Depeche Mode Bong 32 (1997-06)
Bong 32 (June 1997)
Articles:
One Night At The Hotel Ultra by Anita Cox
Ultra Party by Michaela Olexova
Ultra (album review) by Lajos Borbely
Bong Convention Camden Palace London 27.4.97 by Heather Gille
Violator (album review) by various contributors
S.O.F.A.D. (album review) by various contributors
I Met That Bloke from Depeche Mode Once by Charlotte R. Redout
Pictures:
page 1 Martin live
page 2 Dave live
page 3 shots from the filming of the It's No Good video
page 4 from the Ultra launch party in London
Articles:
One Night At The Hotel Ultra by Anita Cox
Ultra Party by Michaela Olexova
Ultra (album review) by Lajos Borbely
Bong Convention Camden Palace London 27.4.97 by Heather Gille
Violator (album review) by various contributors
S.O.F.A.D. (album review) by various contributors
I Met That Bloke from Depeche Mode Once by Charlotte R. Redout
Pictures:
page 1 Martin live
page 2 Dave live
page 3 shots from the filming of the It's No Good video
page 4 from the Ultra launch party in London
Attachments
ONE NIGHT AT THE HOTEL ULTRA
[From Bong 32, June 1997. Words: Anita Cox.]
It felt like I had been waiting an age for this day to arrive, after the excitement of getting through to Radio 1 on the phone, then actually getting picked to give the answers. Here we were in New York, sat in the make-up trailer on the set of the video for “It’s No Good”. My boyfriend, Ian, had bought a ticket and came with me. He is as big a fan as me, and there was no keeping him at home! I had already been made up for my part as a cocktail waitress, when we overheard one of the crew announcing that the lead singer had arrived and was ready for make-up. We were tense with anticipation, not sure how we’d react, when Dave’s head popped round the door looking slightly lost. “Hi! Am I in the right place?”
Next thing we knew, he was sat opposite, asking us if we’ve had breakfast, and would we like coffee & doughnuts? There’s something terribly cool about being asked if you take sugar by your hero! The conversation was very relaxed, and he chatted to us about our flight, and suggested places to shop in New York. Once his make-up was done (and he didn’t need much!) he started to get changed – and oh yes, I have seen the tattoos. Meanwhile, Fletch had arrived and was busy recommending restaurants to us, while Martin was giggling at the similarity between Dave’s sequinned suit, and the outfits they wore in the “Meaning Of Love” video.
The time had come to get down to work. I was introduced to Anton Corbijn, who then passed me on to props to get my tray of cocktails, which turned out to be cranberry juice! Dave quickly slipped into character, and was soon hamming it up big style with the dancing girls, with Fletch and Martin content to stay in the background. After a few takes in the freezing cold, Dave asked me how I was bearing up. I said I was fine, but he insisted on rubbing my arms! My part was to drink cocktails and look really bored. That must be the hardest acting role for a Depeche fan ever especially as Dave was so entertaining. When Anton decided he was happy with the filming in the hotel, I changed back into my own clothes, and we watched the filming of what became the final scene of the video outside Hotel Ultra. The end of the first day, and I kissed Dave good-bye as he left to film another scene on the Brooklyn Bridge.
On the second day of the shoot we arrived at lunchtime and met J D Fanger, the band’s Tour Manager and Jonathan Kessler, their Manager, who gave us permission to take as many photographs as we liked. Dave showed his star quality by posing for pictures with us and the other competition winners, in fact he didn’t stop playing to the camera. It was great! Filming resumed with the bar scene, bottle smashing, chair breaking and nearly a nasty accident with the pointed stand on Fletch’s double bass! And of course Anton’s cameo appearance as club compere. Nice suit! The day finished with a photo session on the nearby street corner, much to the amusement of passing locals, who found Dave’s lime green suit an eye opener, even by New York standards. After one last group photo, it was time to go. We said goodbye to the band, and headed back to Times Square for dinner with David, one of the other competition winners from California, and his wife Luciana. We had an excellent evening eating, drinking and talking Depeche, and promised to keep in touch.
It was a fantastic prize, and an experience I will never forget!
[From Bong 32, June 1997. Words: Anita Cox.]
It felt like I had been waiting an age for this day to arrive, after the excitement of getting through to Radio 1 on the phone, then actually getting picked to give the answers. Here we were in New York, sat in the make-up trailer on the set of the video for “It’s No Good”. My boyfriend, Ian, had bought a ticket and came with me. He is as big a fan as me, and there was no keeping him at home! I had already been made up for my part as a cocktail waitress, when we overheard one of the crew announcing that the lead singer had arrived and was ready for make-up. We were tense with anticipation, not sure how we’d react, when Dave’s head popped round the door looking slightly lost. “Hi! Am I in the right place?”
Next thing we knew, he was sat opposite, asking us if we’ve had breakfast, and would we like coffee & doughnuts? There’s something terribly cool about being asked if you take sugar by your hero! The conversation was very relaxed, and he chatted to us about our flight, and suggested places to shop in New York. Once his make-up was done (and he didn’t need much!) he started to get changed – and oh yes, I have seen the tattoos. Meanwhile, Fletch had arrived and was busy recommending restaurants to us, while Martin was giggling at the similarity between Dave’s sequinned suit, and the outfits they wore in the “Meaning Of Love” video.
The time had come to get down to work. I was introduced to Anton Corbijn, who then passed me on to props to get my tray of cocktails, which turned out to be cranberry juice! Dave quickly slipped into character, and was soon hamming it up big style with the dancing girls, with Fletch and Martin content to stay in the background. After a few takes in the freezing cold, Dave asked me how I was bearing up. I said I was fine, but he insisted on rubbing my arms! My part was to drink cocktails and look really bored. That must be the hardest acting role for a Depeche fan ever especially as Dave was so entertaining. When Anton decided he was happy with the filming in the hotel, I changed back into my own clothes, and we watched the filming of what became the final scene of the video outside Hotel Ultra. The end of the first day, and I kissed Dave good-bye as he left to film another scene on the Brooklyn Bridge.
