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Author Topic: 1990: Violator and World Violation Tour  (Read 107927 times)

Offline Angelinda

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Re: 1990: Violator and World Violation Tour
« Reply #30 on: 28 May 2012 - 03:56:45 »
1989-11-01 - TFI (France) - Sacrée Soirée

Appears on a DMTVA DVD.

https://www.youtube.com/watch?v=XLh37OaRg34



1989-11-06 - Dolly n.577 (Italy) - Hit, hit, hurra!

[Found on eBay.com]

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: 1990: Violator and World Violation Tour
« Reply #31 on: 28 May 2012 - 03:57:14 »
1989-11-xx - Superchannel - Blue Night (Dave Gahan Interview)

http://www.youtube.com/watch?v=3njEXvYDfXw



1989-11-xx - Inrock (Japan) - Dave Gahan interview

[Found on eBay.com]





1989-11-xx - Fool's Mate (Japan) - Martin Gore interview

http://www.ebay.com/itm/DEPECHE-MODE-JAPAN-FOOLS-MATE-MAGAZINE-Nov-1989-Erasure-Depeche-interview-/221900762406


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: 1990: Violator and World Violation Tour
« Reply #32 on: 28 May 2012 - 03:58:03 »
1989-12-02 - ZDF (Germany) - Peter's Pop Show

Personal Jesus and Enjoy the Silence:
http://www.youtube.com/watch?v=CywW_QoA-aM
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: 1990: Violator and World Violation Tour
« Reply #33 on: 28 May 2012 - 03:59:03 »
1989-12-07 - Bravo (Germany) - Von Sechs Bodyguards bewacht

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





1989-12-13 - Pop Rock (Yugoslavia) - Lice Muzike

http://www.ebay.com/itm/BAJAGA-YUGOSLAV-MUSIC-MAGAZINE-1989-KATE-BUSH-DEPECHE-MODE-SKID-ROW-JOHN-LENNON-/141696524081


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: 1990: Violator and World Violation Tour
« Reply #34 on: 28 May 2012 - 04:00:11 »
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: 1990: Violator and World Violation Tour
« Reply #35 on: 28 May 2012 - 04:01:23 »
1989-12-xx - Soundi (Finland) - Emme ole enkeleitä

[Thanks to AnnaIndie for scanning this for this forum!]





1989-12-xx - Ragazza nº2 (Spain) - Musica

[Thanks to Pacodemode for scanning this for this forum!]

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: 1990: Violator and World Violation Tour
« Reply #36 on: 28 May 2012 - 04:04:53 »
1989-xx-xx - Depeche Mode - Personal Jesus

http://www.depechemode.com/video/music_videos/25.html

Personal Jesus
Video Released: 1990
Video Director: Anton Corbijn

clip 1 - This version of the video is referred to as the "International" version.
clip 2 - This version was censored by MTV. Since the only difference is in one portion of the video, only that part is provided here (to save in downloading time).
clip 3 - Are you curious to see what US television wanted edited out of the video? View this "comparison" video to see the differences. Both videos have been reduced in size, placed side by side, and sequenced to frame accuracy for easy viewing.
 
Appears on the album:
Violator
 
Appears on the home video(s):
clip 1 - Strangetoo home video
The Videos 86>98 home video
The Videos 86>98 + home video
The Best Of Depeche Mode, Volume 1 (CD + DVD) home video
clip 2 - Promotional only music video - not commercially available
clip 3 - Web exclusive

 View Video

Clip 1
http://archives.depechemode.com/video/music_videos/30_personal_jesus.html

Clip 2
[no link]

Clip 3
[no link]
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: 1990: Violator and World Violation Tour
« Reply #37 on: 28 May 2012 - 04:05:53 »
1989-xx-xx - Canal+ (France) - Top 50

http://www.youtube.com/watch?v=BMPBO-3llmM



1989-xx-xx - TV5 (France) - Perfecto

http://www.youtube.com/watch?v=pfRTT-pk43A



1989-xx-xx - Smash Hits (UK) - Bitz

http://www.documentaryevidence.co.uk/depeche_mode_scans.htm





1989-xx-xx - Radio 1 (UK) - Dave Radio Phone Interview

[Sadly, we don't have this radio interview. It was mentioned here:]

http://web.archive.org/web/20030410000755/http://www.geocities.com/simpledumbpilot/index2.html

**/**/89   DAVE PHONE INTERVIEW.BBC RADIO 1 (re:P.Jesus 'Single Of The Week')



1989-xx-xx - Bravo (Germany) - Sind Depeche Mode Gotteslästerer?

http://ff-tech.nazwa.pl/black-angels/index.php?option=com_content&view=article&id=14:materiay-prasowe-z-lat-19891990





1989-xx-xx - Unknown Magazine (Czechoslovakia) - Zo sveta POP-u

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





1989-xx-xx - KROQ (US) - Dave in studio with Richard Blade

Sadly, we don't have this interview, it used to be hosted on Depechemode.TV.



1989-xx-xx - NDR2 (Germany) - Popkocher (Personal Jesus)

[Can be downloaded here:]
http://www.blackswarm.de/museodepechemode.com/



1989-xx-xx - KROQ (US) - Dave phone interview with Richard Blade

[We don't have this audio interview. it used to be hosted on Depechemode.TV.]



1989-xx-xx - Best magazine promo tape (France) - Les 101 nuits (60 min)

[We don't have this audio interview.]



1989-xx-xx - Unknown (??) - Fletch & Martin in Vancouver (15 min)

[We don't have this audio interview.]



1989-xx-xx - Unknown (some teen magazine) (France) - Test Rock New Beat contre New Wave

[Thanks to strange-pimpf for sending us a photo of this article!]





1989-xx-xx - Unknown (Germany) - Papa Dave und Martin's Alleingang

http://ff-tech.nazwa.pl/black-angels/index.php?option=com_content&view=article&id=14:materiay-prasowe-z-lat-19891990





1989-xx-xx - Unknown Magazine (Czechoslovakia) - Ako kazdy mesiac

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





1989-xx-xx - Unknown (France or Belgium) - Les Tentations de Depeche Mode

[Thanks to ericdm for scanning this article for this forum!]





1990-01-xx - Intercord - Enjoy The Silence press release

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





1990-01-xx - Bong 8:

[Thanks to Marblehead Johnson for scanning this issue for this forum! Text taken from the now-defunct website www.sacreddm.net.]











ASK MARTIN
Summary: Martin answers questions submitted by Bong members. [450 words]

Do you have any phobias? – what are they?
Car crashes.

What do you do in your spare time?
I play video games, go out with friends and watch films and videos.

Do you have any bad habits?
I put everything off as long as I possibly can.

Do you have any regrets?
Regrets, I’ve had a few but then again…

Will you be doing another solo album?
No plans yet, but possibly.

Which is your favourite ‘live’ band?
Nitzer Ebb.

Would you like to act?
I have absolutely no desire to act at all!

Did you, Fletch and Alan go to Dave’s wedding?
Yes. [1]

What’s your favourite sport?
Football.

What subject did you most enjoy at school?
French and German equally.

Do you prefer playing live to working in the studio?
Depends on my mood, I sometimes do.

What’s your favourite DM video?
Strangelove.

What’s your favourite ‘b’ side?
Ice Machine.

Do your family collect newspaper cuttings of you?
They used to but I think they’ve given up.

What bands did you grow up liking?
Gary Glitter, Sparks.

On average, how many songs do you write in a year?
Somewhere between 10 & 15.

Is your hair permed or naturally curly?
Naturally curly (Honestly!).

What’s the song you played in ‘101’ in the guitar shop in Nashville?
Nothing in particular. I made it up as I went along.

On the Nitzer Ebb album “Belief” Depeche Mode have been credited. How did you help the band?
We didn’t actually do anything, we just know them and they played with us on part of the tour.

Would you like to produce another band?
I’m not particularly interested in production.

How long does it take you to write a song?
Anything from 5 minutes to a year or more.

How old were you when you wrote your first song?
13. It was really shit!

Which is your favourite song on “Counterfeit”?
In A Manner Of Speaking.

When did you learn to play the keyboard, and what was your first synth?
I only started playing when I was 17 or 18 and my first synth was a Yamaha CS5.

Do you like doing TV work, such as “Top Of The Pops”?
It’s usually really boring. Some shows are worse than others. TOTP is always a guaranteed day of monotony.

Do you eat fish and dairy products and when did you decide to become a vegetarian?
I have been a vegetarian for 6 ½ years. At first I didn’t eat fish but I started again 1 ½ years ago because I couldn’t resist Rock Eel.

Were you ever in the school or a church choir when you were younger?
No. I like the easy questions!
[1] - This will be Dave's first marriage, to Joanne Fox on 3rd August 1985.








1990-01-xx - Fan Club Newsletter

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



[2] - c. January 1990
            Very brief news on the release of Enjoy The Silence. [view transcript]
            View pages:    page 1
[Fan Club Newsletter - c. January 1990.]

    The fabulous new Depeche Mode single, 'ENJOY THE SILENCE' will be out a week earlier than expected! It'll now appear in the shops on February 5th!



1990-01-xx - Blue Jean (Turkey) - Depeche Mode

[Photo found on eBay.com.]






1990-01-xx - Warner Bros (US) - Personal Jesus Gold release

[Found on eBay.com]





1990-02-01 - Bravo #6 (Germany) - Martin will nach L.A.

http://www.soulys-art.de/coppermine/thumbnails.php?album=41&page=1

[I probably don't need to tell you that this magazine got their facts wrong and that it actually was Dave who was about to move to L.A., not Martin.]





1990-02-10 - Record Mirror (UK) - SOUND OF SILENCE

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



SOUND OF SILENCE
[Record Mirror, 10th February 1990. Words: Eleanor Levy. Picture: Uncredited.]
" The sweetest silence you’ll hear this year. "
Summary: A brief news item to promote the release of "Enjoy The Silence", while recapping on the Mode's recent career and hinting on the release of the "Violator" album. More worthwhile for the gorgeous band photo than the text itself. [197 words]

    It’s nine years now since Depeche Mode first emerged to ride the wave of the electronic pop boom of the early Eighties. Yet while their contemporaries have fallen by the wayside, the boys from Basildon have gone from strength to strength, surviving the days of teenmags and kids’ TV to become one of the most enduring groups of the last decade.
    Variety is the spice of life and after the strident dancefloor high jinks of last year’s “Personal Jesus” – beating both Madonna and Prince as the best selling Warner Brothers’ 12-inch in America last year [1] – their latest single is a return to the melodic side of their nature.
    “Enjoy The Silence” is smooth and soothing and comes with the by now usual number of remixes by such luminaries as Tim Simenon, Adrian Sherwood and Francois Kevorkian, famous for his work with Kraftwerk. Watch out too, for the Anton Corbijn-directed video accompanying it, filmed in Switzerland, Portugal and Balmoral Castle, the Queen’s Scottish residence. It’s a classy taster for their forthcoming album, due for release in March and with a title so exciting they’re refusing to say what it is yet. The sweetest silence you’ll hear this year.
[1] - The 12" of Personal Jesus became the best selling 12" not just of 1989 but, at time of writing, of Warner Brothers' entire history. [continue]



1990-02-12 - Le Mag n.12 (France) - La Flash de la semaine

[Thanks to strange-pimpf for sending us a photo of this article!]





