Depeche Mode Bong 29 (1996-08)
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- Start date
Bong 29 (August 1996)
Articles:
Introduction (announcement regarding Dave's overdose)
In Our Eyes (international fan club news) by Angie Trafford
Construction Time Again (album review) by various contributors
Some Great Reward (album review) by various contributors
I Met That Bloke From Depeche Mode Once by Rona Kostner and Stefan Altewolf
Pictures:
page 1 Dave live on the SOFAD tour
page 2 page 3 page 4 page 5 the band in the studio
page 6 page 7 promotional shot of Martin
page 8 Fletch's birthday party 1993
page 9 promotional shot of Dave
page 10 page 11 Fletch on the phone
page 12 promotional shot of Dave
Articles:
Introduction (announcement regarding Dave's overdose)
In Our Eyes (international fan club news) by Angie Trafford
Construction Time Again (album review) by various contributors
Some Great Reward (album review) by various contributors
I Met That Bloke From Depeche Mode Once by Rona Kostner and Stefan Altewolf
Pictures:
page 1 Dave live on the SOFAD tour
page 2 page 3 page 4 page 5 the band in the studio
page 6 page 7 promotional shot of Martin
page 8 Fletch's birthday party 1993
page 9 promotional shot of Dave
page 10 page 11 Fletch on the phone
page 12 promotional shot of Dave
Attachments
INTRODUCTION
[From Bong 29, August 1996. Words: Uncredited.]
As you may know, Dave accidentally overdosed on drugs in Los Angeles on May 28th. Upon release from the hospital he was arrested for possession of a controlled substance and being under the influence. Following his release on bail, Dave moved into a live-in rehabilitation centre for four weeks. He has since entered a ‘sober living house’ which gives him more flexibility to work on upcoming projects. He appeared in court on 9th July, and his case has been continued until the end of the month. It is anticipated that Dave will be referred to the Probation Department at his next court appearance, for involvement in a Diversion Program which will involve continued treatment and rehabilitation for about a year. In this case, Dave would then be eligible to have all charges against him dismissed, upon his successful completion of the Program.
[From Bong 29, August 1996. Words: Uncredited.]
As you may know, Dave accidentally overdosed on drugs in Los Angeles on May 28th. Upon release from the hospital he was arrested for possession of a controlled substance and being under the influence. Following his release on bail, Dave moved into a live-in rehabilitation centre for four weeks. He has since entered a ‘sober living house’ which gives him more flexibility to work on upcoming projects. He appeared in court on 9th July, and his case has been continued until the end of the month. It is anticipated that Dave will be referred to the Probation Department at his next court appearance, for involvement in a Diversion Program which will involve continued treatment and rehabilitation for about a year. In this case, Dave would then be eligible to have all charges against him dismissed, upon his successful completion of the Program.
IN OUR EYES
[From Bong 29, August 1996. Words: Angie Trafford.]
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 ever 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 below, doesn’t take part in the events and therefore takes no responsibility.
On February 29th Mode Evolution held a leap year party. It was held in Peterborough at a function suite above a nightclub. I had met the people involved in organising it at their first party and again at the convention in Camden. I thought that this would be a good opportunity to meet old friends and new alike.
The first party organised was a disappointment through no fault of the organisers but because so very few people turned up. However, there were many more at this party I am pleased to say. The party was due to start at eight but I didn’t get there until half past. Getting in was a laugh, and that was before we had all had a few! My wheelchair had to be carried up the stairs to get to the room where the party was. Those who helped me, cheers!
Once in we started to party. There were plenty of things for sale and the music was excellent. It wasn’t long before the dance floor began to fill up. Most memorable was when shoes were removed and walked around in a spontaneous imitation of the Never Let Me Down Again video. Soon after that the dance floor was packed out and all present looked set to rave on all night. This was done with an enthusiasm that meant people only left the dance floor to refill empty glasses.
