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Author Topic: 1987-1989: Music and Tour for the Masses & 101 release  (Read 84722 times)

Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #30 on: 07 June 2012 - 02:09:37 »
1987-06-03 - Bravo (Germany) - dave wird bald vater

[Taken from the now-defunct website dave-gahan.net.]





1987-06-03 - Today (UK) - 18 hits and no misses keeps Dave happy

[Original source unknown, found here: https://pinterest.com/pin/446278644312714401. Typed out by me.]



POP ON A POSTER: Dave Gahan of Depeche Mode

18 hits and no misses keeps Dave happy
Depeche Mode remain one of the pop's best kept secrets. The band from Basildon, Essex, led by our poster star Dave Gahan, embark on their biggest ever tour this year. Yet their lack of image and uncompromising musical style have prevented them from becoming yet another flash-in-the-pan. MARTIN TOWNSEND talks to Dave Gahan as he celebrates Strangelove, the band's 18th consecutive hit.

After six years of steady success, Depeche Mode are set to surprise their fans by departing from their long-time mentor to produce their own records.
Daniel Miller discovered the band and signed them at the height of the New Romantic music boom.
"It's down to us this time," says Dave Gahan.
"The sound is a lot bigger and meatier. If we make a few mistakes, it's our fault. It's quite exciting."
The band have no complaints about Miller - who produced all their hits from Just Can't Get Enough to last year's Question Of Lust - but want "a whole different atmosphere."
Depeche Mode have never had a manager. All costs and profits are split down the middle with Miller, who still owns their record company, Mute.
Gahan says the arrangement keeps the band on their toes. "If you're looking after yourself all the time you haven't got time to get blasé," he says.
Gahan admits that the band are at least dollar millionaires, though he prefers the quiet life with his wife, Jo, who is expecting their first baby.
"She knows that I'm going to be away a lot," says Gahan, "but she comes out to quite a few gigs and she's got used to it. She accepts it now and I think you've got to be very strong to do that."



1987-06-13 - Hitkrant (Netherlands) - Het Gaat Niet Goed Met Depeche Mode

[Photo taken from eBay.com. Transcribed and translated by me.]



Het gaat niet goed met Depeche Mode

Ondanks het verheugende feit dat hun nieuwe single 'strange Love' het tot Alarmschijf heeft gebracht, en de plaat internationaal bijzonder goed wordt ontvangen, heerst er in de Depeche Mode-gelederen bepaald geen hoera-stemming! De mannen van Martin Gore maken momenteel zelfs een crisis-periode door. De nieuwe LP had er immers in april al moeten zijn, en staat nu op z'n vroegst voor juli gepland. Wat gebeurde er allemaal, Martin?
"Ten eerste hebben we heel lang naar de juiste Parijse studio moeten zoeken", aldus Martin Gore, de spil van de band. "Toen we dan uiteindelijk maar nieuwe studio-apparatuur uit Japan hebben laten overvliegen, bleek dat we met technische problemen te kampen kregen. Met als gevolg dat we nog een paar weken extra achter op schema liepen. Ja, het heeft ons bepaald niet meegezeten. Hadden we eindelijk vier nummers kant en klaar, kregen we onderling bonje: We waren het niet eens over de nieuwe muzikale richting. We merkten wel dat ieder van ons de sound van de laatste drie lp's echt zat was. We wilden niet meer iets zekers spelen, maar nieuwe velden betreden. Maar ja, de een vond dit, de ander dat... Daarom hebben we de handdoek voorlopig maar even in de ring gegooid, en terwijl de rest van de band zich nu volledig inzet voor de promotie van de single, neem ik een welkome denkpauze. Ideeën voor een sound zijn er genoeg. Het zit er dik in dat we in de toekomst meer gebruik gaan maken van akoestische instrumenten - gitaren, slagwerk, we zullen wel zien."
- Er is bij Depeche Mode ook wel het een en ander veranderd. Jullie nemen niet meer in Berlijn op, maar in Parijs, en jullie hebben Daniel Miller, producer van het eerste uur, aan de kant gezet. Waarom?
"Wat de eerste vraag betreft, Berlijn is voor ons gewoon te saai geworden. Het leven en werken in Berlijn werden zo langzamerhand een sleur. Parijs is helemaal nieuw voor ons. We kennen daar maar weinig mensen, en de lichtstad is veel moderner, opwindender en inspirerender dan Berlijn. Onze producer, Daniel Miller, is er niet meer bij omdat we een andere sound wilden. We werken nu met Dave Bascombe, die ook al platen van Tears For Fears en Peter Gabriel geproduceerd heeft. Hij levert talloze te gekke nieuwe ideeën aan, en hij heeft ons ook aangeraden op een pauze in te lassen. Ja, zelfs de tourplannen hebben we op de lange baan geschoven: 'Laten we het er nu éérst maar eens over eens worden wat we in de toekomst willen doen...!'"
- Hoe is de sfeer nu in de band? Kun je spreken van een crisis?
"Kijk", besluit Martin, "je moet niet vergeten dat we allemaal oude schoolvrienden zijn. Het is waar dat we nog nooit zo ver van elkaar af hebben gestaan als nu, maar onze vriendschap kan wel een stootje hebben! Ook als het om essentiële dingen gaat. Zelfs de grootste barst in het porceleinen kopje leidt niet altijd tot een definitieve breuk. Die lijmen we wel weer. We wachten maar af hé..."


