RadixJournal - Depeche Mode： Black Celebration

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00:00:21.760 Transcription by CastingWords

00:00:51.760 Transcription by CastingWords

00:01:21.760 Transcription by CastingWords

00:01:51.760 Transcription by CastingWords

00:02:21.760 I remember a while ago you said that you had voted on Facebook or something, that this was your favorite album?

00:02:28.760 Oh, I did a Facebook post. This was back in the day, probably like 2010 or something.

00:02:35.460 And yeah, I ranked the albums. I should go look back at that. My Facebook account was, of course, deleted. So it's lost to the world, all of those insights. Wisdom laden as they were.

00:03:18.920 And maybe that's why it's so great. But this is just Depeche Mode, fully actualized, confident in themselves. They know what they're going for. Every track is great.

00:03:36.780 You know, I like some more than others.

00:04:06.780 A bit like, you know, Sgt. Pepper's Lonely Heart Club Band or, you know, concept albums of that nature.

00:04:16.080 And yeah, just the level of confidence that the band expresses to do this, I think is remarkable.

00:04:26.460 Now, reading up on it, I watched this documentary series, which is on YouTube. I'm not even sure who made it, but it's quite good. And then I read some more Simon Spence, and that's an enjoyable book.

00:04:39.020 If not a terribly interpretive book. It's kind of a, it talks about Basildon in a critical way, in a historical way, but it's, when it talks about the band, it's kind of a fan book.

00:04:51.420 But anyway, one thing that I just didn't appreciate, you know, looking back on these albums, because I was, I guess, eight when this came out or thereabouts, is that the band actually was at a turning point or point of no return, maybe, or something like that.

00:05:16.240 There was a question of, should it continue? And I think that question definitely was there with Broken Frame.

00:05:23.800 As, as maybe, you know, imperfect and a little bit clunky as that album is, it was important for them to put that out. You know, Vince left, he just wanted to go do his own thing. He wanted to be in control. He kind of left his Basildon friends in the dust and started new bands.

00:05:43.520 He's, he'll start two bands within the time of that, between that time and when Black Celebration was released. And they just had to do something. They had to prove that Martin Gore is a legitimate songwriter, that the band is still going, that they're going to be touring.

00:06:02.700 So, right before this album came out, there was a release of singles, 1981 to 85. And it was titled Catching Up with Depeche Mode in the United States. That's how I remember it. I owned that album on CD, probably in the late 80s or early 90s. I wish I could maybe find it someplace in my grandpa or my parents' house or something. Who knows? It's probably in a, it's probably on eBay or something. I don't know.

00:06:30.280 But, you know, they put out that singles collection, which had a few new songs. Shake the Disease was on there and others. And I can't believe it looking back. But at the time, there was a question of, are you going to even go on? You know, have you read what you can say? And this was an almost retrospective. You know, there, there are a lot of bands in the 80s who were like that. They might, they had some great hits, five years.

00:07:00.280 Maybe they'll have a reunion every 10 years, you know, and play their golden oldies for their aging fan base. I mean, but the fact that they kept going and went forward, they went back to Berlin, back to Hansa Studios.

00:07:16.280 They just, you know, this is something that clearly bothered Daniel Miller, who I think was a very, you know, highly sympathetic, even, even to the point of being a bit of a pushover as a producer, you know, just, just forgiving, accommodating, enthusiastic about the band.

00:07:35.840 But he was like, I don't see a single on this, this, who, who is this for? Like, this is, it's not even that it was experimental, because, you know, sampling by 1986, using like found sounds, noise, etc.

00:07:53.980 That, that, that was happening. And even the, you know, if anything, I think the idea of an electronic band was, was almost passe, if anything, it had been done.

00:08:07.200 I mean, what was difficult about this album was just the blackness, everything was dark. And you, I mean, they were talking about fly on the windscreen as the first signal, single, and the major problem was that the first word is death.

00:08:27.600 And that's, I mean, that encapsulates what this album is. And so, again, there needed to be a great deal of confidence. Maybe there was a sort of existential crisis. From what I've read about U2, they were having an existential crisis in the late 80s.

00:08:48.100 They went to Hanza Studios, they went to Hanza Studios, and they produced Octoon Baby, which is, you know, one of the greatest albums of all time, quintessential album for them. But they didn't know if they were going to go on.

00:09:01.840 Bono had a child, Edge got a divorce, the band wasn't getting along, etc. And, you know, out of that, that situation will break up a lot of bands. But if you keep going, you can produce something like this.