Then it was raffle time! Lots of prizes were on offer including calendars and 12”. Unfortunately I did not have the lucky tickets this time but next time I will make sure I am one of the lucky ones!
After the draw it was back to the dance floor! At about one o’clock I had begun to tire and instead of dancing I focused all my intentions on talking to new friends. Hello to all! I even managed to talk to a brilliant Dave lookalike called Steve Smith who had travelled all the way from Leicester to join the party. There were fans from all over the place although I did not meet any from other countries.
After two the music stopped but the talking continued as we were all reluctant for it to end. One by one people began to drift homeward. It was a great night and, thanks to Mode Evolution and the people who were there, it is well recommended! Those who weren’t there, you really missed out. All I can say is, when is the next one?!?
[From Bong 29, August 1996. Words: Angie Trafford.]
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 ever 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 below, doesn’t take part in the events and therefore takes no responsibility.
On February 29th Mode Evolution held a leap year party. It was held in Peterborough at a function suite above a nightclub. I had met the people involved in organising it at their first party and again at the convention in Camden. I thought that this would be a good opportunity to meet old friends and new alike.
The first party organised was a disappointment through no fault of the organisers but because so very few people turned up. However, there were many more at this party I am pleased to say. The party was due to start at eight but I didn’t get there until half past. Getting in was a laugh, and that was before we had all had a few! My wheelchair had to be carried up the stairs to get to the room where the party was. Those who helped me, cheers!
Once in we started to party. There were plenty of things for sale and the music was excellent. It wasn’t long before the dance floor began to fill up. Most memorable was when shoes were removed and walked around in a spontaneous imitation of the Never Let Me Down Again video. Soon after that the dance floor was packed out and all present looked set to rave on all night. This was done with an enthusiasm that meant people only left the dance floor to refill empty glasses.
Then it was raffle time! Lots of prizes were on offer including calendars and 12”. Unfortunately I did not have the lucky tickets this time but next time I will make sure I am one of the lucky ones!
After the draw it was back to the dance floor! At about one o’clock I had begun to tire and instead of dancing I focused all my intentions on talking to new friends. Hello to all! I even managed to talk to a brilliant Dave lookalike called Steve Smith who had travelled all the way from Leicester to join the party. There were fans from all over the place although I did not meet any from other countries.
After two the music stopped but the talking continued as we were all reluctant for it to end. One by one people began to drift homeward. It was a great night and, thanks to Mode Evolution and the people who were there, it is well recommended! Those who weren’t there, you really missed out. All I can say is, when is the next one?!?
CONSTRUCTION TIME AGAIN
[From Bong 29, August 1996. Words: Various contributors.]
Like many fans, I suspect I harbour a great affection for “Construction Time Again”. The third album in Mode history is a landmark for the band as it introduces a new member Alan Wilder. “Construction Time Again” represents the ideal vision of Depeche Mode with its emphasis on good solid tunes. “Love In Itself”, a song that contains so much power that nobody could dare criticise it. It is a complete mystery as to why it did not chart higher in 1983. This is one of the highlights of the album and a highly enjoyable song. “The Landscape Is Changing”, this song has a lot of atmosphere and is also sombre and brooding and contains an important message that we should look after the world and it is gripping stuff. “Everything Counts” fared much better in the charts at No. 6, and it deserved to. It is one of Martin Gore’s earliest glories. The song is more structured and clever than any before and is focused pure pop with enough eccentricity and imagination. Over all the album is mature and quirky. Depeche Mode knew they had produced a blinder of an album. It’s more weird than wonderful comparing to its two predecessors, shattering any preconceptions you might have had about the band, “Construction Time Again” made the band’s reputation even more stronger.