Translation:

It's not going well for Depeche Mode

Despite the gratifying fact that their new single 'Strange Love' has been made "record of the week" and the record is being received very well received internationally, among the Depeche Mode members there prevails certainly no mood for cheering! Martin Gore's men are currently even having a crisis period. The new LP should have indeed already been there in April, but is now scheduled for July at the earliest. What has happened, Martin?
"Firstly, we had to find the right Parisian studio which took us a lot of time," said Martin Gore, the drive behind the band. " When we finally brought over new studio equipment from Japan, it turned out that we were experiencing technical difficulties. As a result, we had gotten a few more weeks behind schedule. Yes, it certainly wasn't easy for us. When we finally had finished four songs, we got into an argument: we disagreed about the new musical direction. We did notice, however, that we were all really tired of the sound of the last three LPs. We did not want to play something safe, but to enter new fields. But unfortunately, one person thought this, the other thought that... So we just threw in the towel for now, and while the rest of the band is now fully committed to the promotion of the single, I am taking a much-welcomed break for reflection. There's plenty of ideas for a new sound. Chances are that we are going to make use of acoustic instruments more in the future - guitars, drums, we'll see."
- Also, a thing or two has changed with Depeche Mode. You no longer record in Berlin, but in Paris, and you have put Daniel Miller, your producer since the early days, aside. Why?
"With regards to the first question, Berlin has become just too boring for us. Life and work in Berlin were gradually becoming a rut. Paris is completely new to us. We know only a few people there, and the city of light is much more modern, exciting and inspiring than Berlin. Our producer, Daniel Miller, is not with us anymore because we wanted a different sound. We are now working with Dave Bascombe, who has also produced records for Tears for Fears and Peter Gabriel. He provides many amazing and new ideas, and he has also advised us to take a break. Yes, even the tour schedule has been pushed back: 'Let's first agree on what we want to do next...!'"
- What is the atmosphere in the band like now? Could one say this is a crisis?
"You see", concludes Martin, "you have to keep in mind that we're all old school friends. It is true that we have never been as far apart as now, but our friendship can handle a punch! Even when it's about essential matters. Even the biggest crack in a porcelain cup doesn't always lead to a definite break. We will glue it back together again. I guess we'll just have to wait and see, don't we..."



