Sujet Depeche Mode
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vilak
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vilak
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ecuyer
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Breathe. Début 2000. Un pur chef d'œuvre, tout en subtilité. Comme une grande partie de leur répertoire, à mon sens. Compos à la structure subtile (avec des pré-refrains, des post-refrains quand il le faut, des séquences hybrides.. tout y est), innovation et superbes choix esthétiques (intro de Waiting for the night), production fine, tout est là. 
vilak
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They had sold twice as many copies of Construction Time Again there as in Britain and many shows had to be upgraded to larger venues
Dave Gahan was becoming an increasingly confident and compelling front man, a writhing mass of agility and testosterone, but Depeche Mode’s live show had always suffered from the fact that Gore, Fletcher, and Wilder were obliged to stand virtually static behind keyboards.
This time, they attempted to take the staging up a notch by placing the three keyboardists on podiums and incorporating an innovative light show based on three wooden towers dotted around the band. A long-time supporter, the NME’s Mat Snow, waxed lyrical at the tour’s September opening night in Hitchin.
Describing Fletcher strolling onstage and turning on his keyboard, he rhapsodized: “By that casual push of a button, he sums up Depeche Mode’s appeal: the technology of their music-making is instantly demythologised. You don’t have to be a genius or rich or good-looking to stand a chance.
They had sold twice as many copies of Construction Time Again there as in Britain and many shows had to be upgraded to larger venues, including the ten-thousand-capacity Deutschlandhalle in Berlin. The tour ended with three sold-out pre-Christmas dates at the Musikhalle in Hamburg.
By contrast, the album had bombed in America, where radio stations had largely given it a wide berth, and the US and Canadian leg of the Construction tour was first postponed then cancelled completely. Speaking to Smash Hits, Dave Gahan was remarkably chipper about this apparent setback.
“We just had a meeting about America, and we decided not to worry about it,” he declared, airily. “If we really wanted to be incredibly wealthy, we’d be over there trying to cash in on the British Invasion [the Human League, Duran Duran, and Culture Club were by then all doing well in the US], but we don’t see the point.”
It seemed that all roads now led to Deutschland for Depeche Mode, and when Daniel Miller came to choose a studio for them to record new material in January 1984, it was a no-brainer. The band would return to Hansa in Berlin.
Gittins, Ian. Depeche Mode: Faith and Devotion
Dave Gahan was becoming an increasingly confident and compelling front man, a writhing mass of agility and testosterone, but Depeche Mode’s live show had always suffered from the fact that Gore, Fletcher, and Wilder were obliged to stand virtually static behind keyboards.
This time, they attempted to take the staging up a notch by placing the three keyboardists on podiums and incorporating an innovative light show based on three wooden towers dotted around the band. A long-time supporter, the NME’s Mat Snow, waxed lyrical at the tour’s September opening night in Hitchin.
Describing Fletcher strolling onstage and turning on his keyboard, he rhapsodized: “By that casual push of a button, he sums up Depeche Mode’s appeal: the technology of their music-making is instantly demythologised. You don’t have to be a genius or rich or good-looking to stand a chance.
They had sold twice as many copies of Construction Time Again there as in Britain and many shows had to be upgraded to larger venues, including the ten-thousand-capacity Deutschlandhalle in Berlin. The tour ended with three sold-out pre-Christmas dates at the Musikhalle in Hamburg.
By contrast, the album had bombed in America, where radio stations had largely given it a wide berth, and the US and Canadian leg of the Construction tour was first postponed then cancelled completely. Speaking to Smash Hits, Dave Gahan was remarkably chipper about this apparent setback.
“We just had a meeting about America, and we decided not to worry about it,” he declared, airily. “If we really wanted to be incredibly wealthy, we’d be over there trying to cash in on the British Invasion [the Human League, Duran Duran, and Culture Club were by then all doing well in the US], but we don’t see the point.”
It seemed that all roads now led to Deutschland for Depeche Mode, and when Daniel Miller came to choose a studio for them to record new material in January 1984, it was a no-brainer. The band would return to Hansa in Berlin.
Gittins, Ian. Depeche Mode: Faith and Devotion
vilak
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Once announced, Depeche’s American gigs sold out in a flash, with more and more nights having to be added. There were three at New York’s nearly six-thousand-capacity Radio City Music Hall alone, while the tour was to climax with two sold-out open-air shows to sixteen thousand people each at the Irvine Meadows Amphitheatre in California.
For a band routinely mocked in their homeland, with the sum total of one US hit single to their name, it was a stunning achievement that left them pleased but perplexed.
As Martin Gore was to note: “We were playing to more people than we were selling records to in the States. We could sell out everywhere we played.”
The astute Wilder hit on a possible explanation for this rarefied new status. “It seemed we fitted in perfectly with what the all-American, white, middle-class kids seemed to be searching for,” he surmised to Stephen Dalton of Uncut in 2001.
“[we were] a band that was clean enough to crossover but subversive enough to push a few boundaries at the same time. I think we felt good about that and enjoyed sticking two fingers up to England with its provincial attitude.”
The tour was visually spectacular, playing out on a set design based on Leni Riefenstahl’s film of the infamous 1936 “Hitler Olympics” and lit up by spectacular illuminations. Offstage the band were drinking and partying hard, with Gore particularly prone to epic excess.
“Martin was always a big drinker,” confirmed Wilder in Depeche Mode: A Biography. “When he’s drunk he’s the exact opposite to the shy person he is in everyday life. He says the most bizarre things … he’s your best mate in the evening, but the next morning he’s back to quiet Martin again.”
As the band rounded off the tour with a final slew of European dates in August 1986, they released “A Question of Time” as the final single from Black Celebration. While this fact was unremarkable in itself, it was to trigger a sea change in the band’s image.
Gittins, Ian. Depeche Mode: Faith and Devotion
For a band routinely mocked in their homeland, with the sum total of one US hit single to their name, it was a stunning achievement that left them pleased but perplexed.
As Martin Gore was to note: “We were playing to more people than we were selling records to in the States. We could sell out everywhere we played.”
The astute Wilder hit on a possible explanation for this rarefied new status. “It seemed we fitted in perfectly with what the all-American, white, middle-class kids seemed to be searching for,” he surmised to Stephen Dalton of Uncut in 2001.
“[we were] a band that was clean enough to crossover but subversive enough to push a few boundaries at the same time. I think we felt good about that and enjoyed sticking two fingers up to England with its provincial attitude.”
The tour was visually spectacular, playing out on a set design based on Leni Riefenstahl’s film of the infamous 1936 “Hitler Olympics” and lit up by spectacular illuminations. Offstage the band were drinking and partying hard, with Gore particularly prone to epic excess.
“Martin was always a big drinker,” confirmed Wilder in Depeche Mode: A Biography. “When he’s drunk he’s the exact opposite to the shy person he is in everyday life. He says the most bizarre things … he’s your best mate in the evening, but the next morning he’s back to quiet Martin again.”
As the band rounded off the tour with a final slew of European dates in August 1986, they released “A Question of Time” as the final single from Black Celebration. While this fact was unremarkable in itself, it was to trigger a sea change in the band’s image.
Gittins, Ian. Depeche Mode: Faith and Devotion
vilak
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Coramel
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vilak
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vilak
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