Patrick Dunne
Dublin, Ireland
(March 1996)
“Construction Time Again” is a mammoth leap from the predecessor “A Broken Frame”. The single “Get The Balance Right” which preceded its release gives no indication of what is to follow. Whereas “A Broken Frame” derives its sounds primarily from purely synthetic sources, Depeche Mode introduces a vast new catalogue of “industrial” sounds using the 1st generation of digital samplers – a forty eight track recording system at Hansa, Berlin. The first single “Everything Counts”, although still as bouncy as preceding singles, contained a sampled woodwind instrument, while the B-side “Work Hard” contains everything from clanging metal to typewriters to telephone exchange systems. The more downbeat follow-up single “Love In Itself” gives a good feel for the rest of the album. It is notable for the first appearance, albeit briefly, of a guitar. “Love In Itself” is also very textured, with ample evidence for a willingness to experiment that was perhaps lacking in “A Broken Frame”. “Pipeline” is a masterpiece of ‘industrial’ sampling. Beautifully blended snooker balls and train yard ambience weave around Martin Gore’s angelic voice. “Shame” raises more complex social themes with a possible first voice raised about hunger and deprivation in Africa – a good year and a half ahead of Band Aid – while “Told You So” is a good socialist song if ever the was one. With “Construction Time Again” Depeche Mode show both a social conscience and breadth of view, and more importantly, a willingness to experiment musically. This was an attribute lacking in the majority of other bands present at the time. Whether the new breadth was attributable to the joining of Alan Wilder to the band, the influences of Einsturzene Neubaten’s producer Gareth Jones or to Martin’s interest in bands like Neubaten or Throbbing Gristle is not important. What is important is that Depeche Mode’s willingness to experiment, evident for the first time here, would keep the band vibrant for the next ten and more years.
David Stevenson, Norwich, England
(March 1996)
“Construction Time Again” is Depeche Mode’s first ‘polished’ album. There are still some technical problems – Gahan fighting to get his vocals heard over the top of the synthesizer beat – but the group are improving all the time. Despite the fact that they usually now only play one song from this album (a grunge version of “Everything Counts”), there are still some classics here. Wilder’s first contributions, “The Landscape Is Changing” and “Two Minute Warning” are good enough to make you wish he’d write more. Serious, biting lyrics make this their most political album yet. Wilder’s eco-conscious “The Landscape Is Changing” is every bit as thought-provoking as “Two Minute Warning”, a definite pacifist hymn inspired by the arms race. The introspective “Shame” (“when the guilt begins to hurt…”) goes a lot deeper than most pop songs. All the building site noises give Construction a very industrial, clinical feel after “Speak And Spell”’s pure disco. The experimental instruments like the kazoo on “Shame” and “Everything Counts” are matched with equally strange lyrics (“then take all the ice-cream so we’ve got none”). But still, “Love In Itself” and “And Then…” are the Mode at their straightforward best – simple, brilliant love songs. From any other band, this would be one of their best ever albums, from Depeche Mode, it’s a good album but still only hints at the excellence they would later produce.
Nina Romain, Auckland, New Zealand
(March 1996)
I would say that this album is one of my evergreen faves. It would have to be the Mode’s first really “serious” album. As the title, and the cover, suggest… the album has a very industrial sound to it, and covers some very meaty subjects, such as the environment, human greed, and the responsibility of today’s youth. After the frothy, bubbly pop of “A Broken Frame”, Depeche Mode seem to start taking themselves seriously, and the result is a very dark, broody collection of songs, and the theme seems to spill over to the following album. Martin Gore must have been influenced by the atmosphere of Berlin… tension, fear and desperation. I would number every song as a favourite, with the standouts being “More Than A Party”, “The Landscape Is Changing”, “Told You So” and “And Then…”, and of course, the hit single “Everything Counts”. Construction Time Again??? …making a very successful assault on the masses.
Gavin Dwyer, Sydney, Australia
(March 1996)
[From Bong 29, August 1996. Words: Various contributors.]