1987-06-13 - Okej (Sweden) - OKEJ fick en exklusiv lunch med Depeche Mode

http://depechemodequest.tumblr.com/post/140023224475

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Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #31 on: 07 June 2012 - 02:11:48 »
1987-06-20 - La Cinq (France) - Concert SOS Racisme

Dentez is still looking for this in better quality.

Strangelove: http://www.youtube.com/watch?v=SDu-JOUbO9w
Shake the Disease: http://www.dailymotion.com/video/xp90m4_shake-the-disease-on-french-tv_music
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Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #32 on: 07 June 2012 - 02:12:07 »
1987-06-27 - Radio 21 (Belgium) - Alan & Album Playback (60 min)

[We don't have this audio interview.]
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Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #33 on: 07 June 2012 - 02:12:43 »
1987-06-28 - Na przełaj (Poland) - Alan Wilder Interview

http://missing_piece.republika.pl/wywiady/na_przelaj.htm

nr. 26 (1544)

Pytanie: Jak to się stało, że wziąłeś się do muzykowania?
Alan: To rodzice! W wieku 8 lat zmusili mnie, abym zaczął uczyć się gry na fortepianie. Ćwiczyłem więc całymi dniami, ale wcale mnie to nie bawiło. Dopiero gdy wpadł mi w ręce syntezator....To było to! Początkowo nie bardzo wiedziałem, co z nim można zrobić, ale gdy trafiłem kiedyś do studia na sesję The Rubettes, otworzyły mi się oczy. Potem była jeszcze kapela Drunkeness, kilka innych zespołów no i Depeche Mode.

Pytanie: A w domu wszyscy są muzykalni?
Alan: Tak, ale tylko brat Stefan żyje z tego, jest piosenkarzem i pianistą. Andy, drugi braciszek, uczy z kolei muzyki.

Pytanie: Podobno o twoim przyjęciu do DM zadecydował przypadek?
Alan: Nie tyle przypadek, ile ogłoszenie w MM. Przeczytałem kiedyś: poszukuje się.... klawiszowiec ....poniżej 21 lat ....ja miałem wówczas 22 lata, coś więc tam nakręciłem i przyjęli mnie na próbę. Pół roku grzałem ławę, pętałem się za kulisami. Teraz jest już O.K. Wiem co do mnie należy.

Pytanie: A co?
Alan: Najwięcej czasu spędzam w studio przy miksowaniu nowych numerów. Taki jest podział... Martin pisze teksty, Dave śpiewa, to urodzony showman, robił kiedyś głupstwa, ale już mu przeszło. Andy trzyma kasę i wszystkie papiery - uwielbia się w nich grzebać, planuje trasy, rozmawia z prasą.

Pytanie: Mieszkasz z przyjaciółką Jeri i jej synem z pierwszego małżeństwa. Nie zamierzacie się pobrać?
Alan: Po co, nie widzę takiej potrzeby. Jest nam dobrze właśnie tak. Jeri pracowała kiedyś jako fizykoterapeutka w instytucie akupunktury, a teraz prowadzi dom i zajmuje się kolekcjonerstwem.

Pytanie: A co zbiera?
Alan: Gdybym to ja wiedział... zbiera wszystko co jest luzem. Od mebli przez znaki drogowe do chińskich waz.

Pytanie: Jak to znosisz?
Alan: Nie najlepiej. Ten sposób urządzania domu nie bardzo mi odpowiada. Wolę puste mieszkanie z paroma wyszukanymi rzeczami. Ona zapchała wszystko po sufit. Ale będzie lepiej, mam na oku taki domek, w którym zmieści się i jej muzeum, i moje małe studio...
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Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #34 on: 07 June 2012 - 02:13:26 »
1987-06-xx - Best n°233 (France) - Interview Anton Corbijn

http://www.frenchviolation.com/forum/viewtopic.php?f=11&t=5632





1987-06-xx - Inrock (Japan) - Interview by David Keeps

http://www.ebay.com/itm/DEPECHE-MODE-1987-CLIPPINGS-JAPAN-MAGAZINE-IR-6A-3PAGE-/381517400511


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Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #35 on: 07 June 2012 - 02:14:08 »
1987-06-xx - Depeche Mode Official Info Service Newsletter

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






[12] - June 1987
            Further details about the recording and release of Music For The Masses, European chart positions for Strangelove, UK and Paris concert dates. [View transcript]


[Information Service newsletter, June 1987.]

