Depeche Mode Bong 27 (1996-02)
Bong 27 (February 1996)
Articles:
The Depeche Mode Christmas Lunch by J. D. Fanger
I Met That Bloke From Depeche Mode Once by Karsten Schreiber / Monica Lepping
Martin Gore Interview (from Rolling Stone magazine, 1993) by Marvin Scott Jarrett
Prague In My Eyes (Czech fan club convention) by Andras Sereg
Speak and Spell (album review) by various contributors
A Broken Frame (album review) by various contributors
Pictures:
page 1 page 2 the Depeche Mode Christmas lunch
page 3 Martin backstage in Indianapolis and Dave at the Enjoy The Silence video shoot
page 4 the 1996 calendar
page 5 page 6 promotional shots of Dave and Martin
Articles:
The Depeche Mode Christmas Lunch by J. D. Fanger
I Met That Bloke From Depeche Mode Once by Karsten Schreiber / Monica Lepping
Martin Gore Interview (from Rolling Stone magazine, 1993) by Marvin Scott Jarrett
Prague In My Eyes (Czech fan club convention) by Andras Sereg
Speak and Spell (album review) by various contributors
A Broken Frame (album review) by various contributors
Pictures:
page 1 page 2 the Depeche Mode Christmas lunch
page 3 Martin backstage in Indianapolis and Dave at the Enjoy The Silence video shoot
page 4 the 1996 calendar
page 5 page 6 promotional shots of Dave and Martin
Attachments
DEPECHE MODE CHRISTMAS LUNCH
[From Bong 27, February 1996. Words: J. D. Fanger.]
On Thursday 7th December Depeche Mode held their annual Christmas lunch. The event has grown from just being the Band and office staff in the early years, to the full-blown celebration that it was this year, when the restaurant booking was for sixteen people.
Our guest of honour this year was the celebrated German promoter Marek Lieberberg, and the other dignitaries present included Daniel Miller, Anton Corbijn and Tim Simenon.
Daryl booked the Criterion Restaurant at Piccadilly Circus, which, to be fair, came very well recommended by Fletch and Jonathan Kessler. We were not disappointed. Apart from the excellent food and wine, the restaurant’s interior is very ornate, and the service was superb.
Unfortunately, Dave wasn’t feeling too great on the day, and needed to rest his voice for the Band’s last two days in the studio, so he didn’t make it to the lunch.
As you can imagine, we’ve been getting very low on our supply of photographs for BONG magazine, so Lynn and I made ourselves busy with the camera, and you can see some of the results on this page. [1]
Afterwards, some people went back to their various places of work, while the rest of us moved on to another licensed establishment. The rest of the day gets a bit blurred. Nevertheless, we all look forward to another celebration in 1996.
[From Bong 27, February 1996. Words: J. D. Fanger.]
On Thursday 7th December Depeche Mode held their annual Christmas lunch. The event has grown from just being the Band and office staff in the early years, to the full-blown celebration that it was this year, when the restaurant booking was for sixteen people.
Our guest of honour this year was the celebrated German promoter Marek Lieberberg, and the other dignitaries present included Daniel Miller, Anton Corbijn and Tim Simenon.
Daryl booked the Criterion Restaurant at Piccadilly Circus, which, to be fair, came very well recommended by Fletch and Jonathan Kessler. We were not disappointed. Apart from the excellent food and wine, the restaurant’s interior is very ornate, and the service was superb.
Unfortunately, Dave wasn’t feeling too great on the day, and needed to rest his voice for the Band’s last two days in the studio, so he didn’t make it to the lunch.
As you can imagine, we’ve been getting very low on our supply of photographs for BONG magazine, so Lynn and I made ourselves busy with the camera, and you can see some of the results on this page. [1]
Afterwards, some people went back to their various places of work, while the rest of us moved on to another licensed establishment. The rest of the day gets a bit blurred. Nevertheless, we all look forward to another celebration in 1996.
I MET THAT BLOKE FROM DEPECHE MODE ONCE
[From Bong 27, February 1996. Words: Karsten Schreiber / Monica Lepping.]
After a brilliant “Devotional” concert in Budapest, a dream all Depeche Mode fans have came true for me and my friends… we had a chance to go backstage and meet Depeche Mode. Unfortunately, we got only one backstage pass for three people but we were patient and waited until the backstage party had finished, then we followed the band to their hotel then it became really exciting.
We went to the hotel bar and waited to see if anyone from Depeche Mode appeared and sure enough Dave came into the bar and sat down (not far from us!). He was talking to Andy Franks and no-one from our party had enough courage to go up and talk to him, but as Dave got up to leave I loosened up for a bit and asked him to have a photo taken with us. Unfortunately, he had to refuse as he didn’t have much time before departure. It still felt great though!
Then we spotted Martin riding on Daryl’s back. He seemed to be having a lot of fun… suddenly Martin approached us and sat at our table. When he found out that we were German fans, he started to speak to us in German. He was so very “normal” and easy going, complaining about the quality of the local beer, he even agreed to have a photo taken with us, what luck.
Afterwards we went to a small rock club with Martin and Alan. Even though Alan was at our table, we didn’t get a chance to talk to him because the music was so loud, we couldn’t hear ourselves think! Everyone seemed to be enjoying themselves but eventually people started to recognise Alan and Martin and followed them around, so after about 30 minutes they left and went back to their hotel.
Never mind, we still had the most brilliant night of our lives, and wish everyone could have the experience of meeting Depeche Mode. It’s an amazing feeling!
Karsten Schreiber
Dresden, Germany
Although it is almost two years back now I am still thinking of the day I met Depeche Mode.
I felt really embarrassed waiting at the hotel reception in Dortmund for Depeche Mode. I am “already” 30 years old and everyone around me seemed to be a lot younger. But hey, I am also a DM fan, so what the heck?
Then an American guy from the crew (unfortunately, I don’t know his name – but my biggest “thank you” goes to him) asked me why I was sitting outside the bar and wouldn’t go in. I explained that the security wouldn’t let me in even though I told them I knew Daryl. He couldn’t believe it so he walked in and asked Daryl for me. When he came back he said it’s OK for me to go in. I was shocked.
First, I spotted Martin drinking his favourite “Weizenbier” and having lots of fun. The room was packed with people and so I decided to go to the other end of the bar where it wasn’t that crowded. When I finally got there I realised Alan was standing next to me, cheering. The party started and I had a wonderful time. It was great to find out how nice the guys are and how excellent Martin’s German is.
Unfortunately, Dave wasn’t staying at the same hotel and so I was partying “only” with Martin, Alan, Fletch, Daryl, the crew members and some fans.
The day I met Dave, I won’t forget either! It happened in Koln on Martin’s birthday when Dave was drunk and very sweet…
So I’d like to thank the band for a wonderful time, and I hope they will be back soon. I just can’t get enough!