Like many fans, I suspect I harbour a great affection for “Construction Time Again”. The third album in Mode history is a landmark for the band as it introduces a new member Alan Wilder. “Construction Time Again” represents the ideal vision of Depeche Mode with its emphasis on good solid tunes. “Love In Itself”, a song that contains so much power that nobody could dare criticise it. It is a complete mystery as to why it did not chart higher in 1983. This is one of the highlights of the album and a highly enjoyable song. “The Landscape Is Changing”, this song has a lot of atmosphere and is also sombre and brooding and contains an important message that we should look after the world and it is gripping stuff. “Everything Counts” fared much better in the charts at No. 6, and it deserved to. It is one of Martin Gore’s earliest glories. The song is more structured and clever than any before and is focused pure pop with enough eccentricity and imagination. Over all the album is mature and quirky. Depeche Mode knew they had produced a blinder of an album. It’s more weird than wonderful comparing to its two predecessors, shattering any preconceptions you might have had about the band, “Construction Time Again” made the band’s reputation even more stronger.
Patrick Dunne
Dublin, Ireland
(March 1996)
“Construction Time Again” is a mammoth leap from the predecessor “A Broken Frame”. The single “Get The Balance Right” which preceded its release gives no indication of what is to follow. Whereas “A Broken Frame” derives its sounds primarily from purely synthetic sources, Depeche Mode introduces a vast new catalogue of “industrial” sounds using the 1st generation of digital samplers – a forty eight track recording system at Hansa, Berlin. The first single “Everything Counts”, although still as bouncy as preceding singles, contained a sampled woodwind instrument, while the B-side “Work Hard” contains everything from clanging metal to typewriters to telephone exchange systems. The more downbeat follow-up single “Love In Itself” gives a good feel for the rest of the album. It is notable for the first appearance, albeit briefly, of a guitar. “Love In Itself” is also very textured, with ample evidence for a willingness to experiment that was perhaps lacking in “A Broken Frame”. “Pipeline” is a masterpiece of ‘industrial’ sampling. Beautifully blended snooker balls and train yard ambience weave around Martin Gore’s angelic voice. “Shame” raises more complex social themes with a possible first voice raised about hunger and deprivation in Africa – a good year and a half ahead of Band Aid – while “Told You So” is a good socialist song if ever the was one. With “Construction Time Again” Depeche Mode show both a social conscience and breadth of view, and more importantly, a willingness to experiment musically. This was an attribute lacking in the majority of other bands present at the time. Whether the new breadth was attributable to the joining of Alan Wilder to the band, the influences of Einsturzene Neubaten’s producer Gareth Jones or to Martin’s interest in bands like Neubaten or Throbbing Gristle is not important. What is important is that Depeche Mode’s willingness to experiment, evident for the first time here, would keep the band vibrant for the next ten and more years.
David Stevenson, Norwich, England
(March 1996)
“Construction Time Again” is Depeche Mode’s first ‘polished’ album. There are still some technical problems – Gahan fighting to get his vocals heard over the top of the synthesizer beat – but the group are improving all the time. Despite the fact that they usually now only play one song from this album (a grunge version of “Everything Counts”), there are still some classics here. Wilder’s first contributions, “The Landscape Is Changing” and “Two Minute Warning” are good enough to make you wish he’d write more. Serious, biting lyrics make this their most political album yet. Wilder’s eco-conscious “The Landscape Is Changing” is every bit as thought-provoking as “Two Minute Warning”, a definite pacifist hymn inspired by the arms race. The introspective “Shame” (“when the guilt begins to hurt…”) goes a lot deeper than most pop songs. All the building site noises give Construction a very industrial, clinical feel after “Speak And Spell”’s pure disco. The experimental instruments like the kazoo on “Shame” and “Everything Counts” are matched with equally strange lyrics (“then take all the ice-cream so we’ve got none”). But still, “Love In Itself” and “And Then…” are the Mode at their straightforward best – simple, brilliant love songs. From any other band, this would be one of their best ever albums, from Depeche Mode, it’s a good album but still only hints at the excellence they would later produce.