Hello Again!
    Welcome to the latest edition of the Depeche Mode News Letter!
    First of all Dave and Alan would like to thank all of you who sent them Birthday presents and Cards from all over the World.
    Unfortunately they were working in the Studio on their Birthdays, so they were unable to have any special Celebrations!
    We were very pleased with your response to the new single, how much you enjoyed it and how some thought that it was one of the best to date.
    As you all know, “Strangelove” was released on 27th April and reached number 16 in the U.K. Charts.
    You may also be interested to know that its highest Chart positions to date, elsewhere in Europe is as follows:-
 
Germany   No. 2
Finland   No. 2
Denmark   No. 3
Switzerland   No. 3
Sweden   No. 5
Norway   No. 7
Spain   No. 12
Belgium   No. 14
Holland   No. 24
France   No. 31 (But this will go higher).
    As I write this News Letter, “Strangelove is No. 4 in the French FH Airplay Chart. It also reached No. 6 in the Pan European Charts.

ALBUM AND RECORDING NEWS.
    The Recording of this New Album was finished in London on the 12th June, Martin is going to take a four day break in Malta before they start mixing in Denmark on the 16th June, finishing on July 16th.
    The New Album, will be called “Music For The Masses” and will be released  on 27th September.
    After this Depeche Mode are all going to have a much needed Holiday.
    Dave is going to Menorca with his family for two weeks in July.
    Alan is going to Egypt, and then on Safari to Africa for three weeks in July.
    Martin is going to the Seychelles for two weeks in July.
    Andy will also be going on Holiday at about the same time, but hasn’t booked anything yet.
    Then they are all due back just before the release of the next single on 28th August, and is as yet untitled.
    There will of course be promotion in the U.K and Europe involving T.V. and Radio, but we don’t have any details yet except that it is almost certain that they will be doing a T.V. in Verona, Italy, called “Festilvar Bar” on 5th September.
    Unfortunately, we are still not able to five you the release date of the “Box Set” of four 12”s of selected tracks, (not a double LP Box Set.) It will be available on CD. 
All Depeche Mode LP’s are available on C.D. but only:-
STUMM 19 “SOME GREAT REWARD”.
MUTE1 “THE SINGLES 81-85”.
STUMM 26 “BLACK CELEBRATION” are produced by Mute.
The others STUMM 5 “SPEAK AND SPELL”
STUMM 9 “A BROKEN FRAME”
STUMM 13 “CONSTRUCTION TIME AGAIN”
are on Intercord and imported by Mute and are therefore readily available over here.

TOUR DATES.
    At the moment we are still not able to give you the full Tour Dates, as they are still being planned.
    But we do have some dates announced for Paris!
    Tickets for Depeche Mode’s concerts in Paris on November 16th and 17th will  go on sale on June 26th.
Available from:-
    DEPECHE MODE / PARIS,
    VALUE ADDED TALENT,
    60, WESTON STREET, LONDON. SE.1.
    Price Pounds 12.50 (Inc 50p booking fee). Cheques and Postal Orders payable to “Value Added Talent”.
    Please enclose S.A.E allow 28 days for delivery.
    Depeche Mode are doing a T.V. show in Paris on June 20th. It’s an Open Air Show, in front of a live audience!

