Depeche Mode - Almost There
[Smash Hits, 3rd - 16th March 1983. Words Peter Martin. Pictures Mark Rusher.]
DEPECHE MODE - ALMOST THERE
“God! It’s like Iceland without the snow! Now I know how the Bunnymen must have felt.”
Frostbitten singer Dave Gahan is referring to the Arctic conditions Depeche Mode are braving for today’s photo session in a garden round the back of Mute Records’ North London office. But they’ve come prepared, in full Bunnymen battledress complete with smiles that could crack ice.
Martin Gore is looking especially mean in his rugged motorcycle boots. Just like the ones Phil Oakey used to wear.
“No they’re not. His had little red bits on them.”
That’s as maybe, but it does seem a little unusual to see them all so strikingly dressed. You can hardly accuse Depeche Mode of being, visually, at the very forefront of fashion.
“It’s always been one of our major problems,” Martin says, “that we have no definite image. We come across as pretentious when we try to do something that isn’t ourselves, but when we act naturally we come across as pretty anonymous.”
This may explain their apparent absence from the glamorous world of pop magazines over the last year, but chartwise they’ve achieved consistent success. The last three singles – “See You”, “Meaning Of Love” and “Leave In Silence” – all reached the Top 20 with ease. In fact, “See You” is their must successful single to date and was their first release after the departure of Vince Clarke. [1]
The boys admit to a hint of bitterness towards the people who wrote the band off after the split in January ’82, but they also find difficulty concealing their envy of Yazoo’s staggering popularity.
“We all think Yazoo are really good, honest,” Dave claims. “We went to see them at the Dominion in London and were really impressed, especially with the slideshow. We occasionally bump into Vince in the corridors of Mute but we never see him socially. Then again,” he adds in mock-jealous tones, “he never stops working long enough to go out.”
In fact Vince did take some time out to catch his old chums’ gig at the Hammersmith Odeon last year. He said that it was a “weird” experience for him as it was the first time he had ever heard what Depeche Mode really sounded like. Nevertheless, he was suitably impressed by their performance.
At this point, it seems appropriate to introduce the person who replaced him, Alan Wilder. He first cut his teeth with The Hitmen before being plucked from Hampstead to join the boys from Basildon. The demure Depeche has just started working with Martin on some joint compositions for the next LP, to be released in August, which will be preceded by a single in April. [2]
“The new material,” Alan explains, “will be easier to understand because it’s more about general topics.”
Hardly surprising, this, as the four of them give very little away about themselves – even when pushed – and seem happiest when on the subject of the group itself.
“The new songs are less personal,” Martin continues, “so people will be able to relate to them more easily.” He adds, sarcastically, “they’ll deal with the problems of the world and things like that. That’s what you get from listening to The Clash, I suppose.”
Feeling left out, Andy joins in the general bitchiness.
“At least we know what Mart’s lyrics are about. I don’t even think Vince knew what his meant. But we won’t play it safe, though, like Duran Duran. ‘Save A Prayer’ was good but ‘Rio’ was a real disappointment. It was just like ‘Planet Earth’.”
The band seem to have come a long way since their early dabblings with lightweight futurist pop. They’re now reaching for greater heights. Mophead Martin explains their masterplan for ’83.
“We want to get more into the album-orientated market but it’s still important for us to have hits. Bands like Echo & The Bunnymen and Simple Minds do well in both charts. We just want to produce a really fine album that will hopefully establish us as a major act. Another year like the last two should seal our success and enable us to stick around for quite a while.” [3]
With an average age of 21, they still have a long way to go. I can just picture them in 20 years’ time – the Status Quo of the synthesizer age with their immaculately receding fringes gently bobbing over their pocket Emulators.
Well, perhaps not. Andy takes up the story.
“We could be a conventional band if we wanted to. Mart is an excellent guitarist, Alan can play the drums and I can play the bass. David has even been known to sing. But, really, we’re not interested in the instruments, just the sounds they make. We still think synthesizers produce far more interesting sounds than traditional instruments, so we’ll carry on using them. For instance, Mart plays a guitar on “Get The Balance Right”, but to make it sound more interesting we generated it through a synth and phased it out of time.”
What’s the single about, incidentally?
“It’s about telling people to go their own way,” Dave says. “It also takes a dig at people who like to be different just for the sake of it. You’ve just got to reach the right balance between normality and insanity.”
And talking of madness, the band reveal an intense dislike for the nation’s current faves, Kajagoogoo.
“That single reminds me of slime,” is the most complimentary thing Mr. Gahan can say for them. “Bands like that will come and go, but our material is strong enough to see us through.”
Bands like China Crisis and Tears For Fears receive a far more favourable reaction, as do The Psychedelic Furs and the Bunnymen. Do they see themselves as being taken over by newer bands like Tears For Fears?
“Obviously we’ll lose some of our fans,” Dave admits, “but they’ll be replaced by an even newer audience.”
“We’ll probably get people who’ve decided they don’t like Genesis any more,” adds Martin. His laugh has been known to cause temporary deafness at a hundred paces. Partially recovered, I ask him if he likes playing huge tours as his new audience will expect that sort of thing, won’t they?
“I hope not. I don’t really enjoy playing live. It’s alright for Dave as he can move around but we’re stuck behind the keyboards like robots.”
What does he think of Dave’s gimpy dancing?
“It’s not gimpy. I like it. I certainly couldn’t do it,” says Alan.
You’ll have to wait ’til September to witness these cavortings, which is when the next tour’s pencilled in. The last I expect to see of them is four figures wandering back into the afternoon mist – Dave off for another driving lesson, Alan and Martin thinking of going to see Danse Society playing in a club and Andy deciding whether or not to head straight back home to Basildon.
Then again, there’s bound to be the odd appearance on Top Of The Pops.