Nina Romain, Auckland, New Zealand
(March 1996)
I would say that this album is one of my evergreen faves. It would have to be the Mode’s first really “serious” album. As the title, and the cover, suggest… the album has a very industrial sound to it, and covers some very meaty subjects, such as the environment, human greed, and the responsibility of today’s youth. After the frothy, bubbly pop of “A Broken Frame”, Depeche Mode seem to start taking themselves seriously, and the result is a very dark, broody collection of songs, and the theme seems to spill over to the following album. Martin Gore must have been influenced by the atmosphere of Berlin… tension, fear and desperation. I would number every song as a favourite, with the standouts being “More Than A Party”, “The Landscape Is Changing”, “Told You So” and “And Then…”, and of course, the hit single “Everything Counts”. Construction Time Again??? …making a very successful assault on the masses.
Gavin Dwyer, Sydney, Australia
(March 1996)
SOME GREAT REWARD
[From Bong 29, August 1996. Words: Various contributors.]
Each Depeche Mode album has a unique feel and sound of its own. “Some Great Reward” continues to complement Depeche Mode’s already highly developed musical talent shown in their previous albums. “Something To Do” is the anthem for anybody who has ever suffered from chronic boredom – although the song itself is far from boring! Dave Gahan’s searching, almost soulful voice on “Lie To Me” shows this track as one of the high points – a great reward for any fan. A favourite among all DM fans must surely be “People Are People”. This song has stood the test of time and is still relevant today with its powerful beat and passionate lyrics. The mood changes for “It Doesn’t Matter” to subtle and calming. Next comes “Stories Of Old” which is closely followed by “Somebody”. This track makes your heart melt. Martin Gore’s individualised style is in a league of its own. His sensitivity is shown to its full extent as this beautiful song shows. The piano provides the ideal background for Gore’s fantastic voice. “Master And Servant” continues the high quality of the album with a catchy beat perfect for dancing the night away! Finally into “Blasphemous Rumours” – some might say it is controversial, but to me it is awe-inspiring with its relentless hammering beat and enlightening lyrics. “Some Great Reward” is a musical masterpiece that has gone down in history as a Depeche Mode great!
Anna Lacks
Worcestershire, England
(April 1996)
It seems that for Depeche Mode, the year 1984 ended the first capture of their career, only to prepare the base for the following progress of Depeche Mode’s music and lyrics. Like on “Construction Time Again”, this album goes on the subjects raised in 1983. But this time, Depeche not only describe the reality, they also analyse the foundation on which it stands. There are masters and servants, discrimination… “People Are People” is the voice of protest, showing that the band isn’t just going to observe the society. In analogy with Orwell’s “1984”, this highly industrialised world doesn’t leave a place for human feelings. Martin’s lyrics come closer to existence of a man in this society that is spiritually filled with depression and boredom. And the desire to find somebody to share the life in this world with. This album is musically more powerful and stronger in both lyrics and sound. Sweet noises in “Somebody”, hammers in “Master And Servant”, sampled sounds of metal pipes and breathing on “Blasphemous Rumours” … all this beautifully matches the vocals and gives the album’s overall feeling and atmosphere. The last track, “Blasphemous Rumours”, clearly defines the way Depeche will step later – humanism and sensuality, even in opposite of the Lord.
Dennis Fedorov, Moscow, Russia
(April 1996)
Pop goes to your house! OK, so I already expected to like this album, despite the Test Dept image plagiarism, despite the teen paper glamour and even the pop fashionability, Depeche Mode have always won through with that most endearing of qualities – good tunes. I just didn’t expect to be surprised. Thundering rhythms, offbeat drum machines, you know the kinda thing. Great for the singles, terrific for the first album, but then? Depeche Mode, however, have kept a trump card well up their sleeves – a crazy little thing called love. The Depeche boys are in lerv and doesn’t it show! This album leans away from sheer power, from anti-capitalist ideas or whatever, and heads itself firmly in for feelings. And the combination of the Depeche strength of vocal and now the Depeche delicacy is going to be hard to beat. This package is a carefully assorted, daintily arranged symphony. It’s a tender trade-off, one that carries emotion, devotion and yet never gives way to feebleness or predictability. “Somebody”, for example, quietly pumps its way into the dominatrix tale of “Master And Servant” (as yet unblemished by the Mike Read school of morals), a recipe of unexpected variations and a tasteful blend of effects that lasts right through the album. This is Depeche turning from general issues inwards, experiencing and then illustrating life and how to live it. “Blasphemous Rumours” is a harshly melodic, highly cynical look at God; and to make that work, there has to be a new confidence. OK, as you’ve probably guessed, the lyrics look trite, often naïve and frequently cliched when printed out in industrial grey and white. Yet Depeche have the right balance and necessary gauche to pull it off. Perhaps it’s simply that power – never mawkish – that sustains it. Whichever way, the combination locks in. The Depeche Mode clicks. This is an album I can see myself settling down with over the long winter months.