1990-02-15 - Bravo (Germany) -  Neue Lp im Anmarsch

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





1990-02-17 - NME (UK) - SIN MACHINE

[Taken from the now-defunct website www.sacreddm.net.]
http://eyesore.no/pdf/DepecheMode.Interview.NME.19900217.pdf




SIN MACHINE
[NME, 17th February 1990. Words: Stuart Maconie. Pictures: A J Barratt.]
" As the ’80s wheezed and panted to a mildly geriatric end... charts full of ageing divorcee rock, rankly insincere charity records and a series of ghastly novelty House records, the awkward, outré charm of Depeche Mode became all the more appealing. Not in the least because they believe that a dance record needn’t be a formularised and repetitive dribble, nor need a pop song be a mush of platitudes. "
Summary: A fascinating piece which manages to remain lively and fluid while being considerably in-depth, giving a resume of the band's development and the popular view of them before running into an interview with Alan and Martin. The author has an almost poetic enthusiasm for the band which carries the piece along beautifully, and his gentle manner has the rare gift of opening up Martin, who gives some of his most revealing comments here. Delightful. [3208 words]

    From Basildon to bondage, Vince Clarke to “Violator”, Depeche Mode are now one of Britain’s strongest and most enduring pop phenomena. Stuart Maconie talks to Martin “Kafka” Gore and Alan “New Boy” Wilder about a career of being misunderstood, and how it’s good to be dark. Mode mugshot by A J Barratt.
    What are the ingredients of pop success? What are the components that go together to turn the heads of the boys and girls. You’d think by now we’d have a pretty good idea, wouldn’t you?
    A cheery disposition, perhaps? A Fotolove view of romance? A cute haircut, a pert bum, all your own teeth? How about sex, death, alienation, violence, blasphemy, corruption, submission, domination and lies? How about a band who aren’t sure whether they want to be T-Rex, Nitzer Ebb or Dion And The Belmonts? From Smash Hits to sonic terrorism, from Basildon to bondage, the most anonymously brilliant singles band of the last decade proved that it is possible to go pop platinum without going soft in the head, to be little girls’ darlings without being a big girl’s blouse. How about Depeche Mode?
    Martin Gore, a misunderstood individual if ever there was one, takes a genteel sip of Guinness and peers at me from beneath the peak of a goofily outsize baseball cap. He is smiling broadly.
    “Perhaps we should have described ourselves as a rock group. Maybe if we’d done that people might have taken us a bit more seriously. But we aren’t. We are a pop group and proud of it. The only songs I can write are pop songs, no matter how dark and pervy some people might find them.”
    I am, unashamedly, a big Depeche Mode fan although it took me some time to realise this. Now I’m quite brazen about it. After years of regarding them as those amiable if hardly momentous synth-poppers from the home counties, the moment of epiphany came one bleak afternoon round at my then-girlfriend’s boring brother-in-law’s, a man whose tastes in music at their wildest and most unhinged ran to some Rush albums and “The Dark Side Of The Moon”.
    Fearing the holiday snaps at any second I was quite pleased when he moved toward the hi-fi to play his latest acquisition, the just-released Depeche Mode singles album. As the tracks rolled by, every one a hit, every one a miniature crash course in how to “do” pop properly and every one different from the ingenuous but accomplished Casiotone juvenile of “Dreaming Of Me” to the opaque gothic extravagance of “Shake The Disease” the truth became apparent. It was only when you heard their career in this way, compressed into nuggets of excellence and strung together like pearls the truth hit you: Depeche Mode were one of the greatest exponents of the pop single on the planet. [1]
    Depeche Mode were born in Basildon, Essex on the cusp of the ‘70s and ‘80s, a glorious time ripe with possibilities. The pop world was still ruffled and breathless from the advent of punk. Like a prim spinster fallen into the hands of some Don Juan, pop had been both outraged, seduced and excited by this invasion of colour and anarchy. Out of this liberating atmosphere, and further galvanised by the increasing cheapness and availability of synth technology (a paper round could get you the kind of sounds that Keith Emerson paid through the nose for) Depeche emerged blinking into the light of stardom.
    Their first two hits, “Dreaming Of Me” and “New Life” established them as teen heart-throbs and peddlers of an irresistibly bright, effervescent wipe-clean technopop, bubblegum with brains. Both were written by head honcho Vince Clarke, an odd cove who left the group when he became disenchanted with the notion of stardom, unhappy with the superficiality of fame (bear this in mind when you next see him running through some cheesy three note ditty on Wogan in stack heels and a fluorescent lilac suit made of tinsel).
    Depeche Mode, meanwhile, got better and better. With Gore established as songwriter and new recruit Alan Wilder an asset thanks to his skills as a musician / producer / arranger, the band evolved into one of our stronger pop phenomena. Populist weirdos, a band loved equally by both earnest students wrestling with Camus and their kid sisters… and everyone else, from Essex beerboys to my girlfriend’s enervating brother in law.
    Steeped in pop values they nevertheless retained a healthy curiosity towards outside events, toward the remix, electronic developments and the Teuton percussiveness of Neubaten and Test Dept. The result was a music equally at home in the Berlin garret or the Barnsley youth club: catchy, menacing, seamless and brooding. This was the Nick Cave you could dance to. This was why I’d always wanted to talk to them. Chance would be a fine thing.
    Depeche Mode do not like being interviewed. Consequently they go out of their way to avoid it – and they can afford to. Whilst not in the Michael Jackson bracket (indeed, they seem deliberately at pains to play down their popularity, gleefully pointing out any career worst chart placings) they are a very successful operation. It’s possible that some of the teen contingent who wet their pants in 1981 have defected to Erasure or deserted pop for nappies and building societies, but the band is still sustained by a sizeable hard core of devotees, both here and worldwide whose enthusiasm leads to sell-out tours and chart success. They are pop stars, alright.
    In Germany they are still the little darlings (a little to their chagrin) of kiddie pop TV, in America they are a prosperous cult along the lines of The Cure and New Order. In Britain they are good old Depeche Mode, leather-skirted disco oddballs that the whole family can enjoy. Who don’t like being interviewed.
    In the end they do give their consent to their first music press interview in three years, partly because they have been assured that I really do like them and partly because they have a record to promote, of which more later. Even so, the set-up is a tad unconventional. I am to meet Alan Wilder at the Mute offices and Martin Gore a week and a half later in a North London pub. The ostensible reason for this is Gore’s New Year break in the States, compounded to the fact that he returned to a flat bereft of central heating and Martin “didn’t want to do the interview till it was fixed. I just knew the mood would have been too depressing.”
    Holidays over and boilers overhauled, I got to talk to Depeche Mode, or half of them at least – that half that represents the band’s musical engine room – about sin, subversion and Simon Bates.
    “Violator”, the new Depeche Mode album, is their first original collection since ’87’s “Music For The Masses”. For a new decade the group have gone for a new sound and a new approach, though diehard fans will not be disappointed. Depeche Mode still deal in giant edifices of sound, bleak architectural constructions and sparkling melodic jewellery. They are still the most lovable of schizophrenics, eternally uncertain whether they want to be Franz Kafka, Steve Martland or Hot Chocolate.
    As the ’80s wheezed and panted to a mildly geriatric end (one bunch of Roses doesn’t mean everything in the garden is lovely), charts full of ageing divorcee rock, rankly insincere charity records and a series of ghastly novelty House records, the awkward, outré charm of Depeche Mode became all the more appealing. Not in the least because they believe that a dance record needn’t be a formularised and repetitive dribble, nor need a pop song be a mush of platitudes.
    After ten years at it, they are still making bold, exciting (can I even get away with challenging?) pop records that don’t rot your teeth. And after ten years of sidelong glances and being called perverts, they still have the chutzpah to call a record “Violator” with an almost straight face.
    Martin: “We called it ‘Violator’ as a joke. We wanted to come up with the most extreme, ridiculously Heavy Metal title that we could. I’ll be surprised if people will get the joke. However, when we called an album ‘Music For The Masses’, we were accused of being patronising and arrogant. In fact it was a joke on the uncommerciality of it. It was anything but music for the masses!”
    Alan: “There’s much more humour than we’re given credit for. Perhaps it’s just that ours, or particularly Martin’s is a little specialised.”
    You’re claiming that “Violator” represents something of a departure for you. In what way?
    Alan: “Usually we begin the making of a record by having extensive pre-production meetings where we decide what the record will actually sound like, then go into a programming studio. This time we decided to keep all pre-production to a minimum. We were beginning to have a problem with boredom in that we all felt we’d reached a certain level of achievement in doing things in a certain way.”
    Martin: “Over the last five years I think we’d perfected a formula: my demos, a month in a programming studio, etc, etc. We decided that our first record of the ’90s ought to be different. We knew it was bound to still be Depeche Mode because my writing style is so characteristic and inherent to the songs.”
    “Violator” is most certainly a Depeche Mode record and it’s also perhaps the first great pop album of the new year / decade. Are the boys happy?
[1] - This quote appears in the Steve Malins biography which, just to keep things in perspective, also quotes another (contemporary) review of the album: "A savage indictment of the British record-buying public, who've shelled out for this naff tat". It's as Andy said to a US interviewer in 1988: "Pop music is always hated at its time and always appreciated later on, and hopefully that'll be our legacy." [continue]
[NME, 17th February 1990. Words: Stuart Maconie. Pictures: A J Barratt - page 2 of 2]
    Alan: “Yes, I felt that the last few records have been, well not exactly too lush, but certainly too dense. This feels much more direct.”
    Martin: “I’ve only played it to a few people but their reactions have been really good and I don’t think they were just being nice. A lot of them have commented on how up it is.”
    Up?
    Depeche Mode are depressing… and we all know what a bad thing that is, right kids? While Wham! were ‘suntanning’ and quaffing their freebies down the Club Tropicana, Depeche Mode were berating the cruelty of God in “Blasphemous Rumours”, or detailing the pleasures of dominance and submission (“Master And Servant”) or savaging the modern world in general (“Everything Counts”). And since corporate niceness is the order of the day, Depeche Mode or Moz or anyone who dares wear a wry smile rather than an idiotic grin is relegated to the quick fade before the weather news. This is why radio and TV have taken to the current glut of Dance record so readily: harmless, jolly records about nothing.
    Alan: “It’s no bad thing to be dark once in a while. Radio 1 don’t particularly want to play us but they’re forced to because of our following. It’s good that there are a few bands like us to counteract all that ‘jolly-jolly-party-Kylie’.”
    Martin: “Our problem is that we’ve never been banned, just relegated to the evening shows. We did have a few problems with ‘Personal Jesus’ but in America they took it as a religious tribute. Ha! It seems you can get away with anything if you’ve got nice pop tunes!”
    Martin Gore has certainly been doing his fair share of getting away with it these past years. Though he claims not to have sought consciously to subvert, you can sense a certain pride in having brought a whole range of taboo nasties into the heart of the chart. In view of this, the quiet, tentative chap sipping stout before me seems oddly normal.
    Martin: “I simply can’t write your conventional pop fare. A pleasant song to me is unfinished, it isn’t telling the full story. Which is why I introduced the twist at the end of ‘Somebody’ because the song was just too nice. You say I’m cynical about love in my songs and perhaps I am but I think that’s an interesting angle. Otherwise you just become mundane like most chart music. Relationships do have their darker side and I like to write about it.”
    Listening to the new album with its songs about the virtues of lying, abandoning oneself to immortality and voyeurism confirms another of my pet Depeche theories, namely that all Gore’s work is rooted in the nature of sin.
    Martin: “Oh, you’re right. It’s always there. I was never a Christian but I did go to church regularly for about two years and it’s certainly rubbed off on me. I’m almost obsessed with the idea of good and evil, I’m currently reading a lot of books about black magic… but I haven’t come to any conclusions yet.
    “I suppose my songs do seem to advocate immorality but if you listen there’s always a sense of guilt. On ‘Halo’ from the new album, you’re right that I’m saying ‘let’s give in to this’ but there’s also a real feeling of wrongfulness. Then there’s ‘Blue Dress’ – that’s the pervy song! – the idea of watching a girl dress and realising that this is ‘what makes the world turn’.
    On the opening track ‘World In My Eyes’ you seem to be saying ‘just for this moment pleasure and gratification are all that matters’. It’s almost like (deep breath) existentialism.
    “Yes, and it’s a very positive song. It’s saying that love and sex and pleasure are positive things. And I don’t mind you bringing up existentialism because I am influenced by that. I’m probably as influenced by Camus, Kafka and Brecht as I am by pop songs. Like on ‘Black Celebration’ where the positive element is the idea of celebrating the end of another grey day.
    So you don’t think I’m taking it too seriously?
    “Of course not. I do write this stuff for a reason… I’m glad to think that someone’s thinking about it.”
    Part of Depeche Mode’s shyness is down to a simple dislike of explaining themselves. But you get the feeling that a decade of misunderstanding hasn’t helped either. The rock press, frankly, has never got to grips with them, daubing them, successively, as ninnies, “New Romantics”, metal bashers, perverts, dilettantes and chart whores.
    Alan: “I think it’s partly true that we’ve been misunderstood but probably better to say we’ve been ignored. I think our merit and worth has been completely overlooked. To a certain extent we’ve never been forgiven for our early selves and the way we were when we were starting off. We were very sickly; ultra nice. And in some ways that was the charm but it also got on people’s nerves.”
    Martin: “I think we have been a little resentful. Each time we’ve approached a new campaign we’ve felt that we’d get the same old remarks because some journalists do not want to alter their conception of us. We were kids of 18 when we started and to a certain extent we did grow up in public. At the beginning we were lumped in with all those people like Duran Duran and Spandau Ballet who we had absolutely nothing common with and I think some people have never forgiven us.”
    Has it been, to quote The Grateful Dead of all people, a long, strange trip?
    Martin: “It’s been pretty staggering, really. You forget how successful you’ve been. Record Mirror said that only Cliff Richard had beaten us for the most Top Ten LPs or something like that. Plus we’ve changed. Most bands who stick around as long as we do tend to have more consistency from beginning to end. If I was a member of the public hearing our new stuff and then hearing ‘Dreaming Of Me’ I’d think ‘what are this bunch up to?’”
    Alan: “It’s strange that we’ve lasted. Reading all those ’80s retrospectives it occurred to me how many of our peers have gone. I suppose it’s because we haven’t jumped on bandwagons, we’ve gone in and out of fashion. At the moment it seems we’re back in again with all these House people saying we’ve been a big influence.”
    Martin: “I heard someone (Kevin Saunderson of Inner City) saying that ‘Get The Balance Right’ was the first House record, which was nice and funny.”
    Alan: “But all through we’ve stuck to our electro roots, if you like. We remain pretty uncategorisable because as people we listen to everything from doo wop to classical to Thrash metal. But we’ve always had constant things, like Martin’s songs. Strong, simple, melodic songs with a very recognisable style.”
    Depeche Mode began the ‘80s as wet-behind-the-ears Essex teenagers charming everyone with their clever, cute, thoroughly modern pop teasers. They begin the ‘90s as well-heeled young men approaching 30, standing very successfully just on the touchline of mainstream pop with their black celebrations, their engineering miracles wrought from pure sound and impure notions. Most of the reasons why we should still cherish them can be found on the new single “Enjoy The Silence”; a coolly tender shower of melancholy, a love song made of steel.
    My meetings with Alan and Martin had gone, I figured, about as cordially as any such meeting would. And the miscellaneous questions often brought the most illuminating of responses.
    What’s a typical Depeche Mode fan like?
    Martin: “Boys, early 20s, slightly alternative, dyed hair, leather jacket…”
    Alan: “… ‘loaf of bread’ hairstyle. But you only get to meet the loonies and the nutters. Ordinary people don’t come up to you. I try to avoid them. They either clam up or talk incessantly. I haven’t seen many of these introverted, raincoat types. All our fans seem to be Basildon beerboys, ‘Spands’.” [1]
    What do you get from playing live?
    Alan: “Nothing. It doesn’t excite me at all. I find touring a chore. I used to enjoy travelling the world being adored by thousands of people but now I find it secondary to making records. Everyone says the two hours on stage make it all worthwhile but not for me. It’s like a luxurious sentence.”
    What’s it like being a pop star?
    Martin: “Well, we’ve always tried to be anonymous. I go out most nights to the pub or whatever without getting hassled. But strangely enough as time goes by, even though the situation stays exactly the same, I’ve begun to feel more of a prisoner. Perhaps I’m just getting paranoid.”
    Any regrets?
    Martin: “We talk about this constantly. I regret all that sickly boy-next-door stuff of the early days… musically ‘A Broken Frame’ was a mish-mash and ‘People Are People’ was too nice, too commercial.”
    Alan: “There are endless things I regret. Doing Hold Tight all dressed in multi-coloured shirts, hanging around in some garden. Appearing on the cover of Smash Hits pretending to have a party. [2] They’re endless.”
    Errr… anything else?
    Martin: “Do you mean like me being practically a transvestite for two years?
    Something like that.
    Martin: “It always comes up sooner or later. I don’t know why I did it. I can’t believe I was unaware of the fuss it would cause. But it was a laugh. How did I get away with it?!”
    Did the others ever try to dissuade you?
    “Constantly. They would say ‘you’re not going on stage dressed like that!’”
    Depeche Mode. Now in its tenth great year… and not pervy at all. Honest.
[1] - I think this might have been a mis-hearing based on the earlier mention of Spandau Ballet - I've seen Dave in various other articles refer to a contingent of Depeche Mode's early following as "the beer boys, the spanners" so I'd guess this is what Al actually said. [continue]
[2] - Oh dear! Do you mean this cover, Alan? [continue]



