(1982) THE BRIGHT SIDE OF THE MOON |
from Sounds September 4th 1982 by Karen Swayne. |
Are Depeche Mode the pink floyd of chirpy technopop ? Karen Swayne investigates |
THERE WAS a time when we were really desperate, nobody was interested
in us except for this Rastafarian who wanted to turn us into an electronic
reggae group. Seriously! It was really weird--he had this plan to take
us to Nigeria . . . the only thing was he wanted us to wear Dr Who gear,
dress like Daleks or Cybermen--reckoned they'd love it in Africa!"
We all snigger at the thought of Depeche Mode going wild in the jungle.
With other bands the idea might not be quite so ludicrous, but the Mode
sound is so essentially urban, the clean bright pop consciousness of the
new town. Basildon to be precise.
Seated around the modest semi where Dave still lives with his parents,
the Depeche boys are happily reminiscing about times gone by while
dispensing tea and charm to the visiting hacks. This is about their
ninth (and last) interview of the day, more strangers who want to know what
they're all about (maaan), so I suppose you can't blame them for occasionally
wandering off the point.
"All the good times came from the early days you know when things weren't
so organised," says redhead Andrew Fletcher rather despondenty. "That's
when you meet all the people and have a laugh. These days when we go on tour
we just get shunted from place to place, there's no good times any more."
Ah, such worldliness in one so young--it's hard to believe that Depeche
Mode have been around for about two years, regularly playing to about 20
people at that last bastion of futurism, the Bridge House, for the first 12
months of their career.
"I think that really helped us, it gave us a lot of experience in playing
live," adds fresh-faced singer Dave, "A lot of bands today are successful
right away and go straight into playing somewhere like Hammersmith Odeon.
I remember those early gigs so vividly, now I can't remember what half the
places we played on the last tour even looked like."
It was Daniel Miller of Mute who gave them the chance to take their snappy
synth style out of the pub circuit, but for a while it had seemed that
nobody wanted to know.
Andrew: "When we first took our tape round we didn't get anything from any
of the record companies. Stiff sent us this real sarcastic letter -
something like 'Hi, budding superstars...'"
Dave: "Yeah, me and Vince went everywhere, visited about 12 companies in
one day. Rough Trade were our last hope, we thought at least we've got
them, surely they'll like it, after all they've got some pretty bad bands,
but even they turned us down! They were all tapping their feet and that and
we thought--this is the onse--then they went, hey, that's pretty good, it's
just not Rough Trade.
"Then they said, how about this man, pointing at Daniel who'd just walked
into the room. He took one look at us, went 'Yeech!', walked out and slammed
the door!"
NOT THE best of starts, but it turned out he was in a bad mood at the time,
and a subsequent meeting led them to signing to him. By then the tables had
been turned, this time it was the majors who were chasing the band.
"They'd come to the gigs, buy us meals and generally fatten us up. They
offered us loads of money, it was quite tempting really, but we trusted
Daniel, didn't want to let him down."
Do you ever regret going with an independent label though ?
Andrew: "I think we lose out a bit because there's things we can't do as
we haven't got hundreds of thousands of pounds behind us. We've got a
partnership deal, so anything we do we pay for ourselves."
Dave: "I don't regret going with Mute though, because I think we've got a
much better deal than most bands, we're far more in control of things. We
manage ourselves too, so we have to budget carefully all the time, but we
can release anything we like, I think a lot of companies would've been a
bit dubious about releasing the new single -- we've got other songs which are
more obvious hits, but whether they would have been the right thing to bring
out is another matter."
'Leave In Silence', the current single, does mark a change in style for Dep
Mode. It shows the way their sound is maturing. the rather harsh, brittle
edge of their early 45s is gradually being smoothed out and there's more
obvious emotion and feeling evident. It's an important time for the band--
they've just completed their second album, 'The Broken Frame', and they're
determined to prove that they can do just as well without Vince Clarke, if
not better.
As he was the writer responsible for all their early hits, there must have
been a problem when he left?
Dave: "Not really, because we were so rushed we had to cope.
"I think Vince was maybe a bit surprised at how we reacted, but we were
fairly prepared--the general atmosphere had been getting really bad, it was
like us three and Vince on his own. He just felt that we were becoming public
property, he didn't like what was happening to Depeche Mode, didn't like
being famous, didn't like touring.
"Now he's had a couple of hit singles with Yazoo they've got an album out
and they go on tour in September--it's a bit hypocritical really.
On the new LP Martin Gore wrote all the songs. He's been the quietest,
gazing out from under his blond curls and looking like he'd rather be
somewhere else. I try the direct approach. Did you find it easy to suddenly
have to write an LP's worth of tracks ?
"No. but it was a question of trying to write them in the little time that
we had. I was trying to fit in doing them in between all the other things,
and in the end half of them were written in the studio."
Isn't that a bad thing, having to write to order ?
"Well, I'd obviously rather not do it but I think they've come out
alright."
Were you writing before ?
"Yeah, I wrote 'See You' when I was 17."
"And that was our biggest selling single." adds Dave conclusively. "I
think this album's a lot better than 'Speak And Spell', it's more varied
anyway."
Andrew: "It's a lot weightier, not so light-weight and poppy. A lot of
people who liked us before might not like it because it isn't bouncy--a lot
of the songs are very moody."
"You've gotta change though," Dave states, "you can't carry on the same
level all the time, you just progress as you go along. Before it was more
aimed at electropop disco, but everything is dance-orientated these days."
THAT THE Depeche sound is maturing is good to hear. I'll admit to being one
of the early sceptics, I found their songs too simple, too repetitive, but
even then there was something infuriatingly catchy and appealing, a
directness that was hard to dislike and even harder to ignore.