Carole Linfield, Sounds
(Sep 29, 1984)
Depeche Mode’s 1984 offering is almost a continuation from “Construction Time Again” in its dark moodiness. However, where “Construction Time Again” was very topical, “Some Great Reward” seems to keep close to matters of the heart and mind… love, religion, racism… though all with a wicked twist!!! Dave Gahan’s voice has definitely developed by this album and is used to its full potential. In “Lie To Me”, he seems to be softly cajoling his partner to actually do the deed, and in “Something To Do”, he really does sound bored and desperate to do anything… even dress up in his girlfriend’s clothes. Obviously, “Some Great Reward”’s theme seems to be of a slightly kinky nature, but not sleazy, just fun. Which is OK by me when we’ve got a great song like “Master And Servant” to contend with!!! Martin Gore sings on two songs. The wonderful “Somebody”, and the almost dismissive “It Doesn’t Matter”. “Somebody” has to be one of Marty’s best songs and is a (somewhat twisted) anthem for lovers worldwide… straight or gay. Standouts on this album are the anthemic “People Are People”, “Stories Of Old” and “Master And Servant”. My view??? …Some Great Reward!!!
Gavin Dwyer, Sydney, Australia
(February 1996)
[From Bong 29, August 1996. Words: Various contributors.]
Each Depeche Mode album has a unique feel and sound of its own. “Some Great Reward” continues to complement Depeche Mode’s already highly developed musical talent shown in their previous albums. “Something To Do” is the anthem for anybody who has ever suffered from chronic boredom – although the song itself is far from boring! Dave Gahan’s searching, almost soulful voice on “Lie To Me” shows this track as one of the high points – a great reward for any fan. A favourite among all DM fans must surely be “People Are People”. This song has stood the test of time and is still relevant today with its powerful beat and passionate lyrics. The mood changes for “It Doesn’t Matter” to subtle and calming. Next comes “Stories Of Old” which is closely followed by “Somebody”. This track makes your heart melt. Martin Gore’s individualised style is in a league of its own. His sensitivity is shown to its full extent as this beautiful song shows. The piano provides the ideal background for Gore’s fantastic voice. “Master And Servant” continues the high quality of the album with a catchy beat perfect for dancing the night away! Finally into “Blasphemous Rumours” – some might say it is controversial, but to me it is awe-inspiring with its relentless hammering beat and enlightening lyrics. “Some Great Reward” is a musical masterpiece that has gone down in history as a Depeche Mode great!
Anna Lacks
Worcestershire, England
(April 1996)
It seems that for Depeche Mode, the year 1984 ended the first capture of their career, only to prepare the base for the following progress of Depeche Mode’s music and lyrics. Like on “Construction Time Again”, this album goes on the subjects raised in 1983. But this time, Depeche not only describe the reality, they also analyse the foundation on which it stands. There are masters and servants, discrimination… “People Are People” is the voice of protest, showing that the band isn’t just going to observe the society. In analogy with Orwell’s “1984”, this highly industrialised world doesn’t leave a place for human feelings. Martin’s lyrics come closer to existence of a man in this society that is spiritually filled with depression and boredom. And the desire to find somebody to share the life in this world with. This album is musically more powerful and stronger in both lyrics and sound. Sweet noises in “Somebody”, hammers in “Master And Servant”, sampled sounds of metal pipes and breathing on “Blasphemous Rumours” … all this beautifully matches the vocals and gives the album’s overall feeling and atmosphere. The last track, “Blasphemous Rumours”, clearly defines the way Depeche will step later – humanism and sensuality, even in opposite of the Lord.
