DEPECHE MODE

“All I ever needed
Is here in my arms
Words are very unnecessary
They can only do harm”

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“C”

Main Decade: 80's

Main Eras:

New Wave (1976-???)

 

Key Members:

Dave Gahan, Vocalist

Martin Gore, Guitar and Keyboards

Andy Fletcher, Keyboards

Alan Wilder, Keyboards, Drum Machine

 

Key Songs:

Enjoy The Silence, Strange Love, Personal Jesus, Policy of Truth, It’s No Good, I Feel You, Never Let Me Down Again, Freelove, Somebody, Black Celebration, Everything Counts, Master and Servant, Useless, Walking In My Shoes, Blasphemous Rumours, Dream On, John The Revelator, People are People, Home, Only When I Lose Myself, Stripped, Suffer Well, Precious, World In My Eyes, Condemnation, Waiting for the Night, Barrel of a Gun, Question of Time, Pipeline, Wrong, Love in Itself

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During the 80's there emerged Many bands struggled to get off the ground, but once they did, they ended up dominating the latter part of the decade and a good portion of the 90s. And it's no wonder, given that the 80s were such a difficult, sugary, and superficial era, dominated by Synth Pop, in which even bands that had previously been guitar-driven ended up becoming synthesizer-heavy dinosaurs (cough, cough, Queen, cough, cough). Depeche Mode managed to keep improving and evolving with each album, moving further and further away from that Synth Pop to deliver a dark and complex electronic sound, offering cutting-edge music, some truly chilling songs, to such an extent that they are one of the few groups that managed to transcend electronic music and reach even the most die-hard and purist rockers. Like Corvan, for example!

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Depeche Mode formed in 1977 when Vince Clarke (vocals at the time) and Andrew Fletcher (bass) started a band. By 1979, Clarke was already playing guitar in another group, but he continued his project with Fletcher. In March 1980, they added Martin Gore, who had previously played guitar in a duo, to form the trio Composition of Sound. In this initial lineup, Vince Clarke remained as vocalist and guitarist, Gore on keyboards, and Fletcher on bass. They soon realized that as a trio, their sound wasn't quite as complete; they weren't exactly Cream. So, Clarke and Fletcher bought synthesizers with the idea of ​​creating all the sounds themselves. After all, that's the essence of New Wave and Synth Pop: music dominated by keyboards that crudely imitated all other instruments, including the beat. At first, the idea might have seemed incredible and revolutionary, but in the long run, it would prove regrettable, with only three or four bands managing to master the genre and create true synthesizer gems. None would reach the masterful level that Depeche Mode would achieve. The thing is, shortly afterward, Clarke heard a kid jamming to David Bowie's "Heroes" and was so impressed by the deep voice that he invited him to join his band. The kid, of course, was Dave Gahan. Days later, they changed their name to that of a French fashion magazine, somewhat ironically, although initially the group did seem to be following fashion trends in music, and their clothing was also very stylish and fashionable. By May of '80, they were already performing as Depeche Mode. Months later, at a gig, they were heard by Daniel Miller, founder of Mute Records, a small label primarily interested in electronic music, and they quickly reached an agreement. In January 1981, they released their first single, "Dreaming of Me," which wasn't included on the original pressing of Speak & Spell but appears as a bonus track on reissues. The single enjoyed some success, so they released another almost immediately, "New Life," which reached number 11 on the British charts. The song was lighter, more youthful, and innocent, so the group moved in that direction with their third single, the now-iconic "Just Can't Get Enough," which became a smash hit and defined Depeche Mode during their early years. Having tasted success with these singles and established themselves in England, they went into the studio to complete their first album, titled Speak & Spell after a popular electronic toy. The album reached number 10 on the British charts.

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In 1981, after the tour for their debut album, during which differences began to surface, Vince Clarke announced his departure from the group. He sought a more pop-oriented sound, while the rest of the band desired darker, more experimental tones. Clarke would later found Erasure, another synth-pop band. Martin Gore then assumed the role of primary songwriter. Shortly after, Alan Wilder joined the group to fill the void. In 1982, they released *A Broken Frame*, followed a year later by *Construction Time Again*. While the albums still reflect a search for musical identity, small steps forward are noticeable with each release. The band slowly matured as they found their definitive sound, gradually moving away from catchy, melodic, and danceable pop tunes and towards increasingly dark, atmospheric, dense, and industrial-sounding themes, thanks to the addition of new and more modern synthesizers. At the same time, Martin Gore was evolving as a lyricist, increasingly committed to intelligent lyrics, social commentary, and sometimes political and social themes. These albums aren't Depeche Mode's best, but they greatly helped to establish their popularity and built a massive fanbase.

With *Some Great Reward* in 1984, Depeche Mode's style was already defined and recognizable. It was still an album and a band with room to grow, but Dave Gahan was already at his vocal peak, Gore was at his best as a songwriter, and the band had found its sound. The album would be their first major commercial success, catapulting them to one of the best groups of the moment. "Somebody" was one of the group's first ballads and one of their first timeless classics. They also began to be used as icons by various movements, such as the gay rights movement and goth culture, and the direction of their new sound began to appeal to more sophisticated and alternative audiences, moving away from those who preferred more superficial synth-pop or disco-pop (cough, cough, Madonna, cough, cough).