On the second day of the shoot we arrived at lunchtime and met J D Fanger, the band’s Tour Manager and Jonathan Kessler, their Manager, who gave us permission to take as many photographs as we liked. Dave showed his star quality by posing for pictures with us and the other competition winners, in fact he didn’t stop playing to the camera. It was great! Filming resumed with the bar scene, bottle smashing, chair breaking and nearly a nasty accident with the pointed stand on Fletch’s double bass! And of course Anton’s cameo appearance as club compere. Nice suit! The day finished with a photo session on the nearby street corner, much to the amusement of passing locals, who found Dave’s lime green suit an eye opener, even by New York standards. After one last group photo, it was time to go. We said goodbye to the band, and headed back to Times Square for dinner with David, one of the other competition winners from California, and his wife Luciana. We had an excellent evening eating, drinking and talking Depeche, and promised to keep in touch.
It was a fantastic prize, and an experience I will never forget!
ULTRA
[From Bong 32, June 1997. Words: Lajos Borbely.]
Although Depeche Mode only took leave of their fans in the summer of 1994, the band has not produced any new pieces of music since the spring of 1993. The long break held many thousands of fans in a state of uncertainty and almost despair. Still, when we first heard the new songs of the perpetually renewing Depeche Mode, I am sure that everybody was overcome by some kind of an inner trembling. The first listen to the new album will remain an experience for life. Some sort of a magic spell reaches you, a spell which takes hold of you for years…
The first thing that attracts attention is that the album is relatively long. The length of almost 59 minutes promises to be a good omen. Instead of the usual nine or ten, there are twelve songs. The interviews also indicated that we can expect maturity in their music because of the growing flood of session musicians. Much can be guessed from the statements made by the band’s members… the music, however, should speak for itself.
The familiar sounds cleave the air… “Barrel Of A Gun”! The opening drums blow your head off. The singing is almost unrecognisable because of the distorting effects, the music is quite chaotic… The song clears up by the second verse. The questions of the chorus fly in the air… what do you expect of me? [sic]… what is it you want?… is there something you need from me? In the echoing lines, there lies Dave’s sorrow: I’m not the one! Martin’s inkling of Dave’s state of mind? Who knows? However, it appears to me that Dave sings of his own grief, no doubt about it.
The second song begins with the sound of drums and percussion… creating a cunning atmosphere. “The Love Thieves”! The guitar that slowly enters the intro indicates the calmness of the song. The sentimental voice of the first verse and the lines full of images of life definitely ensure that this must be the most peaceful song. As always, the religious elements turn up in later verses. The Bible, Adam with Eve and other references to existence and faith. The intensified mood of the chorus is strengthened by a recurring guitar scale passage. A number of interesting lines… love needs its martyrs… love will be the death of my lonely soul brothers… At the end, the guitar becomes more intense, dictates a monotonous pace, and ends the song in a long scale passage, thus leaving behind a positive feeling.
The next song is called “Home”. A word which has always taken up Martin’s attention, a word which appears on each and every album. The faltering sensuality of the chorus undoubtedly indicates that the song is a perfect fit for Martin. Somehow, it could not be sung by anyone else! The rising musical atmosphere in the refrain becomes complete with the stringed instruments and the guitar joining in. This is the peak of the song, with the message of destiny within the lyrics again… I should have known from my first breath. The song ends with a guitar solo and an intense stringed accompaniment that calms down in this, almost one minute long, instrumental final.
An amplifying bass and a strong drum line break the peace… “It’s No Good”. The excellent and shocking bass is complemented by an even better sound of the synthesiser. Dave’s modulation of voice is simply excellent. The lyrics of the first verse and the images created set the song in to an inexplicable atmosphere. Yes, this is the right word – atmosphere – and a positive one. And this feeling arises throughout the whole album. So far, this is the most positive song with regard to the music and the lyrics… it’s written in the stars above… you’ll be right here by my side… you can run, but you cannot hide… and we didn’t get to the end of the first half of the album yet! The song ends with the repetition of the first verse and after the final musical chords, the song simply fades away… The perfect choice for the second single!
“Uselink”, a short but brilliant instrumental link-up between the songs, recalling the atmosphere of “Violator”. One of the best ideas for any album. One might even suggest a similarity with Jean Michel Jarre, but this is Depeche Mode, yet another masterpiece!
After the instrumental piece, it’s about time we hear some drums and guitar again. “Useless” evokes a comparison with “In Your Room” in the way some of the instruments and sounds are used. This track surprising comes to an abrupt end in contrast to the other songs which run for five or six minutes.
We have now got to Dave’s current favourite, “Sister Of Night”. By the lyrics, this song may well be compared to “Waiting For The Night”… the words like fire, flame and burns becoming characteristic of the soul. The strange sound of the guitar creeps in and re-occurs time after time. The beseeching lines of the chorus bring about a possibility of recovery… you heal me, hey sister, I feel it too. After the touching refrain, everything seems to run mad… sharp and almost harsh drums break the silence. Then the intermezzo comes to the end and everything is quiet again. The music is angelic and the chorus is prominently good.
“Jazz Thieves”, the second instrumental. Brilliant. It almost feels as if this theme was the brother of Recoil’s “Freeze”. The xylophone accompaniment makes the song even more interesting. I sometimes would not mind listening to these instrumentals only…
“Freestate”, a promising song. Somehow, there is always a song on every album that touches me at the very beginning. I feel it here as I did in the case of “Walking In My Shoes”. At the beginning of the song, you are flung away to another world by the chords of a distorted country guitar giving the song a unique atmosphere. The recurring three lines at the end of the verses and the accompanying guitar tell me that I must be listening to the best song on the album, at least in my view.
It is Martin’s angelic voice again that breaks up the musical effects emerging from the twilight. “The Bottom Line” is the second song sung by Martin. The lyrics at the beginning of the track offer you a possible comparison with Dave’s life again. Dave being nicknamed The Cat and the cat that has several lives, always lands on its feet and survives… like a cat dragged in from the rain, who goes straight back out to do it all over again…
“Insight”. An interesting title. The last song of the album is awaited with curiosity. The Dave-Martin vocal that I like so much appears in some of the verses and in the chorus and I must admit I missed their link in some parts of the album. I can feel the positive energy again. Dave’s trembling voice and the lines of the chorus remain burnt into my mind forever… The fire still burns.
Somehow, I always become a little bit gloomy by the end of each and every album. I become gloomy because something has come to an end and I don’t know whether there will be a continuation… The closing song, the well-known “Painkiller”, is a real painkiller for the fans listening to the album. The song is inexpressively good. I can now see why this song was put here at the end. This is the lull!