1990-02-18 - BBC (UK) - The BRITS Awards Best Single: Enjoy the Silence

http://link.brightcove.com/services/player/bcpid49408489001?bctid=51402133001
http://www.youtube.com/watch?v=2FuZw9SQKrI

Simon Mayo presented the BRIT Award for Best British Single at The BRIT Awards 1991 to Depeche Mode



1990-02-18 - Tele5 (Germany) - P.O.P.

Appears on DMTVA DVD.

https://www.youtube.com/watch?v=vqwEyAz07qE



1990-02-21 - Superchannel (The Netherlands) - Countdown (Interview + Performance)

Appears on a DMTVA DVD. Only the performance is hosted online.

http://www.youtube.com/watch?v=RhpxssmqnyM
And a snippet of the interview: http://instagram.com/p/kAVtbDnHK8



1990-02-21 - Radio Herning (Denmark) - coca cola top 100: Martin (5 min)

[We don't have this audio interview.]



1990-02-22 - RAI (Italy) - San Remo (Enjoy the Silence)

http://www.youtube.com/watch?v=bYktSq-2RT0



1990-02-24 - RAI UNO (Italy) - Sanremo International (Enjoy the Silence)

http://www.youtube.com/watch?v=_H3zdSCMkdw



1990-02-24 - NME (UK) - News

[Thanks to ericdm for scanning this article for this forum!]





1990-02-28 - TF1 (France) - Surprise Sur Prise

http://www.youtube.com/watch?v=3frrTrw_rWg



1990-02-28 - TVAM (UK) - Good Morning Britain

Appears on a DMTVA DVD.

http://www.youtube.com/watch?v=N8S0pwIYrAM



1990-02-xx - Unknown (UK) - Enjoy The Silence Review

[Thanks to meldepeche of depecheuk.co.uk for taking a photo of this article!]





1990-02-xx - Unknown (UK) - ETS Review

[Thanks to meldepeche of depecheuk.co.uk for taking a photo of this article!]





1990-02-xx - Primera Linea nº58 (Spain) - El Triunfo de las Monas Metalicas

[Thanks to Pacodemode for scanning this for this forum!]
http://revistaspop.blogspot.com/2017/02/depeche-mode-primera-linea-n-58-febrero.html



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: 1990: Violator and World Violation Tour
« Reply #38 on: 28 May 2012 - 04:08:52 »
1990-02-xx - NME (UK) - ETS Single Of The Week

[Thanks to mossy for scanning this for this forum!]



SINGLES OF THE WEEK

SINGLE OF THE WEEK (1)
DEPECHE MODE: Enjoy The Silence (Mute)
Teen corruptors Depeche Mode take the first cut from their forthcoming album which has a title so secret and scary that I'm not even supposed to mention that it's called 'VIOLATOR'. The psycho-horror overtones in their cool, bruised melodies are, however, what makes them such a valuable High Street item.
These are naughty boys who get to talk to the little girls and their big brothers.They also get to rhyme "silence" with "violence" and to put out introspective gloom songs which everybody can dance to when they get their leather clad loins on Top Of The Pops. And it matters sod-all that this brooding, tender piece sounds like New Order.The Beloved are well into this, although Jon more than Steve. They even clamour to hear the remixes.
Steve: "I think maybe there was a Good New Order sung struggling to get out there somewhere."
Jon: "Well having always been accused of being a sucker for a good New Order song I though that it's brilliant. It starts off a bit dodgy, but with most Depeche Mode songs I tend to not really like them unless I've heard them about half a dozen times. But I thought that was their best for a very long time and I'd definitely invest my hard earned pennies in that. But then I like cold, European, melodic music. It's good."
Later on Steve comes round to the idea that it's worthy of a Single Of The Week position. A  'Tainted Love' for the '90s, I think.



1990-02-xx - Radio 1 (UK) - Singled Out (Dave Gahan in studio interview)

[We don't have this audio interview.]



1990-03-01 - FM Madrid (Spain) - Los Principales: Dave & Alan (7:30 min)

[We don't have this audio interview.]



1990-03-03 - Poprocky n.9 (Germany) - Dave als König Arthur

[Thanks to Mister Dark for this scan!]





1990-03-06 - FM Madrid (Spain) - Los Principales: DM (60 min)

[We don't have this audio interview.]