Monica Lepping
Dusseldorf, Germany
[From Bong 27, February 1996. Words: Karsten Schreiber / Monica Lepping.]
After a brilliant “Devotional” concert in Budapest, a dream all Depeche Mode fans have came true for me and my friends… we had a chance to go backstage and meet Depeche Mode. Unfortunately, we got only one backstage pass for three people but we were patient and waited until the backstage party had finished, then we followed the band to their hotel then it became really exciting.
We went to the hotel bar and waited to see if anyone from Depeche Mode appeared and sure enough Dave came into the bar and sat down (not far from us!). He was talking to Andy Franks and no-one from our party had enough courage to go up and talk to him, but as Dave got up to leave I loosened up for a bit and asked him to have a photo taken with us. Unfortunately, he had to refuse as he didn’t have much time before departure. It still felt great though!
Then we spotted Martin riding on Daryl’s back. He seemed to be having a lot of fun… suddenly Martin approached us and sat at our table. When he found out that we were German fans, he started to speak to us in German. He was so very “normal” and easy going, complaining about the quality of the local beer, he even agreed to have a photo taken with us, what luck.
Afterwards we went to a small rock club with Martin and Alan. Even though Alan was at our table, we didn’t get a chance to talk to him because the music was so loud, we couldn’t hear ourselves think! Everyone seemed to be enjoying themselves but eventually people started to recognise Alan and Martin and followed them around, so after about 30 minutes they left and went back to their hotel.
Never mind, we still had the most brilliant night of our lives, and wish everyone could have the experience of meeting Depeche Mode. It’s an amazing feeling!
Karsten Schreiber
Dresden, Germany
Although it is almost two years back now I am still thinking of the day I met Depeche Mode.
I felt really embarrassed waiting at the hotel reception in Dortmund for Depeche Mode. I am “already” 30 years old and everyone around me seemed to be a lot younger. But hey, I am also a DM fan, so what the heck?
Then an American guy from the crew (unfortunately, I don’t know his name – but my biggest “thank you” goes to him) asked me why I was sitting outside the bar and wouldn’t go in. I explained that the security wouldn’t let me in even though I told them I knew Daryl. He couldn’t believe it so he walked in and asked Daryl for me. When he came back he said it’s OK for me to go in. I was shocked.
First, I spotted Martin drinking his favourite “Weizenbier” and having lots of fun. The room was packed with people and so I decided to go to the other end of the bar where it wasn’t that crowded. When I finally got there I realised Alan was standing next to me, cheering. The party started and I had a wonderful time. It was great to find out how nice the guys are and how excellent Martin’s German is.
Unfortunately, Dave wasn’t staying at the same hotel and so I was partying “only” with Martin, Alan, Fletch, Daryl, the crew members and some fans.
The day I met Dave, I won’t forget either! It happened in Koln on Martin’s birthday when Dave was drunk and very sweet…
So I’d like to thank the band for a wonderful time, and I hope they will be back soon. I just can’t get enough!
Monica Lepping
Dusseldorf, Germany
MARTIN GORE INTERVIEW
[From Bong 27, February 1996. Words: Marvin Scott Jarrett.]
Depeche Mode’s impact on alternative music is incalculable. Despite very little overt working of the media, their last release, Violator, sold over three million copies in the U.S. alone. With minimal advertising, they packed 75,000 people into Pasadena’s Rose Bowl. And thousands of fans caused a riot at a Los Angeles record signing that dominated local news for days afterwards. Ironically, this success has triggered an often automatic and unfair backlash against the band. As this interview, which was conducted over the course of several days at the Four Seasons Hotel while they were shooting a video for their new album “Songs Of Faith And Devotion”, proves, they continue to define the alternative wing of music. In its best tradition, they not only retain control over every aspect of their careers, but remain loyal to their original indie roots as well. Surprisingly, for a band of their stature, they have also managed to stay polite, down-to-earth and humble.
RS: A lot of Depeche Mode fans take your lyrics quite seriously. Do you feel any responsibility for the effect your words might have?
MG: When I sit down to write, I don’t know exactly what my goal is. It’s just something that I enjoy doing. The main responsibility is to produce something good.
RS: Do you feel that your lyrics are often misinterpreted?
MG: A lot of the songs are fairly ambiguous and people fit them into their own lives, their own situations. I think that’s fine.
RS: You’ve made an impact on thousands of young people. Are you ever frightened by the influence you’ve had on so many?
MG: I wouldn’t say it frightens me. I quite like the idea. The only thing I sit down to do is try to communicate with people. To get to the point when you’ve actually achieved that is really nice, to be able to communicate on such a global level.
RS: Do you ever sit down and talk to fans who relate what various lyrics meant to them?
MG: Yes. There was one instance regarding “Never Let Me Down Again” when two separate people came up to me after a show one night and said, “I really like that song”. One of them thought it was a gay anthem and the other one thought it was a drug anthem. They both loved the song, so that’s fine by me. Last night was a good example of how nice it is to communicate. We got dropped off at a bar and it was closed. Someone called a taxi, you know how hard it is to get a taxi here, and just at that moment these two fans passed us, recognised me in the street, and came over. I said, “Give us a lift?” And they were happy to. They came with us and even hung around to give us a lift back to the hotel later (laughs).
RS: Why do you think Depeche Mode has such a strong fan base in Southern California?
MG: I think it’s mainly because of radio support, as boring an answer as that may be. Every time I come to Los Angeles it seems you can’t go for more than half an hour without hearing one of our records on K-ROQ, even when we haven’t had a release out in three years! I guess there are quite a few alternative stations. You know, the alternative scene in America is weird to me. I was listening to the alternative station up in Seattle and it just seemed to cover such a broad spectrum. It’s unfortunate because I think at one point alternative music really was alternative. Now it seems that so much of it is just bad. It almost means bad music.
RS: Would you ever consider moving to America?
MG: I might be forced to one day. My girlfriend is American and she just loves, like all of you Americans, the American way of life. I was actually talked into skiing over Christmas. It’s just those sort of things that are so easy over here. It’s one of those things that I’ve always said I never wanted to do, but her parents bought me these skiing lessons for Christmas.
RS: Are you frequently recognised in Los Angeles?
MG: I have been quite a lot. The exact same thing happened to me on Melrose where I had taken a taxi down during the day and then it’s really hard getting a taxi back, so when someone recognised me… “Can you give me a ride back to the hotel?” They’re always more than happy to.
RS: You provide lead vocals on a couple of the tracks from the new album. Is this something that you’d like to do more often?
MG: It’s something that I’ve always done. On virtually all of the albums there’s certain songs sung by me. There are certain songs that fit our individual voices.
RS: Is it ever odd for you to have Dave interpreting your words?
MG: No, because Dave is like another instrument. He’s the voice of the band. His voice is particularly suited to a lot of the songs. I can’t sing the way he sings.