00:09:17.740 So I just think the confidence to produce this just black on black album about death, surviving, etc., doing the kind of experimentation on every track, but then linking all of the tracks into one conceptual album.

00:09:35.160 I mean, you can just sit down and listen to this in 45 minutes or an hour or so.

00:09:41.960 I just, yeah, I mean, I think it's the quintessential Deveshe Mode album. I think it's probably their best album. And it's just an amazing achievement.

00:09:51.800 It's so in my life, forgetting all I couldn't do today.

00:09:57.540 Black Celebration

00:10:00.800 Black Celebration

00:10:07.440 Tonight

00:10:10.180 Tonight

00:10:11.040 To celebrate the fact

00:10:25.000 That we've seen the back

00:10:28.040 Of another black day

00:10:41.040 That's interesting about

00:10:48.640 How black it is 0.99

00:10:51.560 I mean, just from the title

00:10:52.940 Obviously, Black Celebration

00:10:54.540 It's also very ballad heavy

00:10:57.300 I feel like it's Martin heavy

00:10:59.400 I mean, he does sing

00:11:01.340 Four of the eleven

00:11:02.700 Or depending on which release

00:11:04.340 You get twelve songs

00:11:05.420 Just with the album title

00:11:07.020 Black Celebration

00:11:07.960 You could have a number of meanings

00:11:11.360 Like invoked

00:11:12.100 From like celebrating blackness 1.00

00:11:14.840 To celebrating the end of a tragedy

00:11:19.180 Of some kind

00:11:20.080 I mean, even

00:11:22.400 That we've seen the back

00:11:24.020 Of another black day

00:11:25.260 Yeah, I mean, I think

00:11:26.020 That's definitely the primary meaning

00:11:28.440 Of the title

00:11:29.560 Yeah, I just

00:11:31.240 If you think of like

00:11:32.120 Black Celebration

00:11:32.860 Just like real quick in your mind

00:11:34.980 You kind of think of like

00:11:35.900 Maybe, you know

00:11:36.860 Like a church

00:11:38.080 That's like darkly lit

00:11:39.200 With, you know

00:11:39.780 Like candles and stuff like that

00:11:41.360 It's also

00:11:42.520 I mean, the song too

00:11:43.920 The opening track

00:11:44.960 Black Celebration

00:11:45.980 Is kind of

00:11:47.720 In that same vein

00:11:49.220 As

00:11:49.940 If you want

00:11:51.620 On some great reward

00:11:53.000 And

00:11:54.020 Something to do

00:11:55.120 You know

00:11:55.400 It's like

00:11:55.980 That's their

00:11:56.740 Kind of more energetic

00:11:58.120 Banger of a song

00:11:59.980 Yeah, just celebrating

00:12:01.540 The end of a

00:12:02.640 Black day 0.94

00:12:03.740 I think you are

00:12:06.180 Correct though

00:12:06.840 About the

00:12:07.300 The structure of it

00:12:08.220 And that's kind of

00:12:08.960 One of the things

00:12:09.420 That I'm not

00:12:10.120 So hot about

00:12:11.460 This album

00:12:12.460 Is that

00:12:13.540 It does

00:12:14.980 Kind of go

00:12:15.960 Like each track

00:12:17.920 Could kind of

00:12:18.320 Meld into

00:12:18.920 One another

00:12:19.800 And

00:12:20.760 You know

00:12:22.840 There's something

00:12:23.880 Also just about

00:12:24.840 The mix

00:12:25.440 Of it

00:12:25.880 It doesn't like

00:12:27.140 Bang 0.60

00:12:27.820 Like super

00:12:28.500 Like I felt like

00:12:29.500 It's not as

00:12:30.300 I agree with that

00:12:31.000 Maybe

00:12:31.320 Yeah

00:12:31.940 No

00:12:32.200 Well

00:12:32.500 The way I would say it

00:12:34.080 If you listen to

00:12:35.220 Music for the masses

00:12:37.180 I

00:12:38.400 It's

00:12:39.280 It's sometimes hard

00:12:40.160 To put into words

00:12:41.280 Like

00:12:41.660 Something that's

00:12:43.720 Oral

00:12:44.940 But

00:12:45.260 It

00:12:46.440 It has like

00:12:47.340 It's like you're listening

00:12:48.320 Almost to like a film score

00:12:49.980 Or it's

00:12:50.820 Just more epic

00:12:51.880 And

00:12:52.600 Clear

00:12:53.300 I agree with you

00:12:55.740 That

00:12:56.000 That is a problem