The album comes to an end. I feel something indefinably positive, and positivism is the best thing on earth. This is our, the fans’, extra ULTRA destiny… Thank you, Depeche Mode!!!
[From Bong 32, June 1997. Words: Lajos Borbely.]
Although Depeche Mode only took leave of their fans in the summer of 1994, the band has not produced any new pieces of music since the spring of 1993. The long break held many thousands of fans in a state of uncertainty and almost despair. Still, when we first heard the new songs of the perpetually renewing Depeche Mode, I am sure that everybody was overcome by some kind of an inner trembling. The first listen to the new album will remain an experience for life. Some sort of a magic spell reaches you, a spell which takes hold of you for years…
The first thing that attracts attention is that the album is relatively long. The length of almost 59 minutes promises to be a good omen. Instead of the usual nine or ten, there are twelve songs. The interviews also indicated that we can expect maturity in their music because of the growing flood of session musicians. Much can be guessed from the statements made by the band’s members… the music, however, should speak for itself.
The familiar sounds cleave the air… “Barrel Of A Gun”! The opening drums blow your head off. The singing is almost unrecognisable because of the distorting effects, the music is quite chaotic… The song clears up by the second verse. The questions of the chorus fly in the air… what do you expect of me? [sic]… what is it you want?… is there something you need from me? In the echoing lines, there lies Dave’s sorrow: I’m not the one! Martin’s inkling of Dave’s state of mind? Who knows? However, it appears to me that Dave sings of his own grief, no doubt about it.
The second song begins with the sound of drums and percussion… creating a cunning atmosphere. “The Love Thieves”! The guitar that slowly enters the intro indicates the calmness of the song. The sentimental voice of the first verse and the lines full of images of life definitely ensure that this must be the most peaceful song. As always, the religious elements turn up in later verses. The Bible, Adam with Eve and other references to existence and faith. The intensified mood of the chorus is strengthened by a recurring guitar scale passage. A number of interesting lines… love needs its martyrs… love will be the death of my lonely soul brothers… At the end, the guitar becomes more intense, dictates a monotonous pace, and ends the song in a long scale passage, thus leaving behind a positive feeling.
The next song is called “Home”. A word which has always taken up Martin’s attention, a word which appears on each and every album. The faltering sensuality of the chorus undoubtedly indicates that the song is a perfect fit for Martin. Somehow, it could not be sung by anyone else! The rising musical atmosphere in the refrain becomes complete with the stringed instruments and the guitar joining in. This is the peak of the song, with the message of destiny within the lyrics again… I should have known from my first breath. The song ends with a guitar solo and an intense stringed accompaniment that calms down in this, almost one minute long, instrumental final.
An amplifying bass and a strong drum line break the peace… “It’s No Good”. The excellent and shocking bass is complemented by an even better sound of the synthesiser. Dave’s modulation of voice is simply excellent. The lyrics of the first verse and the images created set the song in to an inexplicable atmosphere. Yes, this is the right word – atmosphere – and a positive one. And this feeling arises throughout the whole album. So far, this is the most positive song with regard to the music and the lyrics… it’s written in the stars above… you’ll be right here by my side… you can run, but you cannot hide… and we didn’t get to the end of the first half of the album yet! The song ends with the repetition of the first verse and after the final musical chords, the song simply fades away… The perfect choice for the second single!
“Uselink”, a short but brilliant instrumental link-up between the songs, recalling the atmosphere of “Violator”. One of the best ideas for any album. One might even suggest a similarity with Jean Michel Jarre, but this is Depeche Mode, yet another masterpiece!
After the instrumental piece, it’s about time we hear some drums and guitar again. “Useless” evokes a comparison with “In Your Room” in the way some of the instruments and sounds are used. This track surprising comes to an abrupt end in contrast to the other songs which run for five or six minutes.
We have now got to Dave’s current favourite, “Sister Of Night”. By the lyrics, this song may well be compared to “Waiting For The Night”… the words like fire, flame and burns becoming characteristic of the soul. The strange sound of the guitar creeps in and re-occurs time after time. The beseeching lines of the chorus bring about a possibility of recovery… you heal me, hey sister, I feel it too. After the touching refrain, everything seems to run mad… sharp and almost harsh drums break the silence. Then the intermezzo comes to the end and everything is quiet again. The music is angelic and the chorus is prominently good.
“Jazz Thieves”, the second instrumental. Brilliant. It almost feels as if this theme was the brother of Recoil’s “Freeze”. The xylophone accompaniment makes the song even more interesting. I sometimes would not mind listening to these instrumentals only…
“Freestate”, a promising song. Somehow, there is always a song on every album that touches me at the very beginning. I feel it here as I did in the case of “Walking In My Shoes”. At the beginning of the song, you are flung away to another world by the chords of a distorted country guitar giving the song a unique atmosphere. The recurring three lines at the end of the verses and the accompanying guitar tell me that I must be listening to the best song on the album, at least in my view.
It is Martin’s angelic voice again that breaks up the musical effects emerging from the twilight. “The Bottom Line” is the second song sung by Martin. The lyrics at the beginning of the track offer you a possible comparison with Dave’s life again. Dave being nicknamed The Cat and the cat that has several lives, always lands on its feet and survives… like a cat dragged in from the rain, who goes straight back out to do it all over again…
“Insight”. An interesting title. The last song of the album is awaited with curiosity. The Dave-Martin vocal that I like so much appears in some of the verses and in the chorus and I must admit I missed their link in some parts of the album. I can feel the positive energy again. Dave’s trembling voice and the lines of the chorus remain burnt into my mind forever… The fire still burns.
Somehow, I always become a little bit gloomy by the end of each and every album. I become gloomy because something has come to an end and I don’t know whether there will be a continuation… The closing song, the well-known “Painkiller”, is a real painkiller for the fans listening to the album. The song is inexpressively good. I can now see why this song was put here at the end. This is the lull!
The album comes to an end. I feel something indefinably positive, and positivism is the best thing on earth. This is our, the fans’, extra ULTRA destiny… Thank you, Depeche Mode!!!
ULTRA PARTY
[From Bong 32, June 1997. Words: Michaela Olexova.]