QUESTIONS ANSWERED.
1)      What is the photo on the cover of the new single “Strangelove”?
    The picture on the cover of “Strangelove” is of a “Tannoy” speaker (the kind of speaker used in Garages or other outdoor locations for public address).
2)      What does “FPMIP” or “PIMPF” mean?
    “PIMPF” is a German word which Martin came across in a book about German History. It is a difficult word to translate.
    Even German people seem unclear as to it’s exact meaning, but it was used to describe young people whose Political awareness belied their years. 
3)      Most of you have been asking anxiously if Dave’s wife Jo is expecting a baby!
    The good news is she is expecting their first child in October! They don’t mind if it’s a Boy or Girl and they don’t have any names in mind yet!

COMPETITION WINNERS.
    Thank you all for your replies to the Competition. 
    Here are the lucky winners! 
    Each receiving, Compact Disc singles are:-
    George Geranios of Athens.
    Leigh Hunt of Ashstead, Surrey.
    Miguki Yoshimura of Fukuoka, Japan.
    Receiving two Twelve Inch Test Pressings of “Strangelove” is:-
    Miss M. Thom of Glasgow.
    And receiving two Seven Inch Test Pressings of “Strangelove” is:-
    Thierry Molard of Chateauroux, France.
    Well done and thanks again!!!! 
    You will receive your prizes soon.
    We hope you enjoyed the News Letter, and in the next edition we will be featuring:-
    More Tour News, an update Discography, Pen Pal Service and lots lots more!
    And finally as requested here follows the Lyrics to “Strangelove”.
    [these have been omitted from the transcript]

DATES FOR DEPECHE MODE 1988 U.K. TOUR!
THE TICKETS FOR THESE CONCERTS WILL GO ON SALE, SATURDAY AUGUST 8TH.
TICKETS WILL BE AVAILABLE FROM BOX OFFICES AND USUAL AGENTS.
U.K. TOUR DATES – RING VENUES FOR DETAILS.
SAT 9 JAN – NEWPORT CENTRE
MON 11 JAN – WEMBLEY ARENA
TUES 12 JAN – WEMBLEY ARENA
FRI 15 JAN – BIRMINGHAM N.E.C.
SAT 16 JAN – WHITLEY BAY ICE RINK 
SUN 17 JAN – EDINBURGH PLAYHOUSE
TUES 19 JAN – MANCHESTER G. MEX CENTRE
WED 20 JAN – SHEFFIELD CITY HALL
THUR 21 JAN – BRADFORD ST. GEORGES
SAT 23 JAN – BOURNEMOUTH INTERNATIONAL CENTRE
SUN 24 JAN – BRIGHTON CENTRE.
P.S.
DON’T FORGET DEPECHE MODE’S NEW SINGLE “NEVER LET ME DOWN AGAIN” WILL BE RELEASED MONDAY 24TH AUGUST 1987.
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Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #36 on: 07 June 2012 - 02:14:56 »
1987-06-xx - Making Music (US) - mode-al

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




MODE-AL
[Making Music, June 1987. Words: Jon Lewin. Pictures: Grahame Tucker.]
" "We have a constant battle against equipment, and it is a bit nerve wracking,” added Alan. “What do you do if you’re doing a piano number and the Emulator breaks down? You can’t play a piano part on an ordinary synth." "
 Summary: An average article approaching the band from a technical angle, assuming the reader is mostly interested in details of equipment and studio technique, knows of Depeche Mode but isn't intimately familiar with them. Plenty of information on the successive stages of recording an album, and a section of nitty-gritty equipment details too. [2038 words]

    Depeche Mode have been making music for the masses. No, honest. It’s the name of the new album, out in the Autumn. Jon Lewin inquired of two Mode-ish types, the ways and wherefores of their keyboards and concepts. Grahame Tucker just told them to look at the camera.