RS: What are some of your musical inspirations?
MG: Over the last few years I’ve really got into Leonard Cohen. I like John Lennon, Kurt Weill. The Velvet Underground were probably the best band that ever existed. Sparks were one of my influences when I was growing up. Propaganda is probably my favourite album of all time. Another one of my major songwriting influences was Neil Young.
RS: On your solo EP, for instance, you covered some very interesting acts (Tuxedomoon, Durutti Column, Sparks). I suppose you’re an avid music fan…
MG: Definitely. We have a lot of pop trivia nights in England. I have about six or seven friends that are all really big music buffs and we’ll make big games of it.
RS: When Depeche Mode first started you were part of a genuine new movement, though a lot of your peers from the time (Soft Cell, Blancmange, Human League etc) are considered ancient history now. To what do you attribute the longevity of the band?
MG: I think we’ve always managed to change. The changes may be subtle, but the band really notices the subtleties. I don’t think any of our records are similar. There are quite marked differences between them.
[From Bong 27, February 1996. Words: Marvin Scott Jarrett.]
Depeche Mode’s impact on alternative music is incalculable. Despite very little overt working of the media, their last release, Violator, sold over three million copies in the U.S. alone. With minimal advertising, they packed 75,000 people into Pasadena’s Rose Bowl. And thousands of fans caused a riot at a Los Angeles record signing that dominated local news for days afterwards. Ironically, this success has triggered an often automatic and unfair backlash against the band. As this interview, which was conducted over the course of several days at the Four Seasons Hotel while they were shooting a video for their new album “Songs Of Faith And Devotion”, proves, they continue to define the alternative wing of music. In its best tradition, they not only retain control over every aspect of their careers, but remain loyal to their original indie roots as well. Surprisingly, for a band of their stature, they have also managed to stay polite, down-to-earth and humble.
RS: A lot of Depeche Mode fans take your lyrics quite seriously. Do you feel any responsibility for the effect your words might have?
MG: When I sit down to write, I don’t know exactly what my goal is. It’s just something that I enjoy doing. The main responsibility is to produce something good.
RS: Do you feel that your lyrics are often misinterpreted?
MG: A lot of the songs are fairly ambiguous and people fit them into their own lives, their own situations. I think that’s fine.
RS: You’ve made an impact on thousands of young people. Are you ever frightened by the influence you’ve had on so many?
MG: I wouldn’t say it frightens me. I quite like the idea. The only thing I sit down to do is try to communicate with people. To get to the point when you’ve actually achieved that is really nice, to be able to communicate on such a global level.
RS: Do you ever sit down and talk to fans who relate what various lyrics meant to them?
MG: Yes. There was one instance regarding “Never Let Me Down Again” when two separate people came up to me after a show one night and said, “I really like that song”. One of them thought it was a gay anthem and the other one thought it was a drug anthem. They both loved the song, so that’s fine by me. Last night was a good example of how nice it is to communicate. We got dropped off at a bar and it was closed. Someone called a taxi, you know how hard it is to get a taxi here, and just at that moment these two fans passed us, recognised me in the street, and came over. I said, “Give us a lift?” And they were happy to. They came with us and even hung around to give us a lift back to the hotel later (laughs).
RS: Why do you think Depeche Mode has such a strong fan base in Southern California?
MG: I think it’s mainly because of radio support, as boring an answer as that may be. Every time I come to Los Angeles it seems you can’t go for more than half an hour without hearing one of our records on K-ROQ, even when we haven’t had a release out in three years! I guess there are quite a few alternative stations. You know, the alternative scene in America is weird to me. I was listening to the alternative station up in Seattle and it just seemed to cover such a broad spectrum. It’s unfortunate because I think at one point alternative music really was alternative. Now it seems that so much of it is just bad. It almost means bad music.
RS: Would you ever consider moving to America?
MG: I might be forced to one day. My girlfriend is American and she just loves, like all of you Americans, the American way of life. I was actually talked into skiing over Christmas. It’s just those sort of things that are so easy over here. It’s one of those things that I’ve always said I never wanted to do, but her parents bought me these skiing lessons for Christmas.
RS: Are you frequently recognised in Los Angeles?
MG: I have been quite a lot. The exact same thing happened to me on Melrose where I had taken a taxi down during the day and then it’s really hard getting a taxi back, so when someone recognised me… “Can you give me a ride back to the hotel?” They’re always more than happy to.
RS: You provide lead vocals on a couple of the tracks from the new album. Is this something that you’d like to do more often?
MG: It’s something that I’ve always done. On virtually all of the albums there’s certain songs sung by me. There are certain songs that fit our individual voices.
RS: Is it ever odd for you to have Dave interpreting your words?
MG: No, because Dave is like another instrument. He’s the voice of the band. His voice is particularly suited to a lot of the songs. I can’t sing the way he sings.
RS: What are some of your musical inspirations?
MG: Over the last few years I’ve really got into Leonard Cohen. I like John Lennon, Kurt Weill. The Velvet Underground were probably the best band that ever existed. Sparks were one of my influences when I was growing up. Propaganda is probably my favourite album of all time. Another one of my major songwriting influences was Neil Young.
RS: On your solo EP, for instance, you covered some very interesting acts (Tuxedomoon, Durutti Column, Sparks). I suppose you’re an avid music fan…
MG: Definitely. We have a lot of pop trivia nights in England. I have about six or seven friends that are all really big music buffs and we’ll make big games of it.
RS: When Depeche Mode first started you were part of a genuine new movement, though a lot of your peers from the time (Soft Cell, Blancmange, Human League etc) are considered ancient history now. To what do you attribute the longevity of the band?
MG: I think we’ve always managed to change. The changes may be subtle, but the band really notices the subtleties. I don’t think any of our records are similar. There are quite marked differences between them.
RS: Why do you think it took radio in America so long to catch on?
MG: I think the situation over here at the time we started was not very healthy for our sort of music. They seemed to be very happy with the old format that they were in. A lot of fans were actually starting to go out and buy alternative music, so the radio stations had to change. It took a while because they were quite happy with their old ways. [1]
RS: “I Feel You” is the first single from the record. What track would you like to see as the follow-up?
MG: I think “In Your Room” could be potentially bigger, but it’s six and a half minutes long. It could be edited down, but I think part of its beauty is its length. It’ll be different to work with.
RS: It’s interesting that Brian Eno did the remix for “I Feel You”. What sort of working relationship did you have with him? Did you just sort of turn over the tapes?
MG: We basically just sent him the tapes. Flood knows him from his relationship with U2, so he just called him and he was keen to do it. His mixes have this really strange atmosphere to them. Every time I play it, no matter what time of day it is, it almost puts me to sleep. It’s really weird. We had to take it off when we were driving in the car because my girlfriend was falling asleep.
