York, Los Angeles, Berlino, Vienna, Zurigo, Israele, Parigi, Madrid, Atene, Stoccolma, Copenaghen Barcellona, Praga, Lisbona e Lubiana.

(6 marzo 1993) - Corriere della Sera



1993-03-07 - Radio 1002 Pepsi Hitline (US) - Dave & Martin

[We don't have this audio interview.]



1993-03-07 - MTV (US) - 120 Minutes

[We still need this interview. Not hosted online.]

http://120minutes.tylerc.com/1993/#030793

March 7, 1993
Host: Matt Pinfield (first time filling in as host)
Guests: Dave Gahan and Martin Gore of Depeche Mode

Sonic Youth - Sugar Kane
King Missile - Detachable Penis
Goo Goo Dolls - We Are the Normal
Helmet - In the Meantime
Depeche Mode - Master & Servant
Ultra Vivid Scene - Blood and Thunder
Soul Asylum - Black Gold
Bettie Serveert - Tom Boy
Sloan - Underwhelmed
Depeche Mode - I Feel You
The Sundays - Wild Horses
Sugar - If I Can't Change Your Mind
The Candy Skins - Wembley
World Party - Way Down Now
Best Kissers in the World - Pickin' Flowers For
Ned's Atomic Dustbin - Walking Through Syrup
Therapy? - Nausea

In Exit Interview, Matt Pinfield refers to this show as his first time filling in. http://tylerc.com/2003/06/exit-interview/
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Offline Angelinda

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Re: 1993-1994: Songs of Faith and Devotion Release and Tour
« Reply #37 on: 13 May 2012 - 03:40:01 »
1993-03-11 - Bravo (Germany) - Liebe + Sex = Gott

[Thanks to Anne for this scan!]


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Offline Angelinda

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Re: 1993-1994: Songs of Faith and Devotion Release and Tour
« Reply #38 on: 13 May 2012 - 03:40:34 »
1993-03-12 - THE GUARDIAN (UK) - Review

[Taken from the now-defunct website www.sacreddm.net.]

THE GUARDIAN, 12TH MARCH 1993
[Words: Adam Sweeting.]
" Why beat about the bush? This is a masterpiece. "
Summary: Very short review of SOFAD in a UK national newspaper. The writer is wildly enthusiastic and does a grand job of capturing the feel of the album in the small space he had. [144 words]
As I worked from a very poor printout of a microfilm copy, it has been impossible to provide a decent scan of the article.

    This astonishingly powerful album is Depeche Mode’s tenth, and kills any residual notions of them being a “synth-pop” act stone dead. If its forerunner, Violator, suggested growth, Songs Of… is a firebreathing heavyweight.
    In a period of shrivelled imagination, the Mode’s range has expanded to spellbinding dimensions. Lyrics exploring persecution, desire and guilt are matched with music that broods, threatens and aspires. The group offer variations on soul and gospel music in Condemnation and Get Right With Me. But the Mode can rock too. Track one, I Feel You, serves notice of intent with its insistent pulsing riff, but it pales beside In Your Room, a saga of vampiric emotional obsession mounted on a steam-hammer groove which will bring the house down when they play it live (which they will when they tour in May). Why beat about the bush? This is a masterpiece.

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Offline Angelinda

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Re: 1993-1994: Songs of Faith and Devotion Release and Tour
« Reply #39 on: 13 May 2012 - 03:42:25 »
1993-03-12 - UK Satellite Feed - Dave interview before the party

Appears on the DMTVA 93-2 DVD.

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Offline Angelinda

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Re: 1993-1994: Songs of Faith and Devotion Release and Tour
« Reply #40 on: 13 May 2012 - 03:43:00 »
1993-03-12 - UK Satellite Feed - Simon Mayo Introduction

Appears on the DMTVA 93-2 DVD.

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Offline Angelinda

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Re: 1993-1994: Songs of Faith and Devotion Release and Tour
« Reply #41 on: 13 May 2012 - 03:43:41 »
1993-03-12 - UK Satellite Feed - American Q&A

Appears on the DMTVA 93-2 DVD.



Excerpt 1: http://www.youtube.com/watch?v=gidZctKQJY4
Excerpt 2: http://www.youtube.com/watch?v=QCuOVYipOvQ
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Offline Angelinda

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Re: 1993-1994: Songs of Faith and Devotion Release and Tour
« Reply #42 on: 13 May 2012 - 03:44:14 »
1993-03-12 - UK Satellite Feed - Listening Party (European Part)

Appears on the DMTVA 93-2 DVD.

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Offline Angelinda

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Re: 1993-1994: Songs of Faith and Devotion Release and Tour
« Reply #43 on: 13 May 2012 - 03:46:05 »
1993-03-12 - Unknown (UK) - Hotshot

Appears as an easter egg on the DMTVA 93-2 DVD.

