Interview with the band from Ultra Magazine (Swedish) no. 5 1990. Written by Jan Gradvall.
Typed and translated by Jesper Mossberg.
Depeche Mode
/Jan Gradvall, ULTRA Magazine No 5 1990
Subway, Central Station, Stockholm; four hours before Depeche Modes concert at Globen. The train towards Gullmarsplan and Globen grinds to a halt, and twenty-something people enter the carriage second to last. Most of them are young, 17-18, and every piece of clothing they wear is either black or white. Two girls, who seem somewhat younger than the rest, also wear black hats around which they've fastened streamers reading "Violator".
Everyone seems cold sober, they stand motionless, chatting in the back of the carriage; noone seems to have registered their presence. After a few minutes a boy with shaved head and bangs suddenly starts to sing - loudly and stoutly. Everyone catches on quick, and for four minutes they sing a Depeche Mode song. Word for word. Acapella. Not a word seems out of place.
The strange thing is that I, considering myself quite versed on Depeche Mode, don't recognize the song. Could it be a flip side? A forgotten album track? Regardless, twenty people next to me are standing here in the carriage singing it by heart, clear and sober. And the concert is still almost four hours away...
Pretty much has happened with Depeche Mode since the group formed in Vince Clarkes garage in Basildon ten years ago. In those days they could rarely play for more than fifteen minutes before Vinces' mother banged on the wall, complaining about the noise. "Stop that bloody clacking! I'm trying to watch the telly! Why can't you find normal hobbies?" (quote from the Depeche Mode biography).
Now, ten years later, I guess they're pretty glad they didn't find any "normal hobbies", but continued with their button-pushing. Andy Fletcher, or Fletch as everyone calls him backstage, has been a part of the band ever since that time in Vinces' mothers' garage.
It was he, Martin Gore and Vince Clarke who started the band - the singer Dave Gahan didn't join them until six months later - and when the ULTRA-possee meet him in the Globen dressing-room two hours before Depeche are going on-stage, we ask him what the secret behind Depeche Modes success is. Why is it that they, despite constand setbacks, have come so far in ten years?
He adjusts his glasses, and thinks a while before answering.
"If I had an answer to that I'd be very happy, because there is, of course, no patented formula for success... But I think one possible explanation is that we've always done our own thing. What we do now is exactly the same thing we did ten years ago, we've just gotten musically better. Many other bands are influenced by different timetrends, and change their styles accordingly, but we've always followed this line."
"And now, experiencing these things" he says, motioning towards the door that leads to the almost full Globen, "one mustn't forget that we've gotten where we are now by numerous tours and records during many years. Our popularity has slowly accumulated album by album. And as long as every Depeche Mode record is better than the one that preceded it, naturally it's an ideal situation."
Depeche Modes latest album - "Violator" - is in more ways than one perhaps the most brilliant pop album of the year. Five million sold copies over the world - which is more than Rolling Stones, more than Travelling Wilburys, more than practically all the artists who still are top priority amongst 35-yearold rock reviewers and radio producers. The album also brought us four hit singles - "Personal Jesus", "Enjoy the Silence" (that on its own sold over a million copies, which is more than twice what most world hits can manage these days), "Policy of Truth" and "World in My Eyes".
Thus far.
However, what's most impressing about "Violator" is the sound. That something so uncompromising and unique, something so spartan and peeled off - Depeche Mode have never before sounded this "plain" - still can sell this much is, whichever way you look at it - remarkable.
Also, there is no other band (with the possible exception of New Order) who dare to maintain as a daring and consecutive style when it comes to videos and sleeves. The groups exterior - videos, sleeves, film clips shown on stage - is signed by the dutsch photographer and filmer Anton Corbijn.
"We have complete confidence in Anton when it comes to things like that." says Fletch. "Basically he can do what he likes, for the simple reason that we think that's how it'll turn out for the best. If too many gets their say about those things, it's easy to wind up with something bland and overcompromised.
Sometimes we've wondered if Anton maybe has gone a bit too far. Dave (Gahan) was for instance very skeptical towards Antons' idea that he should dress up as a king in the video for "Enjoy the Silence", but he eventually gave in. And when you see the video, it is obvious that Anton was right. That video is like no other..."
The cooperation between Depeche mode and Anton Corbijn is also based on mutual respect. Anton likes their music just about sa much as they like his pictures. When yours truly visited Anton Corbijns studio in London a year or so ago while working on a story for Slitz, we got to talking about his collaberation with Depeche Mode.
Many have wondered why Anton Corbijn, arguably the world's leading rock photographer, would choose to work with "a simple synth band like Depeche Mode". Corbijn has worked with all the greats - on his bulletin board in the studio was a telefax signed "Yours, David" (as in Bowie) and postcards from Bono - and the offers keep pouring in, but the last couple of years he's been devoting himself to Depeche Mode.
While we were flicking through Corbijns fantastic photobook, he explained:
"Above all, why I like Depeche Mode is their attitude. The rock business in general is dominated by artists who are afraid of experimenting or trying new paths, but Depeche Mode are an exception. Just look at this painting I did for the "Personal Jesus"-single." he said, pointing to a grey/white, meter high oil painting leaning towards a wall in the studio.
"Everyone else would have thought it a joke that I, a photographer and all, come dragging an oil painting of my own, saying I want it on the cover instead of a photo. But they just said "OK, a painting - go for it." Tehy?ve also been totally with my ideas on recording in Spain, just because the light there is so beautiful."
When you have such high ambitions as Anton Corbijn, it easily gets pretty pretentious - after all, this is pop sleeves we're talking about, not art exhibits - but there is always good humour in everything being produced.
"Anton is good at maintaining that balance." says Fletch. "Many people, who've never met him, think him deeply serious, seriousminded, but he can also be very funny. Sometimes you wonder who that crazy dutsch guy walking around with you really is..."