RS: Although Depeche Mode is considered a keyboard based band, you often write the songs on guitar…
MG: Yes, often. I usually work on the chord structure on a guitar, then the words, then I move on to my studio at home, then do a basic demo with the keyboards or whatever, and then I present it to the band. I’ve been trying to keep the demos more open. If the demo is too finished you tend to have that in your head as the final picture.
RS: Do you have much interest in production?
MG: I’ve really never been very interested in production. Obviously production can do a lot, but I like to place more importance on the song. If the song is good enough in the first place you can pretty much get away with anything.
RS: As the main songwriter you must make a lot more money than the rest of the band…
MG: (nodding his head and laughing) Can’t you tell I stand out?
RS: There’s no animosity?
MG: They’ve never mentioned it to me. Maybe they have secret meetings behind my back (laughs).
RS: Have you kept in contact with Vince Clarke?
MG: We see more of him now, but that’s not much. Maybe once or twice a year. We get on really well. They (Erasure) actually played in Hamburg while we were recording there and he came out drinking with us one night. I’d never seen him do that with us before! I was surprised. He actually came out with us and had a good time (laughs).
RS: When he first left the group, did it come as much of a surprise? You were just starting to receive some success…
MG: Yes, it was a big surprise. [2] The first album had just been released. The album was released in, I think, September, and by October or November he told us he was leaving. The album was doing really well.
RS: You took over most of the songwriting chores after he departed. Initially, did that put a lot of pressure on you?
MG: It was a blessing in disguise. At the time I really didn’t worry at all. I’d always written songs, I started writing when I was 13, so I already had a couple of songs that I felt were reasonable enough for us to record. We were just kids. We didn’t really think it was a big blow, it was just a matter of carrying on and not worrying about things.
RS: When will the next tour start?
MG: I think we start in May in Europe. We should start over here in September.
RS: How do you handle the impact of a tour? Is life on the road difficult for you to adjust to?
MG: It’s actually more difficult adjusting back to normal life after the tour. When we are on the road we have about five people looking after us. Anything that you want all day long is at your feet. Suddenly you have to go home after the tour and adjust to normality. The first grocery trip is very weird (laughs).
RS: How hard is it for you to connect with the audience in a large arena?
MG: I’ve got terrible eyesight so if it’s more than 10 people it doesn’t make a difference to me.
RS: How involved are you with the visual marketing of the band?
MG: We have big meetings with Anton (Corbijn). We trust him a lot. He comes up with most of the ideas. He does all of our videos now, our sleeves, photographs, and we’re also getting him involved in the stage set design this time.
RS: You’ve touched on a lot of religious imagery in your songs…
MG: I’ve always touched on religion. I must have some deep rooted problem somewhere.
RS: Were you raised with a religious upbringing?
MG: No. I always liked the idea of belief. I wanted to believe in something, but I’ve never been sure what it is I should be believing in. The idea of faith really appealed to me.
RS: Do you read a lot on spirituality?
MG: Over the last couple of years I haven’t really done any reading at all. I’ve really got into Sega and Super Nintendo (laughs). So there’s a few worrying pointers. The other worry is that I’ve got an 18 month old daughter and we’ve just got into Disney sing-along tunes and they’ve really started to get ingrained in my head! It’s quite a worry for the next album.
MG: I think the situation over here at the time we started was not very healthy for our sort of music. They seemed to be very happy with the old format that they were in. A lot of fans were actually starting to go out and buy alternative music, so the radio stations had to change. It took a while because they were quite happy with their old ways. [1]
RS: “I Feel You” is the first single from the record. What track would you like to see as the follow-up?
MG: I think “In Your Room” could be potentially bigger, but it’s six and a half minutes long. It could be edited down, but I think part of its beauty is its length. It’ll be different to work with.
RS: It’s interesting that Brian Eno did the remix for “I Feel You”. What sort of working relationship did you have with him? Did you just sort of turn over the tapes?
MG: We basically just sent him the tapes. Flood knows him from his relationship with U2, so he just called him and he was keen to do it. His mixes have this really strange atmosphere to them. Every time I play it, no matter what time of day it is, it almost puts me to sleep. It’s really weird. We had to take it off when we were driving in the car because my girlfriend was falling asleep.
RS: Although Depeche Mode is considered a keyboard based band, you often write the songs on guitar…
MG: Yes, often. I usually work on the chord structure on a guitar, then the words, then I move on to my studio at home, then do a basic demo with the keyboards or whatever, and then I present it to the band. I’ve been trying to keep the demos more open. If the demo is too finished you tend to have that in your head as the final picture.
RS: Do you have much interest in production?
MG: I’ve really never been very interested in production. Obviously production can do a lot, but I like to place more importance on the song. If the song is good enough in the first place you can pretty much get away with anything.
RS: As the main songwriter you must make a lot more money than the rest of the band…
MG: (nodding his head and laughing) Can’t you tell I stand out?
RS: There’s no animosity?
MG: They’ve never mentioned it to me. Maybe they have secret meetings behind my back (laughs).
RS: Have you kept in contact with Vince Clarke?
MG: We see more of him now, but that’s not much. Maybe once or twice a year. We get on really well. They (Erasure) actually played in Hamburg while we were recording there and he came out drinking with us one night. I’d never seen him do that with us before! I was surprised. He actually came out with us and had a good time (laughs).
RS: When he first left the group, did it come as much of a surprise? You were just starting to receive some success…
MG: Yes, it was a big surprise. [2] The first album had just been released. The album was released in, I think, September, and by October or November he told us he was leaving. The album was doing really well.
RS: You took over most of the songwriting chores after he departed. Initially, did that put a lot of pressure on you?
MG: It was a blessing in disguise. At the time I really didn’t worry at all. I’d always written songs, I started writing when I was 13, so I already had a couple of songs that I felt were reasonable enough for us to record. We were just kids. We didn’t really think it was a big blow, it was just a matter of carrying on and not worrying about things.
RS: When will the next tour start?
MG: I think we start in May in Europe. We should start over here in September.
RS: How do you handle the impact of a tour? Is life on the road difficult for you to adjust to?
MG: It’s actually more difficult adjusting back to normal life after the tour. When we are on the road we have about five people looking after us. Anything that you want all day long is at your feet. Suddenly you have to go home after the tour and adjust to normality. The first grocery trip is very weird (laughs).
RS: How hard is it for you to connect with the audience in a large arena?
MG: I’ve got terrible eyesight so if it’s more than 10 people it doesn’t make a difference to me.
RS: How involved are you with the visual marketing of the band?
MG: We have big meetings with Anton (Corbijn). We trust him a lot. He comes up with most of the ideas. He does all of our videos now, our sleeves, photographs, and we’re also getting him involved in the stage set design this time.