Dennis Fedorov, Moscow, Russia
(April 1996)
Pop goes to your house! OK, so I already expected to like this album, despite the Test Dept image plagiarism, despite the teen paper glamour and even the pop fashionability, Depeche Mode have always won through with that most endearing of qualities – good tunes. I just didn’t expect to be surprised. Thundering rhythms, offbeat drum machines, you know the kinda thing. Great for the singles, terrific for the first album, but then? Depeche Mode, however, have kept a trump card well up their sleeves – a crazy little thing called love. The Depeche boys are in lerv and doesn’t it show! This album leans away from sheer power, from anti-capitalist ideas or whatever, and heads itself firmly in for feelings. And the combination of the Depeche strength of vocal and now the Depeche delicacy is going to be hard to beat. This package is a carefully assorted, daintily arranged symphony. It’s a tender trade-off, one that carries emotion, devotion and yet never gives way to feebleness or predictability. “Somebody”, for example, quietly pumps its way into the dominatrix tale of “Master And Servant” (as yet unblemished by the Mike Read school of morals), a recipe of unexpected variations and a tasteful blend of effects that lasts right through the album. This is Depeche turning from general issues inwards, experiencing and then illustrating life and how to live it. “Blasphemous Rumours” is a harshly melodic, highly cynical look at God; and to make that work, there has to be a new confidence. OK, as you’ve probably guessed, the lyrics look trite, often naïve and frequently cliched when printed out in industrial grey and white. Yet Depeche have the right balance and necessary gauche to pull it off. Perhaps it’s simply that power – never mawkish – that sustains it. Whichever way, the combination locks in. The Depeche Mode clicks. This is an album I can see myself settling down with over the long winter months.
Carole Linfield, Sounds
(Sep 29, 1984)
Depeche Mode’s 1984 offering is almost a continuation from “Construction Time Again” in its dark moodiness. However, where “Construction Time Again” was very topical, “Some Great Reward” seems to keep close to matters of the heart and mind… love, religion, racism… though all with a wicked twist!!! Dave Gahan’s voice has definitely developed by this album and is used to its full potential. In “Lie To Me”, he seems to be softly cajoling his partner to actually do the deed, and in “Something To Do”, he really does sound bored and desperate to do anything… even dress up in his girlfriend’s clothes. Obviously, “Some Great Reward”’s theme seems to be of a slightly kinky nature, but not sleazy, just fun. Which is OK by me when we’ve got a great song like “Master And Servant” to contend with!!! Martin Gore sings on two songs. The wonderful “Somebody”, and the almost dismissive “It Doesn’t Matter”. “Somebody” has to be one of Marty’s best songs and is a (somewhat twisted) anthem for lovers worldwide… straight or gay. Standouts on this album are the anthemic “People Are People”, “Stories Of Old” and “Master And Servant”. My view??? …Some Great Reward!!!
Gavin Dwyer, Sydney, Australia
(February 1996)
I MET THAT BLOKE FROM DEPECHE MODE ONCE
[From Bong 29, August 1996. Words: Rona Kostner / Stefan Altewolf.]
If you met Depeche Mode or one of the band members and would like to share your experiences with 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.
Get your memories together and send us your letters and photographs to our usual address and please, don’t forget to mark everything with your name and address. We look forward to hearing from you as soon as possible.
We would like to tell you our story of meeting Depeche Mode in Hannover and Dortmund in May / June of 1993. We both have been great Depeche Mode fans since 1984 and got to know each other at the DM Fans Convention in Dortmund in 1991. Of course, we were looking forward to our first concert together.