The London club “Adrenaline Village” was picked as the venue for the launch party of the new Depeche Mode album “Ultra” and the Band’s first performance in three years. The event was scheduled for late evening of April 10, rousing the attention of the country’s media. The variety of guests (no-one can recall how many there actually were) made it a very special and exciting night. There were media (like MTV and others), celebrities (like Neil Tennant from Pet Shop Boys, Samantha Fox, Anton Corbijn and others), people from Mute, DM office and Bong. There were friends and there were fans (but unfortunately only the lucky ones who won one of the competitions that were running on several radio stations over the country). There were “Ultra” bars everywhere and most importantly the stage, still covered in the black curtain, was positioned in the centre. The “meet & greet” with competition winners began around 9:30pm and then it was almost time for the show. Dave behind the microphone, Martin on guitar and Andy behind the keyboards were accompanied by two additional musicians, Dave Clayton on keyboards and Christian Eigner on drums. The five song-set opened with “Barrel Of A Gun” followed by “It’s No Good”, “Useless”, “Home” and all time favourite “Never Let Me Down Again”. It seemed that no one could get enough – what a brilliant night!
[From Bong 32, June 1997. Words: Michaela Olexova.]
The London club “Adrenaline Village” was picked as the venue for the launch party of the new Depeche Mode album “Ultra” and the Band’s first performance in three years. The event was scheduled for late evening of April 10, rousing the attention of the country’s media. The variety of guests (no-one can recall how many there actually were) made it a very special and exciting night. There were media (like MTV and others), celebrities (like Neil Tennant from Pet Shop Boys, Samantha Fox, Anton Corbijn and others), people from Mute, DM office and Bong. There were friends and there were fans (but unfortunately only the lucky ones who won one of the competitions that were running on several radio stations over the country). There were “Ultra” bars everywhere and most importantly the stage, still covered in the black curtain, was positioned in the centre. The “meet & greet” with competition winners began around 9:30pm and then it was almost time for the show. Dave behind the microphone, Martin on guitar and Andy behind the keyboards were accompanied by two additional musicians, Dave Clayton on keyboards and Christian Eigner on drums. The five song-set opened with “Barrel Of A Gun” followed by “It’s No Good”, “Useless”, “Home” and all time favourite “Never Let Me Down Again”. It seemed that no one could get enough – what a brilliant night!
BONG CONVENTION CAMDEN PALACE LONDON 27.4.97
[From Bong 32, June 1997. Words: Heather Gille.]
Five o’clock, Sunday April 27th. It’s finally arrived. The doors were opened and we were greeted by the atmospheric warming sound of “Higher Love”. Everyone seemed to head straight for the T-shirt stand eagerly wanting to replace last year’s well work ones.
The door to the main dance floor was dressed with huge “It’s No Good” posters, the devotional video was being shown on the screen and as the crowd began to build, so did the atmosphere, we knew it was going to be another inspiring convention for all us Depechees to bond and be merry!
We were greeted by Michaela, who after welcoming us announced the events of the evening… video remixes, mastermind comp., raffle, karaoke, a live performance from “Speak and Spell”, an exclusive interview and message from the guys themselves (exciting stuff”!).
Paul Green, our DJ, was doing a great job with the music, everyone was dancing and really getting into it. The first ditty was the video remix competition in which we had to guess all the video clips, such as 3 or 4 seconds from Meaning of Love, Halo, Shake the Disease, and Somebody. Some were really tough as they were from way back, though us Devotees didn’t have too much of a problem! An ecstatic Tony Lewis won the top prize of a DM framed photo and signed ULTRA artwork, the runners up, Steve Smith and Matt Smith received signed ULTRA artwork.
Paul played some new remixes from ULTRA which sounded so good loud that everyone was getting a buzz as the atmosphere was hotting up just in time for the cover band “Speak and Spell” to make their appearance, and I have to say they sounded brilliant. They kicked off with a big Dave-style “thank you, thank you very much” and got us all going to “Never Let Me Down Again” – would we ever! At the end a Dave look-a-like took his chance of 5 minutes of fame and joined the band on stage, spun the mike stand and wiggled his bum just a few times then the stage became invaded. There were probably just as many people on the stage as there were on the dancefloor!
We then watched and danced to the video of “It’s No Good”, and afterwards ten very happy raffle winners were picked. We then enjoyed a silence whilst waiting for the video message from the band, disappointingly short though sweet, but the EPK interview made up for it.
The well deserved mastermind competition prizes went to 1st – Joeri D’Haaens who received an excellent ULTRA jacket, Pete Harper and Sven Maes both received a signed promo ULTRA box – very happy bunnies indeed!
Whilst we were putting our names down to enter the karaoke, we saw Depeche on screen when they performed on TOTP and TFI Friday (their first live performance in 17 years according to ginger) – I don’t think so mate!
The crowd then watched and listened to the “famous for two minutes” brave souls who took to the stage for the karaoke competition – which I entered myself, remember the only girlie devotee that gave her all to “I Want You Now”? I loved every second of it, the crowd were excellent and their support was felt. You may have thought I sounded uncannily like Martin, but in fact the DJ couldn’t edit out Martin’s voice fast enough so I couldn’t really be heard above it (maybe he’d heard me practising!). Anyway I enjoyed it and I’ll be back next time. Tom Larmar won the first prize with his version of “It’s No Good” which was brilliant. He was chuffed to bits and he won a promo copy of ULTRA and T-shirt, in second place came Pete Skinner with “Shake The Disease”, he received a promo copy of “It’s No God” and a T-shirt, as did Chris “Sportscar” who came third with “Enjoy The Silence”.
What else can I say, the night was one of the best and there was a buzz throughout the entire evening. The music was of course brilliant and fun was definitely had by all (not to mention the “It’s No Good” posters)!
See you all again next year.
[From Bong 32, June 1997. Words: Heather Gille.]
Five o’clock, Sunday April 27th. It’s finally arrived. The doors were opened and we were greeted by the atmospheric warming sound of “Higher Love”. Everyone seemed to head straight for the T-shirt stand eagerly wanting to replace last year’s well work ones.
The door to the main dance floor was dressed with huge “It’s No Good” posters, the devotional video was being shown on the screen and as the crowd began to build, so did the atmosphere, we knew it was going to be another inspiring convention for all us Depechees to bond and be merry!