People Are People
    “We’re not like a normal band.” This is Alan Wilder of Depeche Mode talking. “There’s all kinds of other aspects – things that are not so much to do with the recording process, but because we manage ourselves.”
    Alan (Al) is the dark-haired one in the pic; also in on the interview is tall red-haired Andy Fletcher (Fletch). The absent third and fourth members of Depeche Mode are singer Dave Gahan, and Martin Gore, the cheeky looking chap with the blond perm. So what do they all do?
    “We all have different roles,” said Fletch. “Al’s the main musician…”
    “I’m the most technically proficient, but that doesn’t necessarily mean a lot.”
    “…and I take a back seat generally. Usually on the sofa.”
    Alan and Andy simplified for me the involved democracy that seems to rule Depeche Mode. Martin handles melodies and lyrics, plus some vocals, and Alan takes responsibility for the rhythm and sound of each track. “Fletch,” Alan says, “is not quite so involved from the point of actually playing a part and recording it onto a tape – but he has equally important roles in other areas.” Dave doesn’t play an instrument, but is the main vocalist.
    “I think we’re still a little bit hung up about Dave having to sing because he’s the singer, though we’ve always tried to treat the voice as if it was another instrument. [1] Dave’s voice is harder sounding, and is more suited to harder, faster songs, while Martin’s generally speaking works better for slower, more soulful songs.”
    Mute Records boss Daniel Miller has often been described as the fifth member of Depeche Mode, but it seems that he’s less involved at the moment.
    “We’re basically producing ourselves,” Al said, “though Dan’s doing the singles – he can’t trust us to make singles. I still think he has an important role as an overseer… he does have a very good overall perspective.”
    His contribution as an analogue synth programmer has been missed, as Fletch explained. “Whenever we had a problem, we’d say ‘Dan – Analogue Corner’, now it’s ‘Us – Analogue Corner’, and the end results aren’t always as good.”
Get The Balance Right
    As you might guess from Depeche Mode’s ten month chart absence, they’ve been working on a new LP, to be called ‘Music For The Masses’, due out in the autumn. When I spoke to them, they’d already done two months’ work at Studio Guillaume Tell in Paris, and were taking a mid-way break for Martin Gore to do some more writing, and to shoot a video for their single ‘Strange Love’ (b/w ‘Pimpf’). They went back into the studio in May, and they’re due to mix in Denmark in June.
    Alan explained why they’d taken the unusual course of having a break in the middle of recording. “Every time you go in the studio, the first couple of weeks are the most enthusiastic – by the end of a longish period, everyone’s edgy, and you get less done. Last week in Paris, everyone was fed up and wanted to get home.
    “But I do have a feeling that by splitting it up and elongating the process, it might work against us as well. We’ll get some advantage from the break, but I think we’ll also find the whole thing dragging on, and I’m a bit worried about that.”
    Alan wasn’t particularly happy with Guillaume Tell, either. “From the point of view of facilities it was just about adequate. But the control room was dingy, and it just got boring after six weeks or so. Most do…”
    So why use it in preference to somewhere closer to home? Fletch explained. “We chose Paris for both studio and environment. We work to a rigid schedule: get in at one in the afternoon and work through, with an hour’s break for dinner, till one or later in the morning. And when we come out at one in the morning, we’re hyperactive. In London, you have to go home to your flat and brood, but in Paris you can at least go for a drink. So you can relax.”
    ‘Music For The Masses’ is going to be the first digitally recorded Depeche Mode LP. As Alan says, “I think we’re the sort of band that pushes technology, and we should be going for the optimum, even if it is 30 per cent more expensive. We push our limits on everything else – the type of equipment we use – and we’re perfectionist about the way we record so it seems logical to use the best possible medium of getting it onto tape.”
    “As long as we can afford it,” concluded Fletch.