RS: You’ve touched on a lot of religious imagery in your songs…
MG: I’ve always touched on religion. I must have some deep rooted problem somewhere.
RS: Were you raised with a religious upbringing?
MG: No. I always liked the idea of belief. I wanted to believe in something, but I’ve never been sure what it is I should be believing in. The idea of faith really appealed to me.
RS: Do you read a lot on spirituality?
MG: Over the last couple of years I haven’t really done any reading at all. I’ve really got into Sega and Super Nintendo (laughs). So there’s a few worrying pointers. The other worry is that I’ve got an 18 month old daughter and we’ve just got into Disney sing-along tunes and they’ve really started to get ingrained in my head! It’s quite a worry for the next album.
PRAGUE IN MY EYES
[From Bong 27, February 1996. Words: Andras Sereg.]
This page is here to inform you about the activities of the fan clubs that exist all around the world and work locally for Depeche Mode fans in that particular area or country. It is open to every fan club who wants to share some of their experiences from their conventions or parties. We also welcome any photographs to go with your stories. All contributions should be sent to the usual Bong address.
Please note, the official DM Fan Club BONG is not associated with the activities expressed here, doesn’t take part in the events and therefore takes no responsibility.
Prague In My Eyes – 101 – II.
By Andras Sereg from the Hungarian Fan Club
The Depeche Mode Friends in Prague, Czech Republic invited us to their annual Fan Club convention and so I thought it was a perfect opportunity to look outside of Hungary and see what their Depeche Mode party would be like. We have never been to a foreign club’s convention before and so we were looking forward to the party as well as to the journey itself.
Towards dawn on the 2nd December, five Hungarian fans were ready to leave. The destination was Prague. After a lot of organisational work and arrangements, we left for the “Golden Prague”, a beautiful city we could not see during the Devotional Tour. Due to the early departure the contour of Prague appeared in the early afternoon and after turning off the motorway we soon found ourselves in the city itself. Since the party was to begin at 9pm next day, we had nearly a whole day to visit all the famous places where Depeche Mode were photographed in 1988 for the book “Strangers”. We began on the Charles Bridge and after seeing this monument we were not surprised that it has given Anton Corbijn an inspiration for his photographs. The fame of the bridge was proved by the torrent of tourists. We could hardly reach the sculpture where the famous photo was taken. But there is no impossible thing for us and we stepped over this obstacle too. Our next station was Josefska Street. Apart from the street sign we found everything as we had seen in the book. After taking some photos and video-record we went to the Jewish Cemetery. To our great sorrow, it is closed on Saturdays and so we didn’t have a chance to see Kafka’s grave. Then we went to the main railway station of Prague where several photos were also taken. After exploring the place, we had to go back to our hotel as it was getting late and we didn’t have much time left before the convention.
The place of the convention was Prague’s club Belmondo. We entered with excitement, the fans who we could see outside were the same as in Budapest (short cropped hair, black clothes, etc). The fanzine of the “Depeche Mode Friends” called “Halo” was sold by the entrance. Even though it was written in Czech we bought some copies. It contains some very good photos and as we found out later on from the Czech fans, the articles are also very interesting. When we entered the hall there were already around 300 people dancing to their favourite band’s songs. When the first images of the video “In Your Room” appeared on the screen everyone stopped dancing and gazed at it.
After a while we made friends with the Czech devotees and soon found Tomas, the DJ and organizer of the event, whom we had met in town at noon. He introduced us to some of his friends. We have away some T-shirts of the Depeche Mode Fan Club Hungary. Thomas put it on immediately. To our great delight we also got to meet Michaela Olexova, the producer of Bong magazine. I have been thinking for a long time what kind of a girl, who takes better and better photos of Depeche Mode, she would be. After a short conversation we pushed ourselves into the dancing crowd again. Then we danced a lot and did some filming with our video camera. We wanted some fans who also spoke English to tell us what DM meant to them. At the party, we met some German and Dutch people, so it really became an international meeting. Several other countries were represented but we somehow missed them (it can easily happen).
At the entrance, we grabbed some forms for a mastermind competition with the questions on Depeche Mode. Unfortunately, they were written in Czech and so we had to ask someone from the local stuff to translate them for us into English. Answering them wasn’t such a problem for us then. It turned out that our attendance at the convention was worth it as we won the top prizes. Later in the night, a band called “Karandash” appeared on stage to perform some DM songs. They were a great success. Shortly after that there was another competition, a “Dave-dancing” show. There were a lot of people waiting for the raffle draw since many DM prizes could be won. It seemed that Dame Fortune had held our hands during the quiz show, because we didn’t win anything this time. After some more music, dancing and video projection, the convention was near to its end. After five in the morning we sadly had to say goodbye to our new friends, a great party and a wonderful city. See you Prague, see you Depeche Mode Friends!
[From Bong 27, February 1996. Words: Andras Sereg.]
This page is here to inform you about the activities of the fan clubs that exist all around the world and work locally for Depeche Mode fans in that particular area or country. It is open to every fan club who wants to share some of their experiences from their conventions or parties. We also welcome any photographs to go with your stories. All contributions should be sent to the usual Bong address.
Please note, the official DM Fan Club BONG is not associated with the activities expressed here, doesn’t take part in the events and therefore takes no responsibility.
Prague In My Eyes – 101 – II.
By Andras Sereg from the Hungarian Fan Club
The Depeche Mode Friends in Prague, Czech Republic invited us to their annual Fan Club convention and so I thought it was a perfect opportunity to look outside of Hungary and see what their Depeche Mode party would be like. We have never been to a foreign club’s convention before and so we were looking forward to the party as well as to the journey itself.
Towards dawn on the 2nd December, five Hungarian fans were ready to leave. The destination was Prague. After a lot of organisational work and arrangements, we left for the “Golden Prague”, a beautiful city we could not see during the Devotional Tour. Due to the early departure the contour of Prague appeared in the early afternoon and after turning off the motorway we soon found ourselves in the city itself. Since the party was to begin at 9pm next day, we had nearly a whole day to visit all the famous places where Depeche Mode were photographed in 1988 for the book “Strangers”. We began on the Charles Bridge and after seeing this monument we were not surprised that it has given Anton Corbijn an inspiration for his photographs. The fame of the bridge was proved by the torrent of tourists. We could hardly reach the sculpture where the famous photo was taken. But there is no impossible thing for us and we stepped over this obstacle too. Our next station was Josefska Street. Apart from the street sign we found everything as we had seen in the book. After taking some photos and video-record we went to the Jewish Cemetery. To our great sorrow, it is closed on Saturdays and so we didn’t have a chance to see Kafka’s grave. Then we went to the main railway station of Prague where several photos were also taken. After exploring the place, we had to go back to our hotel as it was getting late and we didn’t have much time left before the convention.