We were greeted by Michaela, who after welcoming us announced the events of the evening… video remixes, mastermind comp., raffle, karaoke, a live performance from “Speak and Spell”, an exclusive interview and message from the guys themselves (exciting stuff”!).
Paul Green, our DJ, was doing a great job with the music, everyone was dancing and really getting into it. The first ditty was the video remix competition in which we had to guess all the video clips, such as 3 or 4 seconds from Meaning of Love, Halo, Shake the Disease, and Somebody. Some were really tough as they were from way back, though us Devotees didn’t have too much of a problem! An ecstatic Tony Lewis won the top prize of a DM framed photo and signed ULTRA artwork, the runners up, Steve Smith and Matt Smith received signed ULTRA artwork.
Paul played some new remixes from ULTRA which sounded so good loud that everyone was getting a buzz as the atmosphere was hotting up just in time for the cover band “Speak and Spell” to make their appearance, and I have to say they sounded brilliant. They kicked off with a big Dave-style “thank you, thank you very much” and got us all going to “Never Let Me Down Again” – would we ever! At the end a Dave look-a-like took his chance of 5 minutes of fame and joined the band on stage, spun the mike stand and wiggled his bum just a few times then the stage became invaded. There were probably just as many people on the stage as there were on the dancefloor!
We then watched and danced to the video of “It’s No Good”, and afterwards ten very happy raffle winners were picked. We then enjoyed a silence whilst waiting for the video message from the band, disappointingly short though sweet, but the EPK interview made up for it.
The well deserved mastermind competition prizes went to 1st – Joeri D’Haaens who received an excellent ULTRA jacket, Pete Harper and Sven Maes both received a signed promo ULTRA box – very happy bunnies indeed!
Whilst we were putting our names down to enter the karaoke, we saw Depeche on screen when they performed on TOTP and TFI Friday (their first live performance in 17 years according to ginger) – I don’t think so mate!
The crowd then watched and listened to the “famous for two minutes” brave souls who took to the stage for the karaoke competition – which I entered myself, remember the only girlie devotee that gave her all to “I Want You Now”? I loved every second of it, the crowd were excellent and their support was felt. You may have thought I sounded uncannily like Martin, but in fact the DJ couldn’t edit out Martin’s voice fast enough so I couldn’t really be heard above it (maybe he’d heard me practising!). Anyway I enjoyed it and I’ll be back next time. Tom Larmar won the first prize with his version of “It’s No Good” which was brilliant. He was chuffed to bits and he won a promo copy of ULTRA and T-shirt, in second place came Pete Skinner with “Shake The Disease”, he received a promo copy of “It’s No God” and a T-shirt, as did Chris “Sportscar” who came third with “Enjoy The Silence”.
What else can I say, the night was one of the best and there was a buzz throughout the entire evening. The music was of course brilliant and fun was definitely had by all (not to mention the “It’s No Good” posters)!
See you all again next year.
VIOLATOR
[From Bong 32, June 1997. Words: Various contributors.]
Quite simply a masterpiece. Every band has a single, or even an album that propels them into the limelight of the music world merry-go-round. In the case of Depeche Mode, not only was the album “Violator” a masterpiece which shifted more than six million copies world-wide, trebling the Mode’s usual British album sales, but also came four singles, all classics in their own right, with every home owning at least the stomping “Personal Jesus”. “Violator” saw the Mode’s previous cultish appeal translate into over two million sales of the album in the US: The entrancing single “Enjoy The Silence” scooped the best single of 1990 at the Brits, while on the other side of the Atlantic the song remained in the Billboard Hot 100 in mid-October, six months after its release, selling over a million copies in the process. “Violator” finally, and undeniably, admitted Depeche Mode to the Premier Division of international acts. The album proved to be the one which found the Mode flexing muscles they never knew they had. Dave Gahan’s voice, often smothered by overblown percussive mayhem on previous albums, fills out songs like “Halo” and “Clean”. The arrival of Flood in the co-producer’s chair helped to keep the sound raw, but with the strong samples and a house beat the album rapidly grooves along. “Put it on” Martin prescribes, and start “Waiting for the night to fall”, because if there is just one Depeche Mode album which I would recommend, “Violator” would be the one.
Steve Osborne
Hutton, England
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?
Tim Nicholson, Record Mirror
(March 17, 1990) [1]
“Violator” was the first Depeche Mode album I bought. Thinking back to it, it was an odd experience. I was buying the album on the strength of an article in the Daily Mail newspaper stating the fact that Depeche Mode were an electropop band. I hadn’t heard any of the songs on the album, and I wasn’t too sure whether to buy the album or not. “Enjoy The Silence” was playing in the store – I didn’t even know that song! From those very first notes of “World In My Eyes” I loved the album. “World In My Eyes” is still one of my favourite songs and was the first song I ever liked on the first play. There have been many more songs since with several more on this album including “Personal Jesus”, “Enjoy The Silence” and “Policy Of Truth”. There had been nothing before this album that had matched my musical tastes so perfectly. I had found my musical home. I was astonished and amazed to find that someone was actually making the music that I wanted and were making it so well. The album itself is stunning. From the opening bars of “World In My Eyes” to the final dying away of “Clean”, there is no let up in the quality of the lyrics, vocal performances and sounds issuing forth. It is still personally my favourite album (although “Ultra” may change that). I listened to the album virtually solidly for a year – it was such a revelation. I listen to other bands now but none from the period before “Violator”. It was quite a watershed. It opened my eyes to a whole new area of music that I never knew existed. The feeling that I got when listening to this album for the first time is very difficult to repeat.
Stephen Chudley
Ilford, England
“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.
The Independent (UK)
(March 16, 1990) [2]
[From Bong 32, June 1997. Words: Various contributors.]