1990-03-07 - Smash Hits (UK) - Depeche Mode

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



SMASH HITS, 7TH MARCH 1990
[Words: Chris Heath. Picture: Uncredited.]
" When they first started playing concerts their light show was one neon bulb in a wooden box (the clots). "
Summary: A mixed bag of quotes, snippets and quirky facts about the band, many of which have been recycled from earlier Smash Hits and other magazines. After 1990 this kind of piece simply wouldn't be appropriate, in fact it seems forced and regressive here, but harmless enough and enjoyable nonetheless. [1379 words]

    They’ve had 23 hits on the “trot”.
    They’ve been around for almost ten years.
    They’re extremely famous and trendy all over the world.
    “And,” says Chris Heath, “they all have contrasting views on toast…”
    Depeche Mode were invented in the summer of 1980 in Basildon. The original members were Erasure’s Vince Clarke (who at the time was in a gospel folk duo and also a band called Romance In China [1]), Andy Fletcher (who had met Vince at Boy’s Brigade), and Martin Gore (at the time guitarist in a group who apparently played lightweight American rock). They played their first concert under the name Composition Of Sound then later pinched Depeche Mode from the title of a French fashion magazine (at the time they didn’t have the foggiest what it meant: literally “speedy fashion”). At first Vince sang vocals and then they made Dave Gahan lead singer after they heard him sing David Bowie’s “Heroes”.
    Vince Clarke left on December 12, 1981, explaining that he hadn’t expected them to become so famous and saying that he didn’t like it very much. Martin Gore had only written two album tracks but already had a secret store of songs and took over as their songwriter.
    Martin Gore says, “I see life as quite boring. So I kind of see our stuff as Love And Sex And Drink Against The Boredom Of Life… I want to represent life’s boredom.” [2]
    For two years in the mid 1980s Martin Gore was rarely seen out of women’s clothes. “I can’t believe I was unaware of the fuss it would cause.” According to Alan Wilder, in those days when Martin Gore went through Customs they would ask him whether he wanted to go into the men’s or women’s cubicles to be searched.
    Their new LP is called “Violator” “as a joke – we wanted to come up with the most extreme ridiculously Heavy Metal title that we could.”
    In America their last single “Personal Jesus” (about how in America you can confess your sins over the phone) was, rather to their dismay, taken as a religious tribute. “It seems that you can get away with anything if you’ve got nice pop tunes,” mutters Martin Gore, who is currently interested in books about black magic.
    Kevin Saunderson, the bloke in Inner City, once declared that “Get The Balance Right” (a 1983 single by ver Mode) was the first House record, and many house music people admit that Depeche Mode have been influential. This is something that pleases but also rather perplexes ver Mode as they know next to nothing about trendy dance music. “Some of our records have a good beat and that’s about the end of it,” explains Dave Gahan. [3]
    Once Dave Gahan got into a fight with a cab driver because the driver was going too fast. When the cab stopped the driver got out to attack Dave “but then his trousers fell down – he didn’t have a belt – and he just fell over”. [4]
    Unlike most groups they don’t have a complicated contract with their record company, just one sheet of paper which says they pay half their recording costs and get half the profits in Britain, and get 75% of the earnings for the rest of the world.
    Dave Gahan had a bad car crash a few years ago whilst zooming along at about 80mph in his black Ford Escort – someone pulled out in front of him and he completely wrote off the car and messed up his knees. He was playing a tape by hippy band The Doors at the time. “I immediately burst out crying.”
    In Hungary there are groups of fans called “Depeches” who dress up like their favourite band member.
    In most of the world they are thought of as very trendy and meaningful and weird and for a long time were very annoyed that people in Britain tended to treat them as a cheesy, contentless pop band.
    As a youth David Gahan was a bit of a scallywag: “I got done for nicking cars and motorbikes, setting cars alight, spraying walls, vandalism. A real yob!” [5]
    Dave Gahan has a two year old son called Jack.
    When they first started playing concerts their light show was one neon bulb in a wooden box (the clots). Andy would wear plus fours with football socks and slippers and Martin would have half his face painted white.
    In February 1986 Dave Gahan reviewed the Smash Hits singles. Single of the fortnight was “Candyman” by Siouxsie & The Banshees (remember that, don’t you?). He also commented on the Pet Shop Boys – “I hope they have a crappy video again”, said Kate Bush is “really sexy sounding” and offered the sensible opinion “I’m sure there are millions of worse bands than Amazulu – I just can’t think of one.”
    Martin worked in a bank for a year and a half: “dealing with standing orders… total boredom.”
    Dave Gahan had about six Action Men in his youth: his sister had a Sindy doll. “My Action Man would go round in his jeep and knock on her door and the Sindy would come out in my jeep. We’d play for hours. I learnt a lot about girls, chat up lines like “heeeuy – I’ll come pick you up later in my jeep.” [6]
    Andy Fletcher once did his arm in by jumping out of the bath to answer the telephone and slipping in a puddle of water (the clot).
    Dave Gahan used to work on the speedway at a fairground when he was 14. “I thought about running away with them. But I never did.”
    Martin and Alan are vegetarians. Andy doesn’t like vegetables.
    Andy Fletcher once confessed that “When Martin stops writing good songs I think Depeche Mode will just fade away.” [7]
    Dave Gahan once said he liked fishing. “I get lots of fishing rods thrown on stage.”
    Martin is famous for carrying around wads of cash with him. Once (when he was a bit drunk) Andy Fletcher said “sometimes doing this job is really boring… quite honestly I only do this for the money. For the money and the memories…”
    For a while Martin Gore considered calling himself L’Oncle Martin on Depeche Mode records after “these French books at school”. It was the name of “one of the characters sort of illustrating the French way of life”. [8]
    “Enjoy The Silence” is Depeche Mode’s 23rd consecutive Top 40 single since their second single “New Life” bounced into the chart in 1981. [9]
    Alan Wilder joined in 1982. He used to be in a rather ropey group called The Hitmen. He answered an advert that said, “Name band, synthesiser. Must be under 21.” In fact he was 22. (He was born on 1/6/59.)
    Martin Gore released a solo EP of other people’s songs called “Counterfeit” last year (credited, rather poshly, to Martin L. Gore). Alan Wilder also released a strange instrumental LP using the name Recoil – for publicity photos he was shown, his face away from the camera, lying fully clothed on his side in a bath full of water. Andy Fletcher also has a rock’n’roll band (he plays guitars, Martin plays recorder) who have recorded two LPs for fun: “Toast Hawaii” and “The So-Called Space Age”. They will never be released. [10]
    They have contrasting views on toast. Martin, who likes healthy wholemeal bread, prefers toast made from thin sliced white bread (Mother’s Pride or Sunblest). Alan, by contrast, says “it’s got to be wholemeal or rye toasted” and opts for the unfrivolous topping “savoury cheese or sometimes a spread”. Andy daringly plumps for “white not very well done thick sliced Sunblest with Irish Whiskey flavoured marmalade from Safeway”. Dave opts with confidence for thick Marks & Spencer white, served with just butter.
    In 1985 they offered their services to Live Aid but were told they weren’t wanted. [11]
    When he was little, Dave used to dream about really loud footsteps “coming down the corridor towards me… I used to be totally shit scared.” Martin, by contrast, would dream of being drawn towards the centre of the road by a magnetic force: “I’d be clinging on to lamp posts and seeing all these cars zooming past.” All of Alan’s dreams involve the group: “I dream about equipment collapsing in front of me on stage.”
[1] - No Romance In China. [continue]
[2] - He said that in NME, 5th October 1985. [continue]
[3] - This snippet is condensed from an article in The Face, February 1989. [continue]
[4] - This is taken from one of the most celebrated scenes in the 1989 tour rockumentary "101". Dave recounts the whole incident in some detail and has an endearing way of describing how big the cabbie was and how he attacked him with such boyish enthusiasm it's almost as if he expects you to give him a sticky gold star for his efforts. If you haven't seen it yet, you really ought to. [continue]
[5] - That's in No. 1, 19th January 1985. [continue]
[6] - The last two snippets come from the same author's previous article in Smash Hits, 26th March 1986. [continue]
[7] - This is another quote recycled from Chris Heath's 1986 article in Smash Hits. It makes me wonder why they bothered with a new article at all... [continue]
[8] - The last two snippets come from Smash Hits, 6th May 1987. Read at your peril. [continue]
[9] - Actually it was the 22nd. They may have accidentally counted the first release Dreaming of Me, which only reached 57, or mistakenly included the French-only single Little 15, which in the UK reached 60 on import sales alone. [continue]
[10] - It sounds like they've got hold of a garbled fact and taken it a little too seriously. During the recording of 1984's Some Great Reward album, Martin and Andy put together a joke "album" of covers which was really only them banging away at a piano. They carried the joke far enough to photo Fletch for the "sleeve" dressed as Plug from the Bash Street Kids, and christened it Toast Hawaii after Andy's favourite dish at the studio's cafeteria. This was as far as it went and it was never more than a bit of fun between the two band members. As for "The So-Called Space Age", the phrase "Life In The So-Called Space Age" appears on the sleeve of the 1986 album Black Celebration, and was the original working title. [continue]
[11] - I've heard this before but I'm not sure I believe it. The way the Live Aid business is more usually recounted - and although I hate to be cynical it might always be a clever bit of PR put out after the fact - is that they did not offer their services, were not approached to perform, but wouldn't have performed anyway. This is on the grounds that they disagree with celebrities being used to plug charitable causes as it twists people's arms while conveniently enhancing the celebrity's own fame.



1990-03-08 - Bravo (Germany) - Die Düsteren Synthi-Rocker aus England

http://www.soulys-art.de/coppermine/thumbnails.php?album=41&page=1

[Thanks to Milik for offering to send in the first scan!]






1990-03-10 - Hilversum 3 (Netherlands) - Radio interview Dave Gahan

http://www.tuug.utu.fi/~jaakko/dm/dmwavs.html

[Click on the link to hear Dave Gahan's answers.]

DM .WAV interviews
These .WAV files are from an interview with Dave Gahan for a Dutch radio station : Hilversum 3, that was broadcast on the 10th of march 1990. The interviewer was speaking Dutch, and since not many Dutch/Belgian people visit this page (i think) and also to save some space, Stefan Moernaut translated the speakers words.(These files were originally on Stefan's pages, but he didn't have enough space to keep them there.)
________________________________________
Part One
Depeche Mode is in Holland best known for songs like People Are People, Just Can't Get Enough and A Question Of Lust. In the last couple of years Depeche Mode hasn't been very popular at all in Holland, but a new album, which should change all this, will be released in only a couple of weeks. We're talking about that with singer David Gahan. Why did Depeche Mode call the album : Violator ?
Just click here to download Dave's answer. (180 K)
Depeche Mode almost exists 10 years now. Does Depeche Mode see this album really as a fresh start ?
Answer (170 K).
________________________________________
So you're only not this successfull in Holland, are the Dutch people different then ?
Answer (150 K).
With their new single Enjoy The Silence Depeche Mode has however a new hitsingle in Holland after 4 years. *playing of the song*
This was Depeche Mode with Enjoy The Silence. A group that works intensively with Anton Corbijn. He makes their video clips and sleeve pictures. How is it to work with a Dutch guy like him ?
Answer(160 K).
________________________________________
Anton Corbijn is until now the only good thing about holland for Depeche Mode.
Answer (150 K).
The tasks are completely devided in Depeche Mode. Dave sings, but all songs are written by Martin Gore.
Answer (100 K).
This is a live recording from the band, recorded the 18th of july 1988 in the Pasadena Rose Bowl. 70.000 people where there amongst others witness from the biggest Depeche Mode hit in Holland : Just can't get enough. *playing of the song*