They'll admit to being lucky--they've had time to grow away from the
pressurss of major label concerns--and surprisingly (to me anyway) bemoan
the state of the current charts
"They're in such a mess at the moment, full of cover versions, which I don't
think is very healthy. Anyone can make an old hit record a hit again,
especially in the summer. You get people like Soft Cell doing a cover, but
the kids who buy it don't realise it is because they've never heerd it before,
so although they might not mean to, they're taking credit for something they
didn't originally make."
Dave's right, it is the easy option and it's sad to see so many bands taking
such a safe way out.
"Thing is, over here you have to worry about every record, one minute you're
on top of the world, next minute you're a flop and nobody wants to know you.
It's really hard to establish yourself."
Andrew: "Reckon it takes about five albums."
"And a few more ulcers," mutters Martin.
Still, I don't think they've got too much to worry about, from where I
stand they're in a better position than most.
Dave: "I think it's good that we haven't really got an image. Some bands
seem to get stuck in one, but although everyone's always trying to put us in
a pigeon hole we've just always dressed the way we wanted to at the time."
Andrew: "The band with the best image of all is Pink Floyd, they're a
really faceless group. I mean I don't really like their music, but although
they're one of the world's biggest bands if you saw Brian Waters,.."
"Roger Waters you idiot," bursts in Dave.
"Oh yeah. well that's what I mean. thev're. really anonymous.
"We don't have any pictures of us on our record covers, we don't like
photos because they date so quickly. Like the Duran Duran cover, they were
all dressed up. had all the gear on."
Andrew: "Bet they're really embarrassed about that now !"
Martin; "They should've been at the time !"
Dave: "And that's there for life--it's much better to have some kind of
design. The new LP sleeve is really good, much better than the last one,
that was awfull The guy who did it, Brian Griffin (he also does the Echo
and the Bunnymen sleeves), when he was explaining it he was going--I
imagine a swan floating in the air--and we're going, yeah, right, then he's
talking about it Floating on this sea of glass and it sounded really great.
It turned out to be a stuffed swan in a plastic bag! It was meant to be all
nice and romantic, but it was just comical !"
This is said with so much innocent despair that any doubts I had about
Depeche being techno-poseurs are banished forever. They honestly are the
archetypal boys-next-door, open and straight-forward and often bemused by
all the fuss. They tell me that a lot of people expect them to be out
clubbing all the time, but that they find it too tiring.
"I dunno how people do it and work at the same time," says Andrew. "I'd
rather go home and watch a video or something."
Davs: "There was this time when I did a personal appearance at the Camden
Palace and I was practically pulled apart. It was really scary, when I got
inside I was trapped and there were people clawing at me, ripping my clothes,
pulling my hair--I was so frightened I ran and hid myself in the loo, I just
didn't want to come out. I think that was one of my worst experiences, those
kids could kill you."
It seems odd that such a normal bloke (and that's a compliment) could arouse
that kind of hysteria--such is showbiz, I suppose. He's a fairly reluctant teen
hero, even gets conned into buying girls Mars bars when he goes to the shops !
Andrew: "Sometimes when it gets rsally bad you stop and think what am I doing
here? All I wanted to do was be in a band, I was quite happy playing the
Bridge House!".
Dave: "Yeah, you sell about ten records and you're really happy. next
thing you know you're playing Hammersmith Odson and selling thousands--it
doesn't mean as much as you think it will."
Andrew: "Up until the band formed, I'd never flown before. When I was
younger it was always a dream of mine, but in the last six months I've flown
so much I don't sven think about it now. Like we used to get really excited
about taking off, fight for the window seat, now half the time you don't
even notice when you do take off--it's bad when it starts getting like that."
Did you enjoy your last tour ?
"When you look back you think you did, but I remember in the middle of
the tour going 'Oh no, I can't go on!"
Dave: "Yeah, it does get a bit much, you all get on top of each other
crowded in a little van--we're doing another one in October though !"
Andrew: "I think we just do it out of habit! Also we developed quite a
good live following so we don't want to let them down.
"We don't really do it for enjoyment 'cos we don't like playing live, I
always feel such a berk. Like I hate seeing myself on telly 'cos it's never
how you imagine yourself to be."
Dave: "That's the good thing about doing videos--you get a chance to do
other things. In our new one we're all painted different colours, I'm blue,
Martin's red, Andy's yellow and Al's green." (The latter is Alan Wilder who'll
bs working with them live).
"We're not really known as a video band, which could be somsthing to do
with the first one we made--it wasn't that bad, just general cheapol I enjoyed
doing this one though, it was good being painted 'cos it's like you're
hidden behind a mask and you can do anything you want."
THIS LEADS into a discussion of the Duran videos which reportedly cost around
.80,000 -- one example of the advantages of being on a major, although I can
think of better ways to spend that kind of money.
Then Dave chips in gleefully: "We still get letters from our American fans
and they wrote to us that they'd seen Duran stamping on a poster of Spandau
Ballet in the street ! Apparently they were going--they're nothing but a
bunch of poseurs!"
Megalomania has apparently hit the boys from Brum in a big way, but there's
no chance of the Basildon wonders falling into the same trap--they don't
see themselves as stars.
Andrew: "People expect us to live in some kind of penthouse flat, but
living at home suits my needs. I can't really afford to buy somewhere anyway,
I used to think, one hit single and you get your Rolls-Royce but I think it
takes about ten albums to be comfortably off so you don't have to work."
Depeche Mode's utter lack of pretension is what gives them their undoubted
appeal. They treat the whole thing as a natural process, and have no time for
the theorising which restricts many others--they get on and do it rather than
agonise about their place in the scheme of things.
They'll never be overwhelmed by it all, in fact they remain remarkably
unaffected by their star status. These local boys have made good, and
promise to make even better in the future.
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