The place of the convention was Prague’s club Belmondo. We entered with excitement, the fans who we could see outside were the same as in Budapest (short cropped hair, black clothes, etc). The fanzine of the “Depeche Mode Friends” called “Halo” was sold by the entrance. Even though it was written in Czech we bought some copies. It contains some very good photos and as we found out later on from the Czech fans, the articles are also very interesting. When we entered the hall there were already around 300 people dancing to their favourite band’s songs. When the first images of the video “In Your Room” appeared on the screen everyone stopped dancing and gazed at it.
After a while we made friends with the Czech devotees and soon found Tomas, the DJ and organizer of the event, whom we had met in town at noon. He introduced us to some of his friends. We have away some T-shirts of the Depeche Mode Fan Club Hungary. Thomas put it on immediately. To our great delight we also got to meet Michaela Olexova, the producer of Bong magazine. I have been thinking for a long time what kind of a girl, who takes better and better photos of Depeche Mode, she would be. After a short conversation we pushed ourselves into the dancing crowd again. Then we danced a lot and did some filming with our video camera. We wanted some fans who also spoke English to tell us what DM meant to them. At the party, we met some German and Dutch people, so it really became an international meeting. Several other countries were represented but we somehow missed them (it can easily happen).
At the entrance, we grabbed some forms for a mastermind competition with the questions on Depeche Mode. Unfortunately, they were written in Czech and so we had to ask someone from the local stuff to translate them for us into English. Answering them wasn’t such a problem for us then. It turned out that our attendance at the convention was worth it as we won the top prizes. Later in the night, a band called “Karandash” appeared on stage to perform some DM songs. They were a great success. Shortly after that there was another competition, a “Dave-dancing” show. There were a lot of people waiting for the raffle draw since many DM prizes could be won. It seemed that Dame Fortune had held our hands during the quiz show, because we didn’t win anything this time. After some more music, dancing and video projection, the convention was near to its end. After five in the morning we sadly had to say goodbye to our new friends, a great party and a wonderful city. See you Prague, see you Depeche Mode Friends!
SPEAK AND SPELL
[From Bong 27, February 1996. Words: Various contributors.]
They light up a dull chart landscape, put fizz into a flat format (“futurism”, forsooth), and Davy Gahan’s check suit puts the op back into pop. And all, apparently, without even trying. Their chief skill lies in making their art sound artless; simple synthesiser melodies, Gahan’s tuneful but undramatic singing and a matter-of-fact, gimmick-free production all help achieve this unforced effect. But a good listen to their first LP reveals smartness beneath the simplicity. “I Sometimes Wish I Was Dead” belies its precious title with an infections swing and a boppy beat, while “Puppets” is a feast of Soft Cell-ish soul with the sinister catch-line: “I’ll be your operator, baby – I’m in control…” from here it’s a leap into the football chant of “Boys Say Go”. “What’s Your Name” fairly jumps off the vinyl to proclaim itself The Next Single. Cheeky bubblegum backing vocals give added zest to the insanely catchy chorus: it’s a sure-fire monster hit. Their detractors will call Depeche Mode shallow, but show me the dancing feet that ever took notice of that sort of criticism. Side two’s “Photographic” is like Numan at his best, but better; all the sinister phrases, both lyrical and musical, but with a rapid danceable beat instead of the solemnity that Gazza always laid on with a sequinned trowel. However, the instrumental “Big Muff” and the gentle “Any Second Now”, with its delightful harmonies and chimes, are a high quality trail to follow into the inevitable “Just Can’t Get Enough”, a sublime single of which I never seem to tire. In short, then: a charming, cheeky collection of compulsive danceable tunes, and brief like the best pop should be. Get in the Mode!
Sunie
Record Mirror
(Nov 7, 1981)
Anyone who expected a tinny American voice on a child’s Texas instruments toy had to wake up fast to the real world of the synth. This was the future and I was all for it. Here it comes… Any Second Now… Shout? Of course, we all did!!! How could we fail to speak and spell classics like N-E-W-L-I-F-E and J-U-S-T-C-A-N-T-G-E-T-E-N-O-U-G-H, still massive in 1995 and I predict that Nodisco will be without them in the year 2000 and beyond! How could we ever forget that menacing, sinister sound of “Photographic”? With this master photograph, DM pictured us all: “exposed” as a vision of growing worship… Dave, the operator… he’s in control!!! With retrospect, we can seethe at UK press ignorance, we can ‘hate’ this album because of he who was ‘erased’. But admit it, those bouncy beats and catchy lyrics bring back the 80’s like no other group could. As a “synthie” myself, I prefer this sound to the guitar anytime!!! So, what’s your name? Mine is Jason – play this album again and again to give you New Life – you’ll never wish you were dead, not even sometimes. Tora! Tora! Tora!
Jason Dunn (January 1996)
Britain
“Speak And Spell” is a classic combination of disco dance music and house parry music. It’s clear the band have talent. Songs such as “New Life” and “Just Can’t Get Enough” are highly enjoyable synth pop tunes. Never mind about artists such as Adam Ant and Madness who have “obvious” quality but “Just Can’t Get Enough” well and truly deserved a place in the Top Six and had the quality of a number one. What the band does best are the witty, funny and enormously interesting songs. Songs such as “Puppets” and “Photographic” are singable and you never grow tired of them. I am one of those fans who stubbornly refuses to dislike any song from the album. They are all easy to like. Being the band’s first album, it’s one of their best. The Depeche Mode’s music appeals to young teenagers and it captured my heart back in 1981 too. Those of blissful joy when you play “Tora! Tora! Tora!” and “Nodisco”, all until your heart is content. I will maintain that Depeche Mode have always been of high entertainment and “Speak And Spell” was a good start to their longevity.
Patrick Dunne (January 1996)
Dublin, Ireland
“Speak And Spell” is a simple sample of generous, silly, susceptible electro-tickled pop – the most ingenuous version of pup (Mode) at play with a less tolerant perception (Miller) – that despite its relentless friskiness and unprincipled cheerfulness is encouraging not exasperating. Where Orchestral Manoeuvres are sanctimonious and ultimately insubstantial, Depeche Mode are quaint, obtrusive and uplifting. Depeche Mode take things for granted: their indifference doesn’t interfere with a diverting vitality. Depeche Mode’s guitarless bubbly-fun pop is cohesive and supple: insinuating, well-highlighted, untainted by any serious thoughts or historical conditions or examinations of charisma. Depeche Mode have taste for the stupid and treat the conventional codes and details of the pretty pop song with well stirred cheek and a friendly flippancy; their sound has a practical urgency. Depeche Mode are a celebration of the immunity of pop. They perform a cheering job on the classically light and slight teenybop form. Depeche Mode, apparently, could quickly move as far up and away from constructing slightly sarcastic jingles. I have enough trust in the wit.
Paul Morley
New Musical Express (Nov 7, 1981)
[From Bong 27, February 1996. Words: Various contributors.]