Quite simply a masterpiece. Every band has a single, or even an album that propels them into the limelight of the music world merry-go-round. In the case of Depeche Mode, not only was the album “Violator” a masterpiece which shifted more than six million copies world-wide, trebling the Mode’s usual British album sales, but also came four singles, all classics in their own right, with every home owning at least the stomping “Personal Jesus”. “Violator” saw the Mode’s previous cultish appeal translate into over two million sales of the album in the US: The entrancing single “Enjoy The Silence” scooped the best single of 1990 at the Brits, while on the other side of the Atlantic the song remained in the Billboard Hot 100 in mid-October, six months after its release, selling over a million copies in the process. “Violator” finally, and undeniably, admitted Depeche Mode to the Premier Division of international acts. The album proved to be the one which found the Mode flexing muscles they never knew they had. Dave Gahan’s voice, often smothered by overblown percussive mayhem on previous albums, fills out songs like “Halo” and “Clean”. The arrival of Flood in the co-producer’s chair helped to keep the sound raw, but with the strong samples and a house beat the album rapidly grooves along. “Put it on” Martin prescribes, and start “Waiting for the night to fall”, because if there is just one Depeche Mode album which I would recommend, “Violator” would be the one.
Steve Osborne
Hutton, England
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?
Tim Nicholson, Record Mirror
(March 17, 1990) [1]
“Violator” was the first Depeche Mode album I bought. Thinking back to it, it was an odd experience. I was buying the album on the strength of an article in the Daily Mail newspaper stating the fact that Depeche Mode were an electropop band. I hadn’t heard any of the songs on the album, and I wasn’t too sure whether to buy the album or not. “Enjoy The Silence” was playing in the store – I didn’t even know that song! From those very first notes of “World In My Eyes” I loved the album. “World In My Eyes” is still one of my favourite songs and was the first song I ever liked on the first play. There have been many more songs since with several more on this album including “Personal Jesus”, “Enjoy The Silence” and “Policy Of Truth”. There had been nothing before this album that had matched my musical tastes so perfectly. I had found my musical home. I was astonished and amazed to find that someone was actually making the music that I wanted and were making it so well. The album itself is stunning. From the opening bars of “World In My Eyes” to the final dying away of “Clean”, there is no let up in the quality of the lyrics, vocal performances and sounds issuing forth. It is still personally my favourite album (although “Ultra” may change that). I listened to the album virtually solidly for a year – it was such a revelation. I listen to other bands now but none from the period before “Violator”. It was quite a watershed. It opened my eyes to a whole new area of music that I never knew existed. The feeling that I got when listening to this album for the first time is very difficult to repeat.
Stephen Chudley
Ilford, England
“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.
The Independent (UK)
(March 16, 1990) [2]
S.O.F.A.D.
[From Bong 32, June 1997. Words: Various contributors.]
“Songs Of Faith And Devotion” screamed raw energy. Depeche Mode meet rock’n’roll. This album took Depeche Mode’s music to new heights. The guitars! The drums! (“I Feel You”), the string quartet! (“One Caress”), the backing vocalists! (“Get Right With Me”), Uilleann pipes! (“Judas”). Was this really Depeche Mode? It was, and they sounded ‘heavenly’. Heavenly indeed, for every song makes explicit reference to religion. Martin knows his Bible, referring to Babylon, absolution, repentance, Judas, doubting Thomases, souls, condemnation, humility. The consistent theme of the album is love, lust and religion and the way all three seem inextricably combined. Heavy stuff!? But hasn’t this always been true of Depeche Mode? (With the exception of “Speak And Spell”, don’t ever turn to this album for deep meaning.) Take away all the glitter and at its core are still Martin’s lyrics expressing the same individuality, vulnerability, the self doubt. It has always been the personal element to their lyrics, and Dave’s interpretation of them, that sets the band aside from others. “Songs Of Faith And Devotion” was poetry put to music and the combination of the two left the listener inspired! What made this album so incredible was the faith and devotion shown by the fans. Depeche Mode were worshipped at venues such as Crystal Palace and when Dave quipped “we’ve laid on the full moon… only joking!” how many fans believed that Depeche Mode actually could, such was their faith.
Andrew Sears
Wellingborough, England
Rather than repeat that hugely successful formula, “Songs Of Faith And Devotion” sees them taking an unexpected leap into the terrain previously occupied by the likes of Scott Walker (Scott 1-4) and Nick Cave (The Good Son). With all their stylistic threads pulled tauter than ever, they offer a compelling collection of torched songs that hum with an understated intensity throughout. There’s nothing here as immediately appealing as “Personal Jesus” or “Enjoy The Silence” but these songs possess an incremental power that rewards persistent listening. “On this album”, vocalist Dave Gahan recently remarked, “we’re trying to lift people to a higher level, to take them somewhere where they can find something spiritual, or whatever you want to call it.” It seems somewhat ironic therefore that this is clearly their most downbeat album, composed almost entirely in the minor key with lyrical themes veering from unrequited love to manic depression, from romantic betrayal to enforced loneliness. From the doomy magnificence of “Walking In My Shoes” and “In Your Room” to the meandering synth-rock of “Get Right With Me” and “Judas”, they succeeded in seducing the listener on the couch only to lure him into a darkened room where fear and loathing lurk in every corner. It is a testament to their improved craftsmanship that they manage to make it all so effective. At its best, the deeply sinister “I Feel You” and the fiercely obsessive “Mercy In You” (mutant hip-hop meets swamp blues), this latest album shows that they have eclipsed their most recent achievements and hauled themselves onto a new plateau where there is no competition. These are songs to celebrate. Quite unmissable.
RCD (UK)
(April 1993)
Having produced the ultimate electronic album in “Violator”, Depeche Mode set out to astound the world of pop by releasing an album that relied on guitars and drums more than synthesisers. At the time, I thought the idea a hideous one. Four years on, I regard it as one of the best Depeche Mode albums, second only to “Violator”. “Songs Of Faith And Devotion” begins with distorted sounds from “I Feel You”. The song continues with stronger vocals from Dave, loud drums from Alan and powerful guitar from Martin that dominates the track. Halfway through the song, there is a nice slow piece of synth and softer vocals from Dave before the rousing ending. Pure genius! “Walking In My Shoes” is the grungiest song on the album. It has a wonderful “Violator” keyboardy feel to it and a haunting memorable guitar play out. “Condemnation” for me is slightly disappointing as Dave’s vocals get a little bit off key in places but his other vocals and the excellent backing track, which combines a gospel piano with pounding electronic percussion, more than makes up for it. All the tracks on “Songs Of Faith And Devotion” are memorable especially “One Caress” which is a fine combination of Martin’s wonderful vocals and haunting strings that still sends shivers down my spine. This excellent album has paved the way for “Ultra” by proving that Depeche Mode can mix electronics and conventional instruments and the result works very well indeed.