1990-03-10 - Melody Maker (UK) - DEPECHE MODE HIP IT UP AND START AGAIN

[Taken from the now-defunct website www.sacreddm.net.]
http://eyesore.no/pdf/DepecheMode.Interview.MM.19900310.pdf







DEPECHE MODE HIP IT UP AND START AGAIN
[Melody Maker, 10th March 1990. Words: Jon Wilde. Pictures: Uncredited]
" "We've always been unique in what we've done. I don't really want to blow our own trumpets, but we've always been out on our own. We're just coming to terms with that ourselves. Recently we were in the studio and Martin (Gore) was listening to a lot of our old albums. He suddenly turned round and said, "Y'know, we're so f***ing weird!' It was as if he's suddenly rediscovered Depeche Mode." "
Summary: Outstanding in-depth interview with David giving a potted band history, especially in the light of how the press has perceived them, and looking at the massive leaps forward they had made in the years before Violator. Dave is on top form, very animated and humourous, openly discussing the band's own view of their development. Essential - probably the best article I have seen. [4975 words]

   Over the last nine years, Depeche have moved from risible electro-twiddlers to well-respected pop icons who've been a seminal influence on the present-day dance explosion. Jon Wilde discovers where it all went right and talks to singer Dave Gahan about the boys from Basildon's enormous popularity, Martin Gore's dress-sense, fame's fatal distractions, their new album "Violator" and why they're "the weirdest f***ing band" in pop.
    "As far as people in England are concerned," says a grinning Gahan, "we've always been a part of the furniture. We've been out there, niggling away, refusing to go away. But that's all changing now. Even people who don't like much of what we do have some respect for us. Attitudes towards us in this country have turned around. Mainly because we've paid our dues, if you like. It takes a long time for that to sink in. But there's no longer a stigma attached to Depeche Mode."
    After nine years as a music comic laughing-stock, Depeche Mode are enjoying a sudden reappraisal. Pop writers are currently queuing up to help with this drastic resuscitation. Depeche Mode are on the verge of hip.
    "I'm not bitter about the way we've been treated in Britain," Gahan shrugs. "No way. I've got to accept the fact that we made a lot of mistakes in terms of the way we put ourselves across and put ourselves about. We were prepared to do anything. Not necessarily to sell ourselves. We were just completely naive. We thought it would be good to be in Smash Hits answering questions about our socks, appearing on Saturday morning television, making prats of ourselves.
    "We didn't realise at the time that we were degrading ourselves. Then it reached a point where we realised it wasn't helping us anymore. In fact, it was becoming very negative. So we made a conscious decision to say no. From that point, we've been able to pick and choose. We decided not to make prats of ourselves anymore."
    Five years ago, the offer of an hour or two with Depeche would prompt any self respecting pop critic to punch his way out of the nearest wall. Depeche were synth wimps turned toytown socialists. The four prancing ninnies from Basildon who arrived at a time when pop and rock was still reeling from the punk blast. When groups like The Birthday Party, The Associates, Human League and Soft Cell were throwing out new, exotic shapes.
    Depeche arrived on the coattails of the New Romantic splurge, hitching a ride with OMD, Duran and Spandau, tossing their pretty little flop fringes and denting the chart with their quaint electronic bubblegum. Their record collections were loaded with "Kraftwerk I" and "Kraftwerk II", Bowie's "Low", Iggy's "The Idiot" and early DAF, but they appeared to have absorbed little. Early singles, "Dreaming Of Me" and "New Life" offered the world a Chicory Tip for the Eighties.
    It was enough to irrigate the knickers of hordes of teenage girls who demanded something chirpier than Duran or Ant. With "Just Can't Get Enough", they broke through to the Top 10 and found themselves as reluctant teeny heroes. It was all too much for founder member and chief songwriter, Vince Clarke who fled the nest before the release of the debut album, "Speak And Spell".
    At the start of 1982, Depeche looked like going the way of all other pop transients of the time - Blue Zoo, Marilyn, Haysi Fantayzee, Blue Rondo, Lotus Eaters. But Depeche just shrugged and carried on, Martin Gore taking on the role of song-writer, ex-Hitmen keyboardist Alan Wilder replacing the departed Clarke.
    The hits kept coming - "See You", "The Meaning Of Love", "Leave In Silence" - but Depeche were clearly facing a difficult transition. Their 1982 album, "A Broken Frame" was an appallingly dour affair. "Every inch as empty as "Speak and Spell," wrote our own Steve Sutherland, "just more miserable that's all."
    With their third LP, "Construction Time Again", they toughened up, discovered sampling and industrial chic. With a firm nod to the likes of Test Department and SPK, they made a half-hearted stab into the belly of the new metal dance. With the notable exception of Everything Counts, their first great pop song, the album was way off target. It's only distinction was that it offered the most puerile collection of lyrics this side of Jonathan King. "Taking from the greedy, giving to the needy", indeed.
    The first single off their next album, "Some Great Reward" offered little hope of improvement. "People are people, so why should it be, you and I should get along so awfully..." Depeche Mode were becoming a huge irritant. Yet, with "Blasphemous Rumours" and "Master And Servant", they hinted that they could develop into a consistent singles group. The first consistent album still looked as elusive as ever.
    They marked the Eighties halfway mark with a single compilation that only served to show how patchy they had been up to that point. With Gore dividing his time between Basildon and Berlin, and with the rest of the group clearly uncomfortable about his choice of leather skirts,    rumours of a Depeche break up were rife. The truth was that they had barely begun.
    Dave Gahan has spent a day in a room at the Kensington Hilton International, diplomatically fending off a long line of European journalists armed with inane questions. The last interviewer, a sullen Frenchman, lasted just 15 minutes. Gahan eyes me suspiciously, fearing yet another stitch-up. After two minutes of caution, trust won, he relaxes his guard and talks relentlessly for the next hour and a half.
    "Over the years, I don't think we've interviewed particularly well," he admits with a shrug. "We've never felt that it is our job to explain. That's why we don't do a lot of press these days. I look at someone like John Lydon and he obviously loves sitting there, winding up journalists. It just becomes so boring though. People like Morrissey interview really well. Certain people are entertaining at it. But, to be honest with you, we don't like playing games. We've never gone in for that.
    "We've always been fairly self-sufficient. Never had to depend on the press. In Britain particularly, we've always been asked to justify ourselves. We've always found that insulting. It's just not interesting. It just turns out to be a fight between the band and the journalist. You see it all the time. There was a recent article in Melody Maker on The Stone Roses. Did you read that? I forget who the journalist was. It was obvious that the band had been forced into the situation. They could see that the guy hated them. It was all so negative. What's the f***ing point?"
    Terrible Dave. Absolutely shocking. Shouldn't be allowed.
    "What was the name of that journalist? Do you remember?"
    It's just on the tip of my tongue. Jon Somebody. A proper bastard, Dave. Watch out for him.
    Gahan is a surprisingly loquacious interviewee. Hardly the thankless task of legend. The difficulty is keeping him to the point, nudging a word in edgeways as he rattles on. He is remarkably undefensive as I voice my misgivings about early Depeche.
    "I think we all feel that "A Broken Frame" is, in retrospect, our weakest album. Definitely. It's very, very patchy. Very badly produced. That's when we got labelled as being a very doomy band. We were learning at that point. It was very naive. It was Martin's first album as a songwriter. He was thrown in at the deep end to be honest.
    "I think of "Construction Time Again" as one of our purer albums. Musically, though, some of it was very forced. It was a massive changing-point for us, both musically and lyrically. Maybe we were trying too hard to do too much. Sampling too much and trying to give a message without thinking so much of the structure and the point of the song. We'd go out everywhere and spend days sampling on building-sites. That became the most important thing and the actual songs became a secondary consideration.
    "At the same time, we faced the problem that other people wouldn't allow us to grow up and develop. We came out in 1981 wearing these stupid clothes and found ourselves grouped with bands like Duran and Spandau. We just classed ourselves as a pop band. Martin said recently that we may have got more respect if we'd called ourselves a rock band from day one. We just happen to prefer what we'd call pop.
    "Most pop or rock basically hasn't changed a lot in 30 or 40 years. Most of it is still blues or R&B based. Depeche Mode doesn't really fit into that tradition. It's more open for us to take any direction that pleases us. If your average rock group started using electronics, they'd be treated with suspicion or derision.
    "Depeche Mode have never contrived to be anything. We've never talked about our sense of mission or anything like that. We've just gone out and played, put out records...it's as boring as that, basically. Gradually, we've built up our audience. We haven't set ourselves five-year plans. It's impossible to look at it like that, though groups do try. That would destroy Depeche Mode. If we started thinking like that, we'd be finished."
    "It's when Depeche are being unconsciously throwaway that they attain the sublime," wrote Steve Sutherland in his review of 1986's "Black Celebration". Though far from being a great LP, it showed that Depeche Mode could craft music of throbbing metallic power when they forgot themselves. "Black Celebration" was their most focussed album to date. For the first time, they sounded self-assured enough to take risks and succeed.
    Not until 1987 though would they manage to sustain that charge. "Music For The Masses" was a sound-minded sister to New Order's "Brotherhood". It was the sound of a group who had fully come to terms with their own idiosyncrasies. Sumptuously produced, it showed Depeche working within their limits, no longer straining for effect. Their songs were now full of big flashes, tantalising refrains, voluptuous flushes. They had discovered a beauty in the balance of their parts. Even Gore's lyrics had taken a turn for the better.
    Depeche Mode had discovered their own potential at last.
    "We had become aware of highs and lows," Gahan recalls. "We were more conscious of building up atmospheres, heightening the songs to an absolutely massive feeling and then bringing them down again. We had discovered dynamics. It was our first truly arranged album.
    "At the same time, we had reached a point where we couldn't go any further in that direction. We knew we had to change our way of working. We had to go away and rethink everything."
    For three years, Depeche have been quiet on the recording front. Last year saw the release of "101", a double live set containing material drawn from their six studio albums. It suffered the fate of most live recordings. It sounded perfunctory at best.
    It was while they were undertaking a massive stadium tour of America that the group began to comprehend just how seriously they were taken outside Britain. As John McCready reported in The Face, they received a heroes' welcome in Detroit's premier techno clubs. Much to their surprise, Depeche learned that they were regarded as a seminal influence on the development of the house sound; spoken about in the same reverential tones as New Order and Kraftwerk; highly respected on the black club scene in New York and Chicago.
    The Depeche Mode reappraisal was just beginning.
    Next came "Personal Jesus", their most physical pop record to date, a tensile Bolanesque pulse that rode roughshod over any lingering doubts about their potency.
    Then there's "Enjoy The Silence", currently threatening to dethrone Sinead at the top of the heap, an irresistible wash of colour which boasts the most breathless chorus since New Order's "Touched By The Hand Of God".
    Where did it all go right?
    "Like anything with Depeche it has to be an accident," Gahan explains. "We've always been unconscious of the changes taking place. Even though we knew something had to change after "Music For The Masses", we couldn't force anything to happen. We just had the time, for once, to sort ourselves out.
    "Like with all the compliments that were paid to us by the people in Detroit. We were never conscious of our influence on Eighties dance music. That's the charm of it really. We've just gone about things in our own way, unaware of how much influence we're having on other groups.
    "We've always been unique in what we've done. I don't really want to blow our own trumpets, but we've always been out on our own. We're just coming to terms with that ourselves. Recently we were in the studio and Martin (Gore) was listening to a lot of our old albums. He suddenly turned round and said, "Y'know, we're so f***ing weird!" It was as if he's suddenly rediscovered Depeche Mode.
    "We tend to get away with an awful lot, lyrically and musically. Yet we still manage to get played on Radio 1. It's like there's this curtain over us that protects us all the way. We seem to be able to go on doing things. I don't know why that is. But there's something exciting about that.
    "We do break down a lot of barriers in our own way, and open up a lot of possibilities musically. The type of instrumentation we've used which has now extended into House and Acid music. That's all very flattering. When we get namechecked by people in Detroit and Chicago, that's great."
    It seems as though Depeche are just beginning to break away from their own predictability.