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Offline Angelinda

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Re: 1993-1994: Songs of Faith and Devotion Release and Tour
« Reply #44 on: 13 May 2012 - 03:46:57 »
1993-03-13 - Billboard (US) - Gospel, Metal Tones Tint Synth Sound

http://books.google.com/books?id=0w8EAAAAMBAJ&lpg=PA1&pg=PA21#v=onepage&q&f=false




[Taken from an Intranet archive.]

Depeche has faith in new mode.

Larry Flick

Gospel, Metal Tones Tint Synth Sound

NEW YORK--Being in Depeche Mode means never having to say you're sorry for refusing to compromise.

While other bands might feel pressured to make lightning strike twice in the wake of a multiplatinum album like Depeche Mode's 1990 "Violator," the Sire/WB act turned a deaf ear on label pleas to work rapidly by taking a three-year break from industry bustle before issuing the new "Songs Of Faith & Devotion."

"We're at a point where we would not even entertain the notion of a label coming into the picture and telling us what and when to do something," says band member Alan Wilder. "That might sound like we're chuffed with ourselves, but the reality is that the music has to come naturally. You can't force creativity--and you can't apologize for taking the time necessary to make an album right."

Part of the creative process included long, luxurious studio stints in Madrid and Hamburg, and hashing out material with co-producer Flood, who is still basking in kudos for his work on U2's "Achtung Baby." The result is a stellar 10-song collection that melds the band's familiar synth-rooted angst-pop with previously unexplored elements of gospel, baroque, and heavy metal. Overall, the March 23 release has an intricate, live texture, with arrangements that are fleshed out by the use of instruments other than keyboards.

Diehard fans will be pleased by typical Depeche Mode fare such as "Walking In My Shoes" and "In Your Room," though they will also be initially jolted by the sweeping, 28-piece string section on "One Caress" and the searing guitar attack on the first single, "I Feel You." As always, primary songwriter Martin Gore's penchant for complex melodies and dark lyrics is at the core of every track.

"We only want to change and surprise people," Wilder says. "But it's never change for change's sake. The only way this band could carry on after all of this time is to continually challenge our direction. Otherwise, |the music~ would become routine and boring."

Another of Depeche Mode's methods of staying fresh is pursuing assorted outside projects. In the interim between "Violator" and the new album, Wilder released a critically acclaimed album by his side band, Recoil, and produced material for Nitzer Ebb. Gore and singer David Gahan laid fairly low, while Andy Fletcher started a family and opened a pub in London.

"The time just sort of flew by," Fletcher says. "Starting over again was pretty weird at first. But it was nice to learn that we still got on well, and that being a band named Depeche Mode was still inspiring to us."

Part of that inspiration comes from defining each band member's role, and playing to their strengths. "We've become like a small, insulated community," Wilder says. "Martin writes the songs, while David adds his creative bits and sings. Andy has taken the lead on a managerial level, and I'm heavily focused on production. Bringing Flood into the project was a little difficult at first, but ultimately quite exciting. It was like penetrating a tightly sealed box."

With "Songs Of Faith & Devotion" complete and ready to hit retail, the wheels of promotion are about to whisk the band off into the world of pressing-the-flesh and touring--something it is approaching with a little trepidation.

"Releasing an album is kind of like putting everything else in your life on hold for a year or so," says Fletcher. "You are giving yourself wholly to the cause of bringing your music to people--and that can be intimidating."

Wilder agrees, but is looking forward to experiencing "the incomparable energy of going onstage and playing. The break has been long enough to make me miss it."

While the band eyes a road jaunt that may begin late spring/early summer, "I Feel You" is enjoying a healthy life at radio and club levels. Though Warner Bros. had planned on working the track at alternative and dance formats only, top 40 response has been strong enough to instigate a concentrated pop push. In fact, the single has just starting climbing the Hot 100.

"I Feel You" is also bolstered by a stylish black-and-white videoclip by noted photographer/director Anton Corbijn, and cutting-edge remixes by the band, Brian Eno, Mark Stent, and Renegade Soundwave. Other bands bristle at the idea of someone tinkering with their finished productions, but Depeche Mode apparently welcome the fresh perspective.

"It's a freeing experience for us," Wilder says. "I'm constantly compelled by the different ways other people interpret our music. I also think, or at least hope, that it's refreshing to the listener to hear a song go through different personalities and moods. It certainly helps us to see that our final production of a song is not always the final word. It keeps us on our toes."



1993-03-13 - Melody Maker (UK) - Album Review

[As reprinted in Uncut's Ultimate Music Guide in 2013:]

[...] A most admirable con, an igenious and defiantly transparent collision of U2's Achtung Baby and REM's Automatic For The People - industrial pop crackle with a grim, obsessive confessional twist... This record, it must be said, will be huge - at least in America.
David Fricke
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