It’s Called A ARP
    Although Depeche Mode are rightfully identified with the newest gear possible, they still use old equipment as well, such creaky seventies impedimenta as an ARP2600, Minimoogs, a Kobol (which they’ve had since ‘Speak & Spell’ days), the Roland 100M System, and an AKS suitcase synth: “That’s really old, and it comes in a briefcase, like a businessman’s case. It looks amazing, really James Bond. It’s a noise machine really.”
    “There’s an old Moog modular system that I’ve been after for a while,” said Alan. “People get rid of those things after they’ve lost interest in them, but they can produce brilliant sounds, very unique sounds. We’ve got an old ARP sequencer that produces a sound all of its own as well. Basically, you can get anything converted to accept MIDI or CV & Gate. We’ve got a little MIDI to CV converter box, which brings all those analogue boxes into use as far as sending programmed parts into them goes.
    “Daniel and us [sic] are really interested in buying old synths, so if anyone reads this…”

Live In Itself
    The older more esoteric gear is left at home when Depeche Mode go on tour, though their sounds are still available through the array of samplers and keyboards on stage, such as Prophet 2000, Emulator 2, PPG, DX7, Korg, Akai sampler… Even so, they still suffer from breakdowns, as Andy explained. “Equipment is unreliable, basically. We have to have a spare for everything. It’s expensive, but when you’re doing shows all over the world, playing to 15-20,000 people, you’ve gotta be responsible about the whole thing – they’re paying a lot of money to see you.”
    “We have a constant battle against equipment, and it is a bit nerve wracking,” added Alan. “What do you do if you’re doing a piano number and the Emulator breaks down? You can’t play a piano part on an ordinary synth. But the PPGs are the worst…”
    In spite of these difficulties, Depeche still have an excellent live reputation, with Dave Gahan in particular coming into his own as frontman – check their ‘Live In Hamburg’ video for the evidence. Fletch reckons it’s a matter of attitude. “Most electronic bands are boring on stage. We’re a bit like a rock’n’roll band, in that we just go for it, not standing aloof at the back posing with our synths.”
Blasphemous Rumours
    Martin Gore does almost all of Depeche Mode’s song writing. I asked Alan if he felt that was a problem. “The main danger is a drying up of things to write about. There’s a lot of repetition in this business, and there is a danger that, given your lifestyle, you run out of subjects you can write about. And Martin’s songs… he does repeat himself quite a lot.” [2]
    “I think Dave has aspirations to write, but feels a bit unconfident about putting anything forward because if he did it would be in a very basic form as he can’t really play any instruments. I think he has ideas about words and lyrics. I have written stuff, but I’ve not been happy with any of it. The only reason I wrote songs is because I felt I ought to – but I am happy writing instrumental music, and may well do more of that.” [3]
See You
    Apart from Depeche Mode and their new LP, the members do have occasional extra-curricular activities underway – Alan has already released one of his instrumental demos on Mute under the name Recoil, while Martin apparently has aspirations towards doing a cover album. As Andy said, “He’s really into old songs, fifties’ stuff, a cappella, Gary Glitter, Abba… he does lots of demos like that when he’s writing. Maybe he’ll do an album one day. But not at the moment…” [4]
Construction Time Again
    The band’s songs come off Martin Gore’s Akai 12-track unportastudio [sic] in rough demo form six or seven at a time, and are distributed around the group. Some songs are accepted as they are, some rejected, and others are dissected at length; ‘Strange Love’ [sic] fell into the latter category.
    Next is the programming period. Doing this in a good studio wastes time and money, says Andy, so ‘Strange Love’ was programmed round at Al’s home studio with its Allen & Heath desk, Fostex 16 track and various effects. All the gear is set up, and each individual part in two or three selected songs is examined.
    This part of the process means working on structure and arrangement. Depeche Mode us a UMI MIDI-linked computer sequencer for this. Sounds are given a low priority. “We try to make sure we have a good arrangement that feels right, and that the song flows properly,” elucidated Alan. Drum programs are also worked out in the programming suite. “Sometimes we might just run the drum machine, but as we often end up using sampled sounds, we usually put the drums in the UMI.”
    Three days at the beginning of the studio session proper were given over to sampling. For the latest material, drums and snippets of records were favourite sources. What they used to sample with was a matter of debate, as Alan explained.
    “Drums we would nearly always do into the Synclavier, to get the high transients. But there are some sounds that work well in the Emulator, as it’s not quite such good quality. The old original Emulators used to bring a sort of grittiness to a sample because of their low sampling rate – which is nice if you’re getting some weird ethnic sound off a record…”
    “We use an Akai S612 quite a lot live,” said Fletch. “The advantage of that is speed of use. We had them linked up on the last tour to these weird percussion trees that we’d had built, with a C-Ducer mike triggering the Akai. People thought we were miming because this percussion thing was making a different noise in every song.”
    Once they begin work in the studio, the atmosphere of each track becomes paramount. Each sound must be right for its part, Alan told me. The UMI-driven things are put down as a guide, and then the work starts on building up the individual sounds into an overall picture. Each part may have several different sounds at its disposal, and working out which to use is very much a matter of trial and error.
    “One of the mistakes we used to make was putting tons and tons of stuff down all over the place. ‘Get The Balance Right’, ‘Master And Servant’…” Alan and Fletch nodded in agreement.
    A lot of time in the studio is spent putting things in or out of time, which can be very time consuming. “We don’t really go down to less than eight milliseconds,” Alan told me, “though it depends on the sounds – if you’re syncing two snare sounds together, then you’re talking milliseconds or less to make them really sharp. What we do is stick the SMPTE code through an AMS delay, because that’s the quickest way – when you get it right, you just delay the SMPTE with a Friendchip [large and brilliantly clever universal synchronizer] – you reproduce what you set up in the AMS in the Friendchip, then put the SMPTE through it.” Phew. The results of this you’ll have heard on ‘Strange Love’.