    "I think so, definitely. As far as Martin's song-writing goes...well, he writes about certain kind of subjects," often the same subject over and over again. His cynicism towards love and religion. His interest in the taboo side of things. The darker side has always fascinated him a lot more than the, er, chickety-boom type of thing."
    Say again?
    "Chickety-boom. Chickety-boom. That goes for all the band. If we're working in the studio, we'll always go for something out of the norm. Musically, we'll take things the hard way round. We won't do the easy thing. If there's a certain part that lends itself to a guitar, we won't necessarily use a guitar for the sake of it. We'll try to find something else and we'll possibly come back to the guitar anyway. Picking up the guitar and playing it is the easy way out for us a lot of the time.
    "Martin played more guitar on this new album than any album before. But he always uses it in a different way. On "Violator", there's a lot more rootsy type stuff. We've managed to marry a bluesy type feeling to hard electronics, hard technology. We've also managed to do it in what I see as a soulful way. Coming up with something that sounds new without being aware of it.
    "It was only when I played this album at home that I realised how right Martin was. It's pretty weird. Not off-the-wall necessarily. It's just that our approach is weird for a band that's considered commercial. When we're writing and recording, we don't consider ourselves to be weird. To us, that's just the way we do it. That's normal for us. I suppose it's other people who consider what we do to be odd. Some people just can't handle us. That's good. That's really healthy. I think it's good to rub people up the wrong way at the same time that we're appealing to a wider audience."
    Back in the days when Depeche were something of a music paper in-joke, they were constantly reprimanded for not being extreme enough. Gore would shrug and say, "Real life is not extreme, so we're not, and nor is our music." When he started wearing frocks it was as though he was attempting to subvert his own and the group's ultra-normal image.
    "Oh I think Martin does think life is extreme," says Gahan. "It's the darker side of those extremities that appeals to him. That's a lot more interesting. It involves a lot more. That side of things expands your mind more than the so called normal things in life. We all do those normal things though. I'm not saying that we're one of those weird bands that are into black magic and stuff like that."
    We're all of us perverts under the skin.
    "Yeah exactly," he laughs. "We've all got our perversities. What's normal at the end of the day? Who's to say? You have to be able to laugh at yourself. We've always done that. Martin has laughed at himself publically a lot of times. There's been periods that he thought were really funny. Of course, we tried to stop him going through those periods."
    We're talking about the frocks here?
    "Mmmmmm, that's right. If it had been T. Rex or Gary Glitter in the Seventies, it would have been considered the norm to be like that. Or Bowie and The New York Dolls for that matter. It was cool to be like that then. Lou Reed, Iggy Pop...everyone was at it. They all got away with it. When Martin comes along in the mid-Eighties and does it in a straight-faced way, he gets all this flak."
    "It was Martin's problem. He thought it was funny. Away from the cameras, he would be having a good old laugh about it. We'd all have a good laugh. Then we realised that it was doing none of us any good. So we kept saying to him, 'Look, you can't go out dressed like that!' Sure we did. Martin, of course, carried on doing it. These ludicrous f***ing dresses! Now he looks back and says, 'What the hell was I doing?' The funny thing was that we just about got away with it.
    "See, pop music isn't something which should be taken too seriously. We're very serious about our music. At the same time, we have to laugh at ourselves and laugh at the whole music business. It gets so nauseating when you get these bands going on and on about charity records. They're all great causes, sure, but we've always avoided that sort of thing. If we want to do something for charity, then we'll do it in private, as quietly as possible. We don't ever want to be seen to be using any kind of charity to help boost our career. No matter what the intentions of these bands are, that's how it comes across to me. It's become very trendy. We'll always avoid things like that like the bloody plague.
    "So you have to balance the serious side and the humourous side. I think the reason Martin wore dresses was just for fun. Nothing deeper than that. People read other things into it, like he was some sort of transvestite or something. I certainly got a lot of stick in Basildon, that's for sure. Thank God it's over."
    Can we expect a Dave Gahan weird-out phase at some point?
    "You must be f***ing joking mate! You won't catch me in a f***ing dress. No sodding way! I'm the yob next door. Never worn a dress in me life. Never f***ing will!"
    Gahan is very much the lad next door. The car-thief made good. The Sham 69 fan who started out singing carols with the Salvation Army. At 27, the youngest member of Depeche Mode, he's still young enough to remember why he started all this in the first place, croaking along to "Mouldy Old Dough" in a Basildon garage with the nascent Mode.
    "I don't really think I've changed that much since then," he decides. "I'm still regarded as the cheeky one. The joker in the pack. At the same time, I know exactly what I want from the band. I know my limits as a vocalist. I know what my role is in Depeche Mode.
    "What I've learned is that success can be a dangerous thing. You only know whether you like it or not when you've been through it. Then you can stand back and judge it all. You then realise what you like and what you don't like and what you want and what you don't want. Times do change, things you used to think were part of a good time become very boring. As you get older, different things interest you. You go through these extremities - playing the field, excesses of alcohol and stuff - and you come out of it a lot wiser.
    "I'm a family man now. I like to go back home and be with my wife and little boy. Going about everyday things like everyone else. [1] That may seem pretty boring, but a lot of people have this idea that pop stars lead this life of Riley where they're out on the razz every night. That just ain't the f***ing case y'know. It might have been the case in the Seventies with your Gary Glitters, your Keith Moons, your Mick Jaggers. Now, I think pop and rock is a lot more normal and controlled.
    "That's sad, I agree. I think the music business itself is partly to blame for that because of the way bands are manipulated. The way management sells bands. Yeah, it's sad that the rebellion has gone out of pop. That's what interested me in the first place in bands like Sham 69, The Clash, The Damned and The Banshees. That's what made me want to be in a band, y'know.
    "For me, that was the most exciting period of my life. At the time, nothing else mattered. I did the classic thing - dropped out of school, not bothering with exams. Now I look back and wish I'd done it. I wish I'd got a better education. Learned some languages. When I got to France, Italy or Germany, I realised how thick I am. Just another stupid Englishman who hasn't learned another language. An ignorant bastard basically."
    Have Depeche Mode made things more difficult for themselves than they might have been?
    "Well, we've never played the game have we? We've never placed too much importance on image. Well, maybe we did in the early days...and it backfired on us. We were just young kids then, teenagers y'know. Like the kids on the street now are wearing flares, right? I suppose if we were starting out now, we'd be wearing flares."
    Saints preserve us!
    In fact, Fletch (Andrew Fletcher) is trying to get us to wear flares. He thinks it'll give a good boost to our career. We just told him to f*** off, basically! If he climbs into a pair of bloody flares, he's straight out of the band. No questions asked. If you wore 'em in the Seventies, there's no way you'd go back to them. That was the worst period for fashion, ever. Horrendous when you look back on it.
    "But I really like seeing that. I like to see young people latching onto scenes if they can hang on to some individuality. You're always gonna have groups of people who want to latch on to something. Especially in England, where everyone has to be a member of some kind of club. You have to belong to something, otherwise you're treated like an outsider. You don't really see that anywhere else.
    "When we play in America, there's all these people doing these weird dances, completely out of time. Nobody's copying anyone else. They just don't care. They're just having a good time. They're not worried about making prats of themselves. British people are so self-conscious like that. You have to dress a certain way and behave in a certain way. If you're not part of something, they'll make you part of something."
    Now that Depeche have hit the stadium circuit in America, is there a risk of being vulgarised?
    "Not really. See, in a way, the Americans can see us for what we are. You were saying that we've never been an extreme kind of group. Well, that's fair enough. But the Americans do see us as a pretty extreme kind of group. To them, a group like Depeche Mode is very off-the-wall.
    "The people who buy the records are totally convinced by us. But there's people in the record industry who don't think we should be there at all. There's still people who are scared to play Depeche Mode in case they lose their Bruce Springsteen listeners.
    "Again, we're doing it at our own pace really. We've always moved at our own pace. We've never whored ourselves just to sell a few more records. We've stopped doing things we're uncomfortable with. We're fortunate enough in that we don't have to do those things anymore. Mute aren't going to say, 'Look, we need to crossover, you have to do "Saturday Superstore".' Who makes the f***ing rules anyway? People who are totally out of touch.
    "We've proved that you don't need to do all that. If you stay in control of what you're doing and you're happy with the songs you're putting out. You know when you're putting out something that's substandard. I know we've done that ourselves, but at the time, it felt right. That's as far as we'd gone, that's as much as we knew. That's as much experience as we'd gained. So we learned from mistakes.
    "Over in America, it's taken us a long time to get through to people, but it's been worth waiting for. On our latest tour over there, we played to over half a million people, playing the same circuit as bands like Fleetwood Mac and Bon Jovi. They're selling 20 times the number of records we are. But, by the time we'd finished touring, people in the industry were beginning to realise that something strange was going on, something wasn't right. So they sat up and took notice.
    "I mean, "Personal Jesus" has just gone into the US Top 30 six months after it was released. It sold half a million records before it started being played on the big radio stations. It just built up in the clubs for five months and the radio ignored it. Most of them still aren't playing it. Too weird mate! Too f***ing weird! They just don't get it."
    With "Violator", the forthcoming album, Depeche Mode have stripped themselves down and put themselves back together again. It sounds like a bold new start.
    "It does feel like a new start. We wanted this album to be very direct, very minimal, as minimal as Depeche Mode can possibly be. We've tried to take things as far as possible away from what we would normally do. I know it's a real head up the arse word but, this is a very mature Depeche Mode record. We're getting more and more in every time.
    "This is a very solid sounding Depeche Mode, very uplifting. I want people to hear this record. A lot of people who think they don't like the group will find themselves liking this. After this record, people will definitely want to reassess us as a group. It feels right. Who knows where it will go from here.
    "Y'know, being in a band for 10 years, it's a f***ing strange way to grow up. Completely abnormal. It's like being a kid in a playpen in a lot of ways. In the last 10 years, we haven't really stopped. We've just carried on, one album to the next. In future, we will definitely tour less. We'll also make records less and less. That's bound to happen. It's happened already, actually. We're into three years between albums now. I think it will become more and more important to us in the future, to make a record when we're ready to make it. It's becoming less and less important to do it when the time is right."
    How much life is left in Depeche Mode?
    "Well, we used to really worry about things like that. We'd wonder if we'd still be around in another five years, wonder if we were going to be left there with nothing to show for it all. It comes down to whether we'll carry on being friends and how long we'll want to record together. Depeche Mode is a band, very much so. A group of four people, those four people make the sound of Depeche Mode. If one of those people left the group, it wouldn't be Depeche Mode anymore. [2] If we split up, that would be it. None of your comeback tours in the year 2010."
    Gahan pauses for thought, trying to put this weird thing called Depeche Mode in a neat nutshell. He shrugs and decides that it's explaining itself quite nicely.
    "Y'know, it's really important to Depeche Mode that we are an identity. We're proud of that. People can knock it as much as they want, but the fact is that we've survived. Well, that's the wrong word. We've been constantly successful. Even in Britain, things are turning around for us. We've gone through a period where we've sold exactly the same number of records every time. Now it's opening up, people are finding us hard to ignore.
    "Basically, you have to take Depeche Mode as they come. It's all pretty straightforward, really. If we want to be more extreme, we'll be more extreme, but we're not going to be more extreme because a journalist tells us to be. We'll do it for a reason. Very straightforward. But f***ing weird when you think about it."
    Surprising as it seems, it might be good to have Depeche Mode around in the Nineties. Weird. F***ing weird. But very straightforward.
[1] - In fact, Dave's marriage was under severe strain at this time.
[2] - This comment was to take on an ironic dimension after Alan Wilder left in 1995.