They light up a dull chart landscape, put fizz into a flat format (“futurism”, forsooth), and Davy Gahan’s check suit puts the op back into pop. And all, apparently, without even trying. Their chief skill lies in making their art sound artless; simple synthesiser melodies, Gahan’s tuneful but undramatic singing and a matter-of-fact, gimmick-free production all help achieve this unforced effect. But a good listen to their first LP reveals smartness beneath the simplicity. “I Sometimes Wish I Was Dead” belies its precious title with an infections swing and a boppy beat, while “Puppets” is a feast of Soft Cell-ish soul with the sinister catch-line: “I’ll be your operator, baby – I’m in control…” from here it’s a leap into the football chant of “Boys Say Go”. “What’s Your Name” fairly jumps off the vinyl to proclaim itself The Next Single. Cheeky bubblegum backing vocals give added zest to the insanely catchy chorus: it’s a sure-fire monster hit. Their detractors will call Depeche Mode shallow, but show me the dancing feet that ever took notice of that sort of criticism. Side two’s “Photographic” is like Numan at his best, but better; all the sinister phrases, both lyrical and musical, but with a rapid danceable beat instead of the solemnity that Gazza always laid on with a sequinned trowel. However, the instrumental “Big Muff” and the gentle “Any Second Now”, with its delightful harmonies and chimes, are a high quality trail to follow into the inevitable “Just Can’t Get Enough”, a sublime single of which I never seem to tire. In short, then: a charming, cheeky collection of compulsive danceable tunes, and brief like the best pop should be. Get in the Mode!
Sunie
Record Mirror
(Nov 7, 1981)
Anyone who expected a tinny American voice on a child’s Texas instruments toy had to wake up fast to the real world of the synth. This was the future and I was all for it. Here it comes… Any Second Now… Shout? Of course, we all did!!! How could we fail to speak and spell classics like N-E-W-L-I-F-E and J-U-S-T-C-A-N-T-G-E-T-E-N-O-U-G-H, still massive in 1995 and I predict that Nodisco will be without them in the year 2000 and beyond! How could we ever forget that menacing, sinister sound of “Photographic”? With this master photograph, DM pictured us all: “exposed” as a vision of growing worship… Dave, the operator… he’s in control!!! With retrospect, we can seethe at UK press ignorance, we can ‘hate’ this album because of he who was ‘erased’. But admit it, those bouncy beats and catchy lyrics bring back the 80’s like no other group could. As a “synthie” myself, I prefer this sound to the guitar anytime!!! So, what’s your name? Mine is Jason – play this album again and again to give you New Life – you’ll never wish you were dead, not even sometimes. Tora! Tora! Tora!
Jason Dunn (January 1996)
Britain
“Speak And Spell” is a classic combination of disco dance music and house parry music. It’s clear the band have talent. Songs such as “New Life” and “Just Can’t Get Enough” are highly enjoyable synth pop tunes. Never mind about artists such as Adam Ant and Madness who have “obvious” quality but “Just Can’t Get Enough” well and truly deserved a place in the Top Six and had the quality of a number one. What the band does best are the witty, funny and enormously interesting songs. Songs such as “Puppets” and “Photographic” are singable and you never grow tired of them. I am one of those fans who stubbornly refuses to dislike any song from the album. They are all easy to like. Being the band’s first album, it’s one of their best. The Depeche Mode’s music appeals to young teenagers and it captured my heart back in 1981 too. Those of blissful joy when you play “Tora! Tora! Tora!” and “Nodisco”, all until your heart is content. I will maintain that Depeche Mode have always been of high entertainment and “Speak And Spell” was a good start to their longevity.
Patrick Dunne (January 1996)
Dublin, Ireland
“Speak And Spell” is a simple sample of generous, silly, susceptible electro-tickled pop – the most ingenuous version of pup (Mode) at play with a less tolerant perception (Miller) – that despite its relentless friskiness and unprincipled cheerfulness is encouraging not exasperating. Where Orchestral Manoeuvres are sanctimonious and ultimately insubstantial, Depeche Mode are quaint, obtrusive and uplifting. Depeche Mode take things for granted: their indifference doesn’t interfere with a diverting vitality. Depeche Mode’s guitarless bubbly-fun pop is cohesive and supple: insinuating, well-highlighted, untainted by any serious thoughts or historical conditions or examinations of charisma. Depeche Mode have taste for the stupid and treat the conventional codes and details of the pretty pop song with well stirred cheek and a friendly flippancy; their sound has a practical urgency. Depeche Mode are a celebration of the immunity of pop. They perform a cheering job on the classically light and slight teenybop form. Depeche Mode, apparently, could quickly move as far up and away from constructing slightly sarcastic jingles. I have enough trust in the wit.
Paul Morley
New Musical Express (Nov 7, 1981)
A BROKEN FRAME
[From Bong 27, February 1996. Words: Various contributors.]
“A Broken Frame” is like no other Depeche Mode album. It sounds different, it feels different, it is different, but it is still very Depeche Mode. Unlike every other DM album “A Broken Frame” has no major creative musical influence. “Speak And Spell” had Vince. “Construction Time Again” onward had Alan. It is musically dull at times, but like everything, there are exceptions. “The Meaning Of Love” is a catchy pop song and could easily have fitted on “Speak And Spell”, “Leave In Silence” any later album. At times, it feels as though the three were straining to make something special. Martin’s lyrics were good, but there’s just something missing. “Satellite”’s catchy reggae beat is new, but never goes anywhere. Don’t get me wrong, I love it but it was a turning point with many pointers to the future.
Ian Carlton (January 1996)
Lincoln, England
Depeche Mode, a British three-piece electro-pop band who took their name, meaning fast fashion, from a French clothing magazine, are the people who not too long ago put the words “I Just Can’t Get Enough” on radio listeners’ lips. In a nutshell, the band plays bright and melodious, but fairly innocuous synthesised music with singer David Gahan opening out the melodies with his voice. The three Essex lads, all younger than 21, perform the light music and light lyrics (on inner sleeve) written by keyboardist Martin Gore. The other synth player is Andy Fletcher. Since the band’s debut album, “Speak And Spell”, the only change in the line-up has been the departure of Vince Clarke who left to pursue a solo career. None of the 10 songs on the album carries the punch of “Just Can’t Get Enough”, yet they are all just as polished and interesting. The two tracks I think stand out the most are side two’s “A Photograph Of You” and, following that, “Shouldn’t Have Done That”. The first is particularly tuneful and the second blends church-like vocal unison with a solid hand-clapping good beat. Nothing wrong with the single from the album either. It’s called “The Meaning Of Love” and is as good a yardstick as any other if you want an audio description of what the band plays. Just to cap the review I shall add that the music is fashionable, synthesised electronic pop, to which the majority of songs are suitable for energetic dancing. I wouldn’t call the product powerful dancing music – but if you’re that way inclined it’s certainly good enough.