On May 31, we went to Garbsen, Hannover (in the open air) – “It’s fucking cold here”, Dave remarked. After the great and wet concert we went to the hotel in Hannover where Depeche Mode stayed that night. We met the four boys when they arrived but only Dave said “Hello” to us and went to his room. When Alan arrived we sang “Happy Birthday” to him since it was already turning to the next day, June 1. Our best friends, Tim and Andre were lucky to get to the hotel with Alan to drink a “birthday beer” with him. They also had a chance to take some photos. This was our first experience of meeting the Band.
On June 15, we went to the concert in Dortmund. We left the concert while playing “Fly On The Windscreen” to change our clothes and then went to the Band’s hotel. After some time, we met Alan, Martin and Andy at the hotel bar. We were very shy and didn’t have the courage to talk to them. But after a little while, Andy got up and went towards the bar. This was our chance to ask him if they were coming to play in Hamburg that year. He said they planned to go there in December. Unfortunately they didn’t make it there after all. Then we saw Martin talking to some fans in German and so we also approached him and asked if it was OK to take some photos of him. It was very exciting!!! We realised that he’d already had a few WEIZEN and he said in German: “1, 2, 3… Macht schnell, ich bin betrunken!”
It all seemed like one big dream! We were a little disappointed that we didn’t get a chance to meet Dave in Dortmund. We went to five other Depeche Mode shows in Germany but didn’t go to their hotels. We are very happy that we got to meet the guys twice and admire them for being so nice and friendly whilst on tour. The only thing left to say is THANK YOU for the last 12 years!!! We will love you forever.
Rona Kostner and Stefan Altewolf
Bad Oeynhausen, Germany
[From Bong 29, August 1996. Words: Rona Kostner / Stefan Altewolf.]
If you met Depeche Mode or one of the band members and would like to share your experiences with 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.
Get your memories together and send us your letters and photographs to our usual address and please, don’t forget to mark everything with your name and address. We look forward to hearing from you as soon as possible.
We would like to tell you our story of meeting Depeche Mode in Hannover and Dortmund in May / June of 1993. We both have been great Depeche Mode fans since 1984 and got to know each other at the DM Fans Convention in Dortmund in 1991. Of course, we were looking forward to our first concert together.
On May 31, we went to Garbsen, Hannover (in the open air) – “It’s fucking cold here”, Dave remarked. After the great and wet concert we went to the hotel in Hannover where Depeche Mode stayed that night. We met the four boys when they arrived but only Dave said “Hello” to us and went to his room. When Alan arrived we sang “Happy Birthday” to him since it was already turning to the next day, June 1. Our best friends, Tim and Andre were lucky to get to the hotel with Alan to drink a “birthday beer” with him. They also had a chance to take some photos. This was our first experience of meeting the Band.
On June 15, we went to the concert in Dortmund. We left the concert while playing “Fly On The Windscreen” to change our clothes and then went to the Band’s hotel. After some time, we met Alan, Martin and Andy at the hotel bar. We were very shy and didn’t have the courage to talk to them. But after a little while, Andy got up and went towards the bar. This was our chance to ask him if they were coming to play in Hamburg that year. He said they planned to go there in December. Unfortunately they didn’t make it there after all. Then we saw Martin talking to some fans in German and so we also approached him and asked if it was OK to take some photos of him. It was very exciting!!! We realised that he’d already had a few WEIZEN and he said in German: “1, 2, 3… Macht schnell, ich bin betrunken!”
It all seemed like one big dream! We were a little disappointed that we didn’t get a chance to meet Dave in Dortmund. We went to five other Depeche Mode shows in Germany but didn’t go to their hotels. We are very happy that we got to meet the guys twice and admire them for being so nice and friendly whilst on tour. The only thing left to say is THANK YOU for the last 12 years!!! We will love you forever.
Rona Kostner and Stefan Altewolf
Bad Oeynhausen, Germany