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Offline Angelinda

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Re: 1990: Violator and World Violation Tour
« Reply #39 on: 28 May 2012 - 04:09:22 »
1990-03-10 - Melody Maker (UK) - Life Support Machine



http://tiptopwebsite.com/websites/index2.php?username=depechemodefile&page=20

The following review 'Violator' originally appeared in the March 10, 1990 issue of Melody Maker. The LP was released March 19, 1990.

LIFE SUPPORT MACHINE
"DEPECHE Mode have always been the poor relations of New Order and Kraftwerk, offering pedestrian, sometimes inconsequential variations on the electro-pop theme. Their simplified interpretations of Eurobeat's often complex structures and patterns has served them well, though, in that they sell enormously around the world and can boast an audience with an age range as broad as any. Music for the masses, indeed.
The numbskulls of the 1981 Generation, Depeche Mode were never as eerily glamourous as Human League, as intellectually graceful as Japan, nor as sleazily NRG-etic as Soft Cell. Yet they've carved a niche for themselves as consummate practitioners of machine-beat pop. They may not have contrived anything as singularly magnificent as "Technique" in their lifetime, but their progress from adolescent synth doodlers to expert proponents of mature, electronic-pulse rock has often thrown up some fascinating shapes.
"Violator", their seventh studio album, contains Depeche Mode's most arresting work to date. While their more dashing, radical peers have fallen prey to the vagaries of fashion and floundered on their own erratic briliance (League, Heaven 17, Cabs et al), DM have hardly succumbed to contemporary dictates, rarely innovating but always managing to coincide with current tastes. Surprisingly, they are presently judged by Detroit and Chicago's House cognoscenti as prime movers in the new dance culture.
Not that Depeche Mode have made an Acid record. Whereas House is a notoriously anonymous music, the identity of this outfit is patently obvious from the opening synthetic rush of "World In My Eyes". Dave Gahan's tremulous baritone, Andy Fletcher's two-finger keyboard motifs and those plastic toytown rhythms all put the instantly recognisable DM stamp on "World" and the hit single, "Enjoy The Silence".
Depeche Mode are learning to express themselves through the traditionally cold and characterless channels of electronic music. In a recent interview, Gahan described the sound the band were aiming for on "Violator" as future blues, to establish a modernist setting for traditional, hard-edged blues chord progressions. "Sweetest Perfection" and "Clean" are the standout examples of this experiment here, the gadgetry and fuss of early Mode clatter such as "Just Can't Get Enough" pared down to the barest essentials, Gahan's voice brutally upfront in the mix.
"Personal Jesus" you will already be familiar with, a timely reminder that Depeche Mode, with their black leather gear, Martin Gore's waggish flirtation with S&M chic and the sinister, mischievous streak that seems to underpin the chaps' evey move, are possibly our last hope for chartpop subversion. For whatever reason, it felt good to have "Jesus" at Number 13.
"Policy Of Truth", one of the five potential singles on "Violator", is based around a sadistic, cynical electro-riff and oozes with genuine danger. Best of all is "Halo", a dim-lit, manacing slug-funk dirge that achieves the impossible by being both grimly oppressive and gloriously uplifting. It has been glued to my turntable for the last two months and it is the finest thing DM have ever done.
"Violator" is bleak and dark and not a little vicious. God knows what the hippy-happy pastel-coloured anti-style fascists of clubland will make of it, but that's their problem. Depeche Mode's next venture should be quite murderous if this is anything to go by. Barbarism begins in Basildon!"
Paul Lester



1990-03-10 - Telemadrid (Spain) - Capital Pop (interview with Alan)

[Dentez has this, but wants it in better quality.]

http://hemeroteca.abc.es/nav/Navigate.exe/hemeroteca/madrid/abc/1990/03/10/133.html
http://argentinamode.com.ar/archivos/documentos/300908.htm
http://www.youtube.com/watch?v=CJmk8JOnU3s

Entrevista a Alan Wilder en 1990

Descripción: Fragmento de una entrevista de la televisión española a Alan Wilder en plena etapa "Violator". Comenta sobre su video favorito hasta el momento y del público que los ve en vivo
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Offline Angelinda

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Re: 1990: Violator and World Violation Tour
« Reply #40 on: 28 May 2012 - 04:10:59 »
1990-03-12 - 92.7 WDRE (US) - Dennis McNamara Interviews Fletch and Martin

https://app.box.com/s/m6twjyo9zk7s1ewohrui



1990-03-15 - Energy Radio (??) - Fletch in Houston (15 min)

[We don't have this audio interview.]



1990-03-16 - KROQ FM (US) - Violator premiere with Alan and Fletch

http://oldsite.depechemode.com/audio/radio/kroq_031690_fletchalan.html

Radio Station: 106.7 FM, KROQ FM, Los Angeles, California
Broadcast Date: March 16th, 1990
DJ: Richard Blade
Details: This was the premiere North American broadcast of tracks from the Violator album, with Alan and Fletch.

Play file:
Clip 1: mp3 | file size - 14.628 meg | running time - 10:53 minutes
Clip 2: mp3 | file size - 15.329 meg | running time - 14:51 minutes
 


1990-03-16 - Power 106 (US) - Alan Wilder & Andy Fletcher Interview

https://www.depechemode-live.com/wiki/1990-03-16_Power_106,_Los_Angeles,_CA,_USA
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Offline Angelinda

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Re: 1990: Violator and World Violation Tour
« Reply #41 on: 28 May 2012 - 04:11:21 »
1990-03-16 - The Independent (UK) - Album Review

[Reprinted in a BONG magazine many years later.]

    “Violator” is Depeche Mode’s most mature work, the least infatuated with the image of demi-monde decadence and, in songs like the single “Personal Jesus”, the most effective at introducing mainstream rock forms into their machine pop. Years of touring America couldn’t help but affect them, I suppose, but they’ve managed to control its influence with an impressive degree of taste. Songwriter Martin Gore, in particular, has become a most accomplished crafter of High Romance from baser physical love – hence the album title, illustrated on the sleeve by a single cut red rose. Here, the obligatory Mode references to Gore’s more outré sexual interests are transmuted into lines as tender as “You wear guilt / Like shackles on your feet / Like a halo in reverse”. It makes, over the course of an LP, for a sweetly dark immersion, culminating in the springtime rebirth of “Clean”, in which the narrator ponders the effect of a massive sea-change in his habits and attitudes. It’s also the group’s most satisfying work musically, covering a range of moods and styles which gives the lie to the criticisms of repetition and similarity often attached to machine music. Francois Kevorkian, one of the original disco-mix specialists here operates with appropriate subtlety on the band’s more diverse material. One of the more impressive aspects of “Violator” is that it follows their live double-album career summation “101” with material of such strength, diversity and freshness. The chances of Bowie and The Who following their equivalent summations in like fashion is, I fear, minimal.



1990-03-16 - Entertainment Weekly (US) - Album review

http://www.ew.com/ew/article/0,,316910,00.html

Depeche Mode
Reviewed by Greg Sandow

They've been around for years, Depeche Mode and their synthesizers, and surely by now everyone who knows about them has come to some conclusion. For some, they're pop kings; for others, they're too vapid, too mechanized, or too pompous.

But on Violator, anyway, their music is more varied than catchy pop needs to be. ''World in My Eyes,'' the opening track, begins with music that sounds like some ungainly cartoon animal dancing. The second song, ''Sweetest Reflection,'' starts low, then quickly adds something high and eerie, like the keening of a thousand tiny neon gnats.

None of these distinctive and curious effects (there must be dozens of them) interferes with the easy flow of the music. Sometimes, though, they do cast shadows, the significance of which can be hard to figure out. These shadows in effect hint at unspecified meanings, in a mannered way that might well be called pompous — until one song, ''Halo,'' opens a window on what the band might really be about. ''You wear guilt like shackles on your feet, like a halo in reverse,'' the lyrics say, while the music dances darkly.

This emotional sickness — ''a famine in your heart'' — is captured by harmonies that float over the music as if they were the disturbing odor of slowly rotting fruit. Even ''Waiting for the Night,'' on its surface a song about tranquillity, drifts on a sea of unease. There's a worm eating at Depeche Mode's gut. Maybe at heart they're not wholly pop.
B-
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Offline Angelinda

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Re: 1990: Violator and World Violation Tour
« Reply #42 on: 28 May 2012 - 04:13:13 »
1990-03-17 - NME (UK) - VIOLATORS ARE BLUE

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



VIOLATORS ARE BLUE
[NME, 17th March 1990. Words: Helen Mead. Picture: Anton Corbijn.]
" All those big subjects, that can be hard to capture in a three minute pop song, let alone being able to present such adult struggles to the pre-teen market. "
 
Summary: A rare instance of an undecided review (despite the high score) of Violator. The writer isn't certain if she's satisfied by the decidedly clinical sound of the album, and only half "clicks" with the ironies of Martin's writing style. [381 words]

Depeche Mode
Violator (Mute LP / Cassette / CD)
    With the current musical climate settling so far into “electronically produced” music, it’s very hard to think of anything in this genre as being other than House music or clanging Front 242 New Beat bastards. But that of course is forgetting the influence of Depeche Mode – who, in terms of “new product” – have been off the scene since ‘87’s ‘Music For The Masses’, a lush, dense escapade into the world of grandiose pop songs.
    You’d expect to hear a leap in musical logic between ‘Music For The Masses’ and ‘Violator’, but instead it seems almost a step back, in that it’s cleaner, sparser, more clinical. And herein lies the contradiction, as that should mean they also get pervier, but they don’t. They’re still too obsessed with the perfect relationship.
    So ‘Violator’ – a preposterous title for a Heavy Metal album or a hardcore porn comic – either way Radio 1 still won’t ban it – just titter wryly, ‘cos Depeche Mode are nice boys and thankfully don’t seem to have anything to do with drugs – OR the Acid House scene! [1]
    Lyrically they’re still dealing with raw emotions: religion in ‘The Policy Of Truth’, betrayal and foolhardy honesty; ‘Personal Jesus’, a Glitter-stomp all over purchasable faith; and obsessive love of ‘Sweetest Perfection’. All those big subjects, that can be hard to capture in a three minute pop song, let alone being able to present such adult struggles to the pre-teen market. Then there’s the kinky song – ‘Blue Dress’ breaking you gently into the knowledge that fetishes make a man’s world go round, not love – all in waltz time. Isn’t that nice and proper!
    ‘Enjoy The Silence’ is an excellent Pet Shop Boys’ ‘Opportunities’ soundalike. While ‘Waiting For The Night’ you could almost call ambient; with its “And when I squinted / The world seemed rose tinted” lyric, you could almost believe that you were sitting alone in the echoing chambers of a submarine listening to the radar pips cross the screen. The nearest Depeche Mode ever get to being trippy is on their version of Tangerine Dream’s ‘Clean’. [2]
    There is black. And there is white. And there is security in the knowledge that everything is very clear cut in Depeche Mode’s blue and white world. (8)