Nick Betts
Leamington Spa, England
It kicks off with the single, “I Feel You”, in a burst of industrial static, a song which takes INXS’s arena bluster and turns it into a dark and mean glitter stomp. After this, matters charge on, ringing some familiar Mode changes, and taking on some odd stuff along the way. There are Uilleann pipes on “Judas” (mind you, there are Uilleann pipes on bloody everything these days). There are hints of 1970s dub on “Rush”. And there’s gospel singing on “Get Right With Me”. In fact, God gets into a lot of things on “Songs Of Faith And Devotion”. If this album has a theme – and let’s hope it doesn’t, this isn’t 19 sodding 68 – it’s linked to our old mate, Christianity. Soulful choirs back Gahan from time to time, faith and mercy and higher love get mentioned a lot, as does Judas and Doubting Thomas and heaven. But fear not, brave atheist of rock – for despite the initial suspicion that this is Cliff Richard gone industrial, further listening suggests that the real subject of these songs seems to be our other old mates, sex and love and fidelity. Thank, um, God for that. “Songs Of Faith And Devotion” is a more obviously emotional and mature album than other Depeche Mode records – which is not to say that the others aren’t, they’re just less blatantly so – and while on occasions I’d prefer the wide-eyed pop cynicism of “Black Celebration” or the dreamy weird rock of “Violator”, this is an album that every sane person should own.
David Quantick, NME
(March 20, 1993)
[From Bong 32, June 1997. Words: Various contributors.]
“Songs Of Faith And Devotion” screamed raw energy. Depeche Mode meet rock’n’roll. This album took Depeche Mode’s music to new heights. The guitars! The drums! (“I Feel You”), the string quartet! (“One Caress”), the backing vocalists! (“Get Right With Me”), Uilleann pipes! (“Judas”). Was this really Depeche Mode? It was, and they sounded ‘heavenly’. Heavenly indeed, for every song makes explicit reference to religion. Martin knows his Bible, referring to Babylon, absolution, repentance, Judas, doubting Thomases, souls, condemnation, humility. The consistent theme of the album is love, lust and religion and the way all three seem inextricably combined. Heavy stuff!? But hasn’t this always been true of Depeche Mode? (With the exception of “Speak And Spell”, don’t ever turn to this album for deep meaning.) Take away all the glitter and at its core are still Martin’s lyrics expressing the same individuality, vulnerability, the self doubt. It has always been the personal element to their lyrics, and Dave’s interpretation of them, that sets the band aside from others. “Songs Of Faith And Devotion” was poetry put to music and the combination of the two left the listener inspired! What made this album so incredible was the faith and devotion shown by the fans. Depeche Mode were worshipped at venues such as Crystal Palace and when Dave quipped “we’ve laid on the full moon… only joking!” how many fans believed that Depeche Mode actually could, such was their faith.
Andrew Sears
Wellingborough, England
Rather than repeat that hugely successful formula, “Songs Of Faith And Devotion” sees them taking an unexpected leap into the terrain previously occupied by the likes of Scott Walker (Scott 1-4) and Nick Cave (The Good Son). With all their stylistic threads pulled tauter than ever, they offer a compelling collection of torched songs that hum with an understated intensity throughout. There’s nothing here as immediately appealing as “Personal Jesus” or “Enjoy The Silence” but these songs possess an incremental power that rewards persistent listening. “On this album”, vocalist Dave Gahan recently remarked, “we’re trying to lift people to a higher level, to take them somewhere where they can find something spiritual, or whatever you want to call it.” It seems somewhat ironic therefore that this is clearly their most downbeat album, composed almost entirely in the minor key with lyrical themes veering from unrequited love to manic depression, from romantic betrayal to enforced loneliness. From the doomy magnificence of “Walking In My Shoes” and “In Your Room” to the meandering synth-rock of “Get Right With Me” and “Judas”, they succeeded in seducing the listener on the couch only to lure him into a darkened room where fear and loathing lurk in every corner. It is a testament to their improved craftsmanship that they manage to make it all so effective. At its best, the deeply sinister “I Feel You” and the fiercely obsessive “Mercy In You” (mutant hip-hop meets swamp blues), this latest album shows that they have eclipsed their most recent achievements and hauled themselves onto a new plateau where there is no competition. These are songs to celebrate. Quite unmissable.
RCD (UK)
(April 1993)
Having produced the ultimate electronic album in “Violator”, Depeche Mode set out to astound the world of pop by releasing an album that relied on guitars and drums more than synthesisers. At the time, I thought the idea a hideous one. Four years on, I regard it as one of the best Depeche Mode albums, second only to “Violator”. “Songs Of Faith And Devotion” begins with distorted sounds from “I Feel You”. The song continues with stronger vocals from Dave, loud drums from Alan and powerful guitar from Martin that dominates the track. Halfway through the song, there is a nice slow piece of synth and softer vocals from Dave before the rousing ending. Pure genius! “Walking In My Shoes” is the grungiest song on the album. It has a wonderful “Violator” keyboardy feel to it and a haunting memorable guitar play out. “Condemnation” for me is slightly disappointing as Dave’s vocals get a little bit off key in places but his other vocals and the excellent backing track, which combines a gospel piano with pounding electronic percussion, more than makes up for it. All the tracks on “Songs Of Faith And Devotion” are memorable especially “One Caress” which is a fine combination of Martin’s wonderful vocals and haunting strings that still sends shivers down my spine. This excellent album has paved the way for “Ultra” by proving that Depeche Mode can mix electronics and conventional instruments and the result works very well indeed.