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In 1986, they released *Black Celebration*, a near-perfect album: atmospheric, with excellent harmonies, a tremendous display of creativity, and masterful use of synthesizers. The album already boasts a good handful of classics, such as “Stripped,” “Black Celebration,” and “Question of Time,” and brings them closer to their peak, confirming them as one of the leading bands of the 80s, alongside U2.

 

In ’87, they released their first true masterpiece, the superb Music for the Masses, which, contrary to what its title suggests, was even darker and more experimental than their previous work. David Bascombe’s assistance as producer and sound engineer helped them explore new possibilities and techniques with synthesizers. Despite this, the album was a smash hit, featuring songs like “Strangelove,” “Behind the Wheel,” and “Never Let Me Down Again,” and basically all the other tracks were of a very high standard. Music for the Masses would be the pinnacle of Depeche Mode's career and would finally bring them the massive commercial success in the United States that had eluded them until then. The subsequent tour was also a success, breaking records and taking them behind the Iron Curtain, making them one of the few bands to play in East Germany and Czchek Republic.

1990's Violator continued the band's supreme level of artistry. Another masterpiece: dark, dense, risky, and controversial. The band launched a curious campaign for "Personal Jesus," fearing its content would lead to censorship. They began plastering posters and newspaper ads across England with the song title. They then added a phone number that people could call to listen to the song. By the time the single was released, it had shot to the top of the charts in seconds. This unusual campaign not only worked for "Personal Jesus" but also propelled Violator to become one of Depeche Mode's best-selling albums. With tracks like “World In My Eyes,” “Enjoy The Silence,” and “Policy of Truth,” it features some of the best songs in the band's entire discography and became an instant classic. Violator helped them transition from the New Wave of the 80s to the alternative sounds of the 90s, bringing the group to a more rock-oriented audience that didn't mind the British band's synth-based sound. Depeche Mode was possibly the only synth-driven group that successfully navigated the turn of the decade.

 

In 1993, they released Songs of Faith and Devotion. The band was influenced by more current and alternative sounds, so Alan Wilder played guitar and a real drum kit for the first time on a Depeche Mode album, resulting in a rockier and more organic sound without losing their electronic essence. While not reaching the perfection of their previous two albums, it remains a great record that kept the group among fan favorites. Depeche Mode had not only They weren't dominating the late '80s, but were riding the crest of the '90s alternative wave. However, this began to take its toll on the band. Dave was struggling with heroin addiction. Andy refused to finish a tour due to "mental instability" and was temporarily replaced by Daryl Bamonte to complete the dates. Alan Wilder left the band in 1995, claiming he was exhausted, that the workload wasn't balanced, and that despite his efforts, he was always overshadowed by the rest of the group. After Dave nearly died from an overdose and Wilder left, it was thought the band would break up.

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The band took a long hiatus, which only intensified the rumors. But in '97, Gore finally managed to get Gahan into rehab, and they returned to the studio to record Ultra, released that same year. Although they couldn't put together a tour to promote it, the album was well-received thanks to the quality of songs like "It's No Good" and "Useless," two of my all-time favorites from the group, as well as tracks like "Barrel of a Gun" and "Home." It's not on the level of Violator, but it's still a tremendous album, one that silenced the critics.

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In 2001, they released Exciter, with a more digitized sound, which, in my opinion, is a slight step backward compared to what they had shown in the '90s. Even so, it marked the band's return to the stage with a spectacular world tour. With Playing the Angel in 2005, they regained their form, with certain rock influences and quality songs, reminding everyone what they were good at. The album reached number one on the charts and was the first with songs written by Gahan, who debuted as a solo songwriter. The tour was once again monumental, and by this point, Depeche Mode was already considered a cult band, a living legend. In 2008, they released Sounds of the Universe, more electronic and abstract, a departure from the group's usual sound. While I don't consider it their strongest work, Sounds of the Universe achieved commercial success and garnered nominations. At least the single "Wrong" is quite good, but it could be a sign that the group was creatively exhausted, or that they were more focused on their personal projects and solo albums. We'll have to hear the next album.

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I'm not a fan of electronic music, and even less so of synth-pop. But Depeche Mode truly transcends these labels. After their first albums, they realized that with synthesizers they could make real music, not just mindless, thumping beats to jump around like idiots in clubs. And few bands do what they do with just keyboards. They respect music, and for that reason, they're a band respected by everyone: electronic music fans, new wavers, goths, industrialists, rockers... They deserve it. They're a group that worked hard, knew how to evolve, never stagnated in one sound (and believe me, that's difficult in electronic music), and that's why they have at least two killer albums and several other high-quality ones. Depeche Mode is a classic of our time, ahead of their time, bringing us the sounds of the future more than 20 years ago.

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An exception that lands them in rock reviews despite it not being their genre. A well-deserved C…

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Por Corvan

25/Ago/2011

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