The Guardian (February 22, 1983)
Firstly, I feel I should lay my cards on the table by saying that I am a great fan of this album. “A Broken Frame” – I believe that some of these songs were the most inventive and glorious the band ever had. “Leave In Silence”, a tower of glory. It’s dramatic and creative and also pleasant to the ear. “My Secret Garden” is an unexpected classic. I enjoyed it back in 1982 and I still do today. The song is a driving compelling song which was even worthy of release. “See You” has a magic melody. The song oozes with power, atmosphere and beat that one wonders why it was never number one in 1982. “The Meaning Of Love” - I adore this tune for its sheer meatiness. The song is like a strong cheese, very strong and addictive. Good all round tune. The album consists of strong synth music. Even if some songs are not classics they are still enjoyable and I would recommend them to any new fan because of its all round good lyrics and strong music, keeping up the strong reputation of “Speak And Spell”. The album is boosted by Dave Gahan’s fruity tones and the band show skill and talent in their music and super lyrics. I know it’s a cliché but “A Broken Frame” was an important album. The band drew on its strength and there were even better things to come. “A Broken Frame” honestly deserves full marks. It has so much grace and willingness thoroughly enjoyable classic Mode stuff.
Patrick Dunne (January 1996)
Dublin, Ireland
And then there were three!! Sounds familiar?? “A Broken Frame”? I think not. A badly dented frame maybe but Depeche Mode live on and on the evidence of some of the tracks on this album it is clear that they would live for a very long time. Gone are the teeny-bop sounds of “Speak And Spell”, only “Photograph Of You” and “The Meaning Of Love” dare to regress. Replaced by the deep dirge of “Leave In Silence”, “Monument” (check it out!), the threatening “Shouldn’t Have Done That” and saving the best till last “The Sun And The Rainfall” which absolutely drips with atmosphere. The music has progressed but quite what Alan Wilder could have done to enhance this particular album is open to debate, but one thing is for sure – this sequencer driven album is the first step on the road to the garden of success (or is that a Secret Garden?). The first war has been won, new fans gained and the prophets of doom (aka Music Journalists) repelled. Depeche Mode have Nothing To Fear because there will be more sun than rainfall on their career. So, how do you finish a review of an album that will be regarded as a monument in the building of Depeche Mode?
John Brown (1996)
Glasgow, Scotland
[From Bong 27, February 1996. Words: Various contributors.]
“A Broken Frame” is like no other Depeche Mode album. It sounds different, it feels different, it is different, but it is still very Depeche Mode. Unlike every other DM album “A Broken Frame” has no major creative musical influence. “Speak And Spell” had Vince. “Construction Time Again” onward had Alan. It is musically dull at times, but like everything, there are exceptions. “The Meaning Of Love” is a catchy pop song and could easily have fitted on “Speak And Spell”, “Leave In Silence” any later album. At times, it feels as though the three were straining to make something special. Martin’s lyrics were good, but there’s just something missing. “Satellite”’s catchy reggae beat is new, but never goes anywhere. Don’t get me wrong, I love it but it was a turning point with many pointers to the future.
Ian Carlton (January 1996)
Lincoln, England
Depeche Mode, a British three-piece electro-pop band who took their name, meaning fast fashion, from a French clothing magazine, are the people who not too long ago put the words “I Just Can’t Get Enough” on radio listeners’ lips. In a nutshell, the band plays bright and melodious, but fairly innocuous synthesised music with singer David Gahan opening out the melodies with his voice. The three Essex lads, all younger than 21, perform the light music and light lyrics (on inner sleeve) written by keyboardist Martin Gore. The other synth player is Andy Fletcher. Since the band’s debut album, “Speak And Spell”, the only change in the line-up has been the departure of Vince Clarke who left to pursue a solo career. None of the 10 songs on the album carries the punch of “Just Can’t Get Enough”, yet they are all just as polished and interesting. The two tracks I think stand out the most are side two’s “A Photograph Of You” and, following that, “Shouldn’t Have Done That”. The first is particularly tuneful and the second blends church-like vocal unison with a solid hand-clapping good beat. Nothing wrong with the single from the album either. It’s called “The Meaning Of Love” and is as good a yardstick as any other if you want an audio description of what the band plays. Just to cap the review I shall add that the music is fashionable, synthesised electronic pop, to which the majority of songs are suitable for energetic dancing. I wouldn’t call the product powerful dancing music – but if you’re that way inclined it’s certainly good enough.
The Guardian (February 22, 1983)
Firstly, I feel I should lay my cards on the table by saying that I am a great fan of this album. “A Broken Frame” – I believe that some of these songs were the most inventive and glorious the band ever had. “Leave In Silence”, a tower of glory. It’s dramatic and creative and also pleasant to the ear. “My Secret Garden” is an unexpected classic. I enjoyed it back in 1982 and I still do today. The song is a driving compelling song which was even worthy of release. “See You” has a magic melody. The song oozes with power, atmosphere and beat that one wonders why it was never number one in 1982. “The Meaning Of Love” - I adore this tune for its sheer meatiness. The song is like a strong cheese, very strong and addictive. Good all round tune. The album consists of strong synth music. Even if some songs are not classics they are still enjoyable and I would recommend them to any new fan because of its all round good lyrics and strong music, keeping up the strong reputation of “Speak And Spell”. The album is boosted by Dave Gahan’s fruity tones and the band show skill and talent in their music and super lyrics. I know it’s a cliché but “A Broken Frame” was an important album. The band drew on its strength and there were even better things to come. “A Broken Frame” honestly deserves full marks. It has so much grace and willingness thoroughly enjoyable classic Mode stuff.
Patrick Dunne (January 1996)
Dublin, Ireland
And then there were three!! Sounds familiar?? “A Broken Frame”? I think not. A badly dented frame maybe but Depeche Mode live on and on the evidence of some of the tracks on this album it is clear that they would live for a very long time. Gone are the teeny-bop sounds of “Speak And Spell”, only “Photograph Of You” and “The Meaning Of Love” dare to regress. Replaced by the deep dirge of “Leave In Silence”, “Monument” (check it out!), the threatening “Shouldn’t Have Done That” and saving the best till last “The Sun And The Rainfall” which absolutely drips with atmosphere. The music has progressed but quite what Alan Wilder could have done to enhance this particular album is open to debate, but one thing is for sure – this sequencer driven album is the first step on the road to the garden of success (or is that a Secret Garden?). The first war has been won, new fans gained and the prophets of doom (aka Music Journalists) repelled. Depeche Mode have Nothing To Fear because there will be more sun than rainfall on their career. So, how do you finish a review of an album that will be regarded as a monument in the building of Depeche Mode?
John Brown (1996)
Glasgow, Scotland