Nick Betts
Leamington Spa, England
It kicks off with the single, “I Feel You”, in a burst of industrial static, a song which takes INXS’s arena bluster and turns it into a dark and mean glitter stomp. After this, matters charge on, ringing some familiar Mode changes, and taking on some odd stuff along the way. There are Uilleann pipes on “Judas” (mind you, there are Uilleann pipes on bloody everything these days). There are hints of 1970s dub on “Rush”. And there’s gospel singing on “Get Right With Me”. In fact, God gets into a lot of things on “Songs Of Faith And Devotion”. If this album has a theme – and let’s hope it doesn’t, this isn’t 19 sodding 68 – it’s linked to our old mate, Christianity. Soulful choirs back Gahan from time to time, faith and mercy and higher love get mentioned a lot, as does Judas and Doubting Thomas and heaven. But fear not, brave atheist of rock – for despite the initial suspicion that this is Cliff Richard gone industrial, further listening suggests that the real subject of these songs seems to be our other old mates, sex and love and fidelity. Thank, um, God for that. “Songs Of Faith And Devotion” is a more obviously emotional and mature album than other Depeche Mode records – which is not to say that the others aren’t, they’re just less blatantly so – and while on occasions I’d prefer the wide-eyed pop cynicism of “Black Celebration” or the dreamy weird rock of “Violator”, this is an album that every sane person should own.
David Quantick, NME
(March 20, 1993)
I MET THAT BLOKE FROM DEPECHE MODE ONCE
[From Bong 32, June 1997. Words: Charlotte R. Redout.]
If you met Depeche Mode or one of the band members and would like to share your experiences with the other fans, this is your chance. We are giving you an opportunity to tell us when and where you met the Modes and under what circumstances. You can send us full stories or simple details, whatever you prefer. We would also appreciate any photographs you have that we could print as it always makes the page more interesting and will prove to everyone that you were really there! Please, be assured that we will take good care of your photos and return them to you on your request. Don’t forget to mark everything with your name and address.
It was my 26th birthday on the 10th April, and what better birthday present could a Depeche Mode fan hope to wish for than to be sent tickets for the Ultra launch party. I only received the tickets the day before so it all came as quite a shock and I really could not believe that I was going, it was such an incredible feeling.
The venue was the Adrenaline Village in Battersea and the doors opened just after 8pm. The entrance to the venue was draped with white satin curtains, and as we made our way down into the dark depths of the Ultra scene there was such an intense vibe you could sense the band was near.
We guessed the guys were somewhere backstage, so we waited around the stage area in the hope of catching a glimpse. We did not have to wait long though before something happened because soon after Dave appeared from a back room. Looking as gorgeous as ever, he was dressed in black leather trousers, white vest and a pale green jacket. He walked straight past me across the dance floor to the TV lounge and on his way back I caught his attention and gave him such a huge smile, he smiled back at me looking quite amused at my fascination. Words cannot describe what I was feeling at that precise moment but “in awe” would be a close description!
Soon after, we had our photograph taken with the band, and as I have been a fan of Depeche Mode for 12 years, to be so close to the band and have my photo taken with Dave, Martin and Andy was just the best thing ever. The band then performed five live tracks, four of which were from “Ultra”. They kicked straight in with “Barrel Of A Gun”, “Useless” and “It’s No Good”, Martin then followed with “Home”. It was the first time I had ever heard this song and personally I think it is one of the most beautiful songs Martin has ever written. The band finished the set with the glorious “Never Let Me Down Again” which as always sent the fans wild and also left us with a taste that there really could be more to come next year. Let’s hope so!!!
After the live performance the band then went backstage and we often caught glimpses of them behind closely guarded curtains. After we left the club it was like, “my God did that really happen?”. I have some really good memories though, and I think what I will remember most about Dave, Martin and Andy was just how friendly they were, they all seemed like really nice people and Dave in particular looked really happy.
I had a feeling “Ultra” would reach the top of the album chart, and when it did it was a real “up yours” to all the critics who gave them such a hard time. But at the end of the day what does it matter what they think, the main thing is that they’re still out there and doing it, and after all, the band know how good thy are, and I for one just cannot wait to see them again next year!!!
Charlotte R Redout
North Cheam, England
[From Bong 32, June 1997. Words: Charlotte R. Redout.]
If you met Depeche Mode or one of the band members and would like to share your experiences with the other fans, this is your chance. We are giving you an opportunity to tell us when and where you met the Modes and under what circumstances. You can send us full stories or simple details, whatever you prefer. We would also appreciate any photographs you have that we could print as it always makes the page more interesting and will prove to everyone that you were really there! Please, be assured that we will take good care of your photos and return them to you on your request. Don’t forget to mark everything with your name and address.
It was my 26th birthday on the 10th April, and what better birthday present could a Depeche Mode fan hope to wish for than to be sent tickets for the Ultra launch party. I only received the tickets the day before so it all came as quite a shock and I really could not believe that I was going, it was such an incredible feeling.
The venue was the Adrenaline Village in Battersea and the doors opened just after 8pm. The entrance to the venue was draped with white satin curtains, and as we made our way down into the dark depths of the Ultra scene there was such an intense vibe you could sense the band was near.
We guessed the guys were somewhere backstage, so we waited around the stage area in the hope of catching a glimpse. We did not have to wait long though before something happened because soon after Dave appeared from a back room. Looking as gorgeous as ever, he was dressed in black leather trousers, white vest and a pale green jacket. He walked straight past me across the dance floor to the TV lounge and on his way back I caught his attention and gave him such a huge smile, he smiled back at me looking quite amused at my fascination. Words cannot describe what I was feeling at that precise moment but “in awe” would be a close description!
Soon after, we had our photograph taken with the band, and as I have been a fan of Depeche Mode for 12 years, to be so close to the band and have my photo taken with Dave, Martin and Andy was just the best thing ever. The band then performed five live tracks, four of which were from “Ultra”. They kicked straight in with “Barrel Of A Gun”, “Useless” and “It’s No Good”, Martin then followed with “Home”. It was the first time I had ever heard this song and personally I think it is one of the most beautiful songs Martin has ever written. The band finished the set with the glorious “Never Let Me Down Again” which as always sent the fans wild and also left us with a taste that there really could be more to come next year. Let’s hope so!!!
After the live performance the band then went backstage and we often caught glimpses of them behind closely guarded curtains. After we left the club it was like, “my God did that really happen?”. I have some really good memories though, and I think what I will remember most about Dave, Martin and Andy was just how friendly they were, they all seemed like really nice people and Dave in particular looked really happy.
I had a feeling “Ultra” would reach the top of the album chart, and when it did it was a real “up yours” to all the critics who gave them such a hard time. But at the end of the day what does it matter what they think, the main thing is that they’re still out there and doing it, and after all, the band know how good thy are, and I for one just cannot wait to see them again next year!!!
Charlotte R Redout
North Cheam, England