[1] - In 2000, Mark Bell was approached to produce the Exciter album purely because of his recognised knack of treating a voice in this way, yet at the same time part of Dave's dissatisfaction with his role in Depeche Mode was to spring from being regarded purely as another instrument, and cause him to press for greater involvement in the songwriting process.
[2] - By 2005's Playing The Angel album this concern, at least according to the writer of this review, had become quite pressing.
[3] - Alan contributed a handful of songs in the form of album tracks and B-sides throughout 1983-84. The Recoil project, mentioned a little below, had only just begun at this point.
[4] - This finally came to fruition in 1989 with the release of the Counterfeit E.P. .

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Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #37 on: 07 June 2012 - 02:15:37 »
1987-06-xx - Daily Mirror (UK) - Where Are You Dad?

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Offline Angelinda

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Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #39 on: 07 June 2012 - 02:20:39 »
1987-07-01 - Warner Bros (US) -  Strangelove Pain Mix press release

[Thanks to Dennis Burmeister for uploading this.]





1987-07-01 - TVE1 (Spain) - A Tope (band interview by Eva Mosquera)

http://www.rtve.es/alacarta/videos/a-tope/tope-1-7-1987/4260572/
https://www.youtube.com/watch?v=wRP8TyjM9RU



1987-07-11 - Poprocky n.14 (Germany) - schluss mit den luegengeschichten

[Taken from the now-defunct website dave-gahan.net.]





1987-07-29 - Unknown (Denmark) - Dave & Alan (16 min)

[We don't have this audio interview.]
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Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #40 on: 07 June 2012 - 02:22:17 »
1987-07-xx  - Soundi (Finland) - Olemme ylipalkattuja

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



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Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #41 on: 07 June 2012 - 02:28:08 »
1987-07-xx - Ciao 2001 (Italy) - Special

http://depechemodeitalia.com/ciao2001giu87.htm


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Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #42 on: 07 June 2012 - 02:43:57 »
1987-07-xx - Popcorn (Germany) - sag die wahrheit martin

[Taken from the now-defunct website dave-gahan.net.]


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Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #43 on: 07 June 2012 - 02:45:06 »
1987-08-08 - Melody Maker (UK) - Mode Tour

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

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Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #44 on: 07 June 2012 - 02:46:15 »
1987-08-20 - Bravo (Germany) - daves baby bremst dm

[Taken from the now-defunct website dave-gahan.net.]


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