[1] - This is priceless – you can excuse her for not knowing at the time, but since Violator was released it has become perfectly well known that Martin was taking Ecstasy regularly (as were some of the other band members) and wrote a significant part of the album while coming down. And this is quite apart from the fact that Dave had been hoovering up the Charlie since at least 1987. [continue]
[2] - What? Outrage! Clean was written by Martin, as was the rest of the album. Possibly Tangerine Dream did another song with the same title and the writer has heard some Chinese whispers. But it most definitely isn’t a cover version. [continue]

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Offline Angelinda

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Re: 1990: Violator and World Violation Tour
« Reply #43 on: 28 May 2012 - 04:14:43 »
1990-03-17 - Record Mirror (UK) - BREAKING THE SILENCE

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








BREAKING THE SILENCE
[Record Mirror, 17th March 1990. Words: Lisa Tilston. Pictures:  Uncredited.]
" ‘Enjoy The Silence’ is probably our most commercial song for quite a while. It’s got a good tune and a housey beat, but it still seems gloomy compared to the bouncy dance music like Black Box and Technotronic. In some ways perhaps we’re in our own little world; we don’t aim to be subversive but if we are it’s very natural. "
Summary: Fletch talks in an undemanding but interesting short interview about how the band's style has sat next to other chart music, and goes over the usual public misconception. It's disconcerting that at times Andy seems to need to explain and justify the Depeche Mode ethos, although a sympathetic interviewer helps tease out an easy introduction to a public just starting, in 1990, to give the band a second look. [1526 words]

    In 10 years at the top of the music tree, DEPECHE MODE have gone from cheery electronic popsters to the makers of some of the most controversial, left-field chart music of the last few years. With a new album called “Violator” just unleashed, Lisa Tilston talks to the band who were talking pop / dancefloor crossover while The Stone Roses were still in (flared) short trousers.
    Depeche Mode are one of the decade’s most unlikely success stories. They were still in their teens when they got together in a Basildon bedroom to develop their perfect pop technique, they cottoned on to heavy industrial dance long before acid house was invented, and in 10 years they’ve never made a duff record. [1] Their first single, “Dreaming Of Me”, which got to number 57, is still their lowest chart placing, and they regularly infiltrate the Top 10.
    All this, and yet Depeche Mode are hardly popstars. Dave Gahan, Martin Gore, Alan Wilder and Andy Fletcher could walk down any street in Britain without being recognised, although they get mobbed abroad. Gore’s remarkable songwriting talent is barely acknowledged, their public profile is lower than a jockey’s kneecap, and their ground-breaking, innovative records are often dismissed as “synthesiser pop”.
    Tired of being misunderstood, Depeche Mode have shunned the press for the last few years. But now, with a superb new album, “Violator”, ready to be unleashed upon an unsuspecting world, they’ve decided to break the silence. Andy Fletcher, as friendly, amusing and unassuming a man as you could hope to meet, gives Record Mirror the lowdown on their finest vinyl outpouring to date.
    Fletch, aren’t you setting yourselves up for yet more misunderstanding by calling a collection of sensitive and emotional songs “Violator”?
    “We called it “Violator” because we wanted a very heavy metal title. The last album, “Music For The Masses”, was another sarcastic title which no one understood, it doesn’t really matter because we know we’re being sarcastic. The Germans especially didn’t get “Music For The Masses” at all, because over there we really are music for the masses, and they don’t understand sarcasm – they were saying “Oh, so what is this, you are making commercial music?”! I think people miss the humour in the band because unless you’re a real devotee you don’t look that seriously at groups, you just glance at a video on “Top Of The Pops” and make a snap decision about whether or not you like it.
    “Over the years Martin’s studio at home has got progressively better and better so the demos he was producing and giving to us were very good quality. If you listen to a song, say “Strangelove” which was a very full demo, after about 20 plays the direction in which you’re going to go is pretty much fixed. We were basically re-recording Martin’s demos with better sound, better production and Dave’s vocals. For this album we said to Martin, just present the demos on acoustic guitar and organ, only lyrics and chords, so we could decide the direction of songs as a group. It was a conscious decision to make this album different from the previous ones. It’s also the first time we’ve used a producer rather than an engineer / producer.
    “It was definitely more enjoyable making this album because we went to Milan right at the beginning. We just went out, partied, and didn’t get any recording done, but we had a good time and it cemented the spirit of the whole album. It was very much a group feeling.”
    You haven’t really changed your methods though.
    “Well, electronics were always the way forward in the Eighties but no one else realised that. Now, of course, 95 per cent of records are made with electronics, but mostly in a bad way. The groups who were around with us in the early Eighties gave the whole thing a bad name, to be in a synthesiser group was a dirty word, and we spent most of the decade trying to justify ourselves.
    “We have used guitars and drums but it’s not apparent. People just hear a few synthesisers and think ‘It’s the same old Depeche Mode’. The thing is we’re always going to sound like Depeche Mode because Dave’s voice is so distinctive.”
    You’ve released some pretty controversial records over the years.
    “We wouldn’t say our songs are controversial. They do cause controversy, but Martin would say all he does is write about life.
    “Martin’s a classic songwriter and he’s a great pop fan. When he presents songs to us they’re songs he’s dead sure about. We’re like a family really, so usually what he writes about is the sort of thing we’re experiencing too.
    “ 'Personal Jesus' was on a general theme, that’s the important thing. The lyrics are very ambiguous so although it could have been controversial in fact it turned out not to be at all. Most people thought it was a pro-Christian anthem, which wasn’t intended. If you release a song with the word “Jesus” in it you’ve got to expect trouble, but we wanted to release it because we thought it was a good song.
    “Martin doesn’t get us around the table and say ‘Listen lads, this is what this one’s about’. He never explains the lyrics at all. In the old days when we used to make videos with storylines like ‘See You’ he hated it because they interpreted his songs too literally. I’ve heard about 10 different interpretations of ‘Personal Jesus’ and that’s what Martin really likes.
    “We do experience the same sort of feelings as he does though. The really emotional, lovey-dovey ones he sings anyway, there’s no point in Dave singing them. On the new album ‘Sweetest Perfection’ is quite specific, and obviously Martin’s got to sing that one.”
    Will Depeche Mode make it into the history books?
    “Not in England, unless something happens in the future, but in other countries we certainly will, especially Germany and the eastern bloc. In England we’re more hated than we are liked.”
    That must hurt.
    “This is the only country we’ve got a history in, you see, because in the first two or three years we produced our worst records, we were at our most famous and at our sickliest. We smiled in every photo, we were in Smash Hits every week and people still remember that. They also think we went from that to doom and gloom, so there’s these two extreme views of Depeche Mode in England. We’re either pop, or doom and gloom… but we’re actually both!”
    You’ve had your career in reverse, starting as a pop band and becoming progressively more left-fiend.
    “Yes, and New Order have done it the opposite way, starting off really gloomy with Joy Division and getting more and more poppy! It’s just the way Martin writes songs. On the second album, after Vince Clarke left, there was pressure on Martin to write commercial tunes and it was a bit of a mish-mash. We consider ‘Construction Time Again’ our first real album when we got our act together and Martin was right into his gloom and doom by then! It comes from him, totally, but we would say that he’s just being realistic and other stuff is too optimistic. We don’t consider ourselves gloomy, there’s a lot of melody and perhaps some of the vocal lines are a bit on the depressing side but on the whole I find it very uplifting and the fans do too.”
    You do sound rather doom-laden in contrast with the rest of the charts though.
    “Exactly. ‘Enjoy The Silence’ is probably our most commercial song for quite a while. It’s got a good tune and a housey beat, but it still seems gloomy compared to the bouncy dance music like Black Box and Technotronic. In some ways perhaps we’re in our own little world; we don’t aim to be subversive but if we are it’s very natural.”
    Has the relentless success ever been hard to cope with?
    “I think being on Mute helps a lot. We’ve always been the main group on the label but we’re not treated like stars. It might have been different if when we were 18 or 19 we’d been shunted around in limos, but when we were doing ‘Top Of The Pops’ we were getting there by tube and I think that helped keep our feet on the ground. Also not having a manager helps because you have to learn the business side yourself. We’re in control, because I take care of that side of things. There’s no pressure on Martin when he’s writing, or Alan when he’s putting together the music, or Dave… In fact I get all the pressure! It’s something I’m quite interested in anyway, because I studied economics at school. I think a modern band has to be interested in that side of things, we remember the stories of Gary Glitter going bankrupt and we’re always very conscious of that.
    “We still feel like an indie band though. We have total control over what we do because we’re not in a major label conglomerate situation. We make the decisions.”
[1] - Few reviewers, in this era or most others, would pen such a glowing review of the band's career, even with 25 years' hindsight. Even the fans would have to agree that although they've never done an entire duff record, they've scattered a few duff songs around over the years... [continue]

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Offline Angelinda

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Re: 1990: Violator and World Violation Tour
« Reply #44 on: 28 May 2012 - 04:15:32 »
1990-03-17 - RECORD MIRROR (UK) - Review

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




RECORD MIRROR, 17th MARCH 1990
[Words: Tim Nicholson. Picture: Anton Corbijn.]
" ...this perfectly formed void. "
Summary: A brief review of Violator, clearly very impressed with what it sees as Depeche Mode's coming of age. [242 words]

    After years of struggling, Depeche Mode have finally succeeded in making “The Black Album”. Their career has been a progressive darkening of their art. From the garish red of “Speak And Spell” to the harder blue of “Construction Time Again”, and darker still on “Black Celebration” and “Music For The Masses”, where they carelessly allowed streams of coloured light to permeate the eclipse.     
    Finally, with “Violator”, they have fashioned a veritable dungeon of songs for you to jangle your manacles to. Nine black songs that go bong rather a lot and rarely go bing. “World In My Eyes” is at the cellar door and is the perfect introduction to this compromise between pop music and something a little more sinister. 
    Of course, they’re only playing pretend, but that is their strength. The ability to follow the fabulous black comedy of “Personal Jesus” with the seriously masterful “Enjoy The Silence” is a gift few would have credited them with three years ago. Naturally the joke is extended here, “…The Silence” trailing a couple of minutes of silent noises after it. All other tracks here live in suspended animation somewhere between the two singles. 
    There are no noises out of place in this perfectly formed void. The songs are like bright stars in a black sky, or silver studs on a soft black leather jacket. The wonder is that the more they strip it down the bigger they get. How low can they go?
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