[Smash Hits, 3rd - 16th March 1983. Words Peter Martin. Pictures Mark Rusher.]
DEPECHE MODE - ALMOST THERE
“God! It’s like Iceland without the snow! Now I know how the Bunnymen must have felt.”
Frostbitten singer Dave Gahan is referring to the Arctic conditions Depeche Mode are braving for today’s photo session in a garden round the back of Mute Records’ North London office. But they’ve come prepared, in full Bunnymen battledress complete with smiles that could crack ice.
Martin Gore is looking especially mean in his rugged motorcycle boots. Just like the ones Phil Oakey used to wear.
“No they’re not. His had little red bits on them.”
That’s as maybe, but it does seem a little unusual to see them all so strikingly dressed. You can hardly accuse Depeche Mode of being, visually, at the very forefront of fashion.
“It’s always been one of our major problems,” Martin says, “that we have no definite image. We come across as pretentious when we try to do something that isn’t ourselves, but when we act naturally we come across as pretty anonymous.”
This may explain their apparent absence from the glamorous world of pop magazines over the last year, but chartwise they’ve achieved consistent success. The last three singles – “See You”, “Meaning Of Love” and “Leave In Silence” – all reached the Top 20 with ease. In fact, “See You” is their must successful single to date and was their first release after the departure of Vince Clarke. [1]
The boys admit to a hint of bitterness towards the people who wrote the band off after the split in January ’82, but they also find difficulty concealing their envy of Yazoo’s staggering popularity.
“We all think Yazoo are really good, honest,” Dave claims. “We went to see them at the Dominion in London and were really impressed, especially with the slideshow. We occasionally bump into Vince in the corridors of Mute but we never see him socially. Then again,” he adds in mock-jealous tones, “he never stops working long enough to go out.”
In fact Vince did take some time out to catch his old chums’ gig at the Hammersmith Odeon last year. He said that it was a “weird” experience for him as it was the first time he had ever heard what Depeche Mode really sounded like. Nevertheless, he was suitably impressed by their performance.
At this point, it seems appropriate to introduce the person who replaced him, Alan Wilder. He first cut his teeth with The Hitmen before being plucked from Hampstead to join the boys from Basildon. The demure Depeche has just started working with Martin on some joint compositions for the next LP, to be released in August, which will be preceded by a single in April. [2]
“The new material,” Alan explains, “will be easier to understand because it’s more about general topics.”
Hardly surprising, this, as the four of them give very little away about themselves – even when pushed – and seem happiest when on the subject of the group itself.
“The new songs are less personal,” Martin continues, “so people will be able to relate to them more easily.” He adds, sarcastically, “they’ll deal with the problems of the world and things like that. That’s what you get from listening to The Clash, I suppose.”
Feeling left out, Andy joins in the general bitchiness.
“At least we know what Mart’s lyrics are about. I don’t even think Vince knew what his meant. But we won’t play it safe, though, like Duran Duran. ‘Save A Prayer’ was good but ‘Rio’ was a real disappointment. It was just like ‘Planet Earth’.”
The band seem to have come a long way since their early dabblings with lightweight futurist pop. They’re now reaching for greater heights. Mophead Martin explains their masterplan for ’83.
“We want to get more into the album-orientated market but it’s still important for us to have hits. Bands like Echo & The Bunnymen and Simple Minds do well in both charts. We just want to produce a really fine album that will hopefully establish us as a major act. Another year like the last two should seal our success and enable us to stick around for quite a while.” [3]
With an average age of 21, they still have a long way to go. I can just picture them in 20 years’ time – the Status Quo of the synthesizer age with their immaculately receding fringes gently bobbing over their pocket Emulators.
Well, perhaps not. Andy takes up the story.
“We could be a conventional band if we wanted to. Mart is an excellent guitarist, Alan can play the drums and I can play the bass. David has even been known to sing. But, really, we’re not interested in the instruments, just the sounds they make. We still think synthesizers produce far more interesting sounds than traditional instruments, so we’ll carry on using them. For instance, Mart plays a guitar on “Get The Balance Right”, but to make it sound more interesting we generated it through a synth and phased it out of time.”
What’s the single about, incidentally?
“It’s about telling people to go their own way,” Dave says. “It also takes a dig at people who like to be different just for the sake of it. You’ve just got to reach the right balance between normality and insanity.”
And talking of madness, the band reveal an intense dislike for the nation’s current faves, Kajagoogoo.
“That single reminds me of slime,” is the most complimentary thing Mr. Gahan can say for them. “Bands like that will come and go, but our material is strong enough to see us through.”
Bands like China Crisis and Tears For Fears receive a far more favourable reaction, as do The Psychedelic Furs and the Bunnymen. Do they see themselves as being taken over by newer bands like Tears For Fears?
“Obviously we’ll lose some of our fans,” Dave admits, “but they’ll be replaced by an even newer audience.”
“We’ll probably get people who’ve decided they don’t like Genesis any more,” adds Martin. His laugh has been known to cause temporary deafness at a hundred paces. Partially recovered, I ask him if he likes playing huge tours as his new audience will expect that sort of thing, won’t they?
“I hope not. I don’t really enjoy playing live. It’s alright for Dave as he can move around but we’re stuck behind the keyboards like robots.”
What does he think of Dave’s gimpy dancing?
“It’s not gimpy. I like it. I certainly couldn’t do it,” says Alan.
You’ll have to wait ’til September to witness these cavortings, which is when the next tour’s pencilled in. The last I expect to see of them is four figures wandering back into the afternoon mist – Dave off for another driving lesson, Alan and Martin thinking of going to see Danse Society playing in a club and Andy deciding whether or not to head straight back home to Basildon.
Then again, there’s bound to be the odd appearance on Top Of The Pops.