00:12:57.060 With this album

00:12:57.680 That like the general sound

00:12:59.860 Seems

00:13:00.660 Muddy

00:13:02.000 Or something

00:13:02.880 Not as

00:13:04.360 Refined 0.97

00:13:05.300 Or

00:13:05.500 Differentiated

00:13:06.720 I

00:13:06.980 I don't know

00:13:07.620 How to put it into words

00:13:09.160 Actually

00:13:09.520 But

00:13:09.820 You're right

00:13:10.640 Like I

00:13:11.000 And

00:13:11.340 I think this has been

00:13:13.100 Remastered to someone

00:13:14.080 I just don't

00:13:15.280 For whatever reason

00:13:16.620 I just

00:13:17.140 I don't

00:13:17.760 Think it is

00:13:18.760 Their best

00:13:19.740 In terms of

00:13:20.400 In terms of just that

00:13:21.880 Aural quality

00:13:23.180 U-R-A-L quality 1.00

00:13:24.820 Right

00:13:26.320 Yeah

00:13:26.620 And

00:13:27.180 Gareth Jones

00:13:28.140 Their producer

00:13:28.680 Has said as much

00:13:30.160 Like a lot of the

00:13:31.280 The idea was

00:13:32.660 Reverb

00:13:33.420 Because reverb

00:13:34.360 Is 0.88

00:13:34.700 You know

00:13:35.220 Like atmosphere

00:13:35.980 Or whatever

00:13:36.400 And

00:13:36.860 You can

00:13:38.200 Hear that

00:13:38.880 Especially on songs

00:13:39.680 Like Stripped

00:13:40.460 And definitely on songs

00:13:42.120 Like Sometimes

00:13:43.100 With that

00:13:44.000 There's just a lot of delay

00:13:45.380 And maybe it's like

00:13:46.160 Too heavy on the

00:13:47.060 Delay

00:13:47.560 And

00:13:47.960 And reverb

00:13:49.220 Sometimes

00:13:50.960 Yeah

00:13:52.140 It's like a negative

00:14:10.600 Sometimes

00:14:11.240 Only sometimes

00:14:15.000 Sometimes I question everything, and I'm the first to admit that if you catch me in a mood like this, I can be tiring, not embarrassing, but you must feel the same.

00:14:45.000 It is a little slow, too. The tempos are kind of maybe too ballad heavy and a little bit too slow for me. And maybe that's why I wouldn't say it's their best album. I can just say that this is maybe top five for me.

00:15:05.580 It's up there, certainly. But the range of emotions is just like a different range of sad emotions or negative emotions.

00:15:16.580 And I guess you could say, well, yeah, that's what you expect in a Depeche Mode album. But it's just a little bit too death and dejection and self-loathing.

00:15:30.580 And also, interestingly, maybe even pederasty. I dare I say, dare I go there.

00:15:39.560 What?

00:15:40.580 Yeah. Do you want to talk about that?

00:15:43.200 Sure. I guess I missed that. But go on.

00:15:46.120 All right. Okay. If we go to this song, It's a Question of Time.

00:15:51.780 I've got to get to the best before they do.

00:16:17.780 It's just a question of time Before they lay their hands on you

00:16:25.920 They'll make you just like the rest I've got to get to you first

00:16:32.080 It's just a question of time

00:16:35.640 Well, now you're only fifteen

00:16:49.460 And you look good

00:16:53.300 I'll take you under my wing

00:16:57.020 Somebody should

00:17:01.160 They're persuasive ways

00:17:04.060 And you'll believe what they say

00:17:07.300 It's just a question of time

00:17:11.980 And it's running out of time

00:17:14.980 You look good. You're only fifteen

00:17:16.720 I'll take you under my wing

00:17:18.840 Yeah, and

00:17:20.700 That reminds us of

00:17:23.180 Little Fifteen and so on

00:17:25.040 Yeah, I guess I can see that

00:17:27.060 I mean

00:17:27.460 So much of rock in the seventies was like

00:17:33.480 You know, look at this hot fifteen-year-old

00:17:36.540 Yeah, yeah

00:17:37.740 I don't think they would have written that lyric now

00:17:42.620 But

00:17:43.080 Yeah, that's

00:17:45.480 Yeah, I don't mean to be

00:17:48.000 You know, a Puritan about it either

00:17:50.340 It's

00:17:50.740 Look, he said fifteen, not five

00:17:53.060 Okay

00:17:53.800 Right

00:17:54.360 You know

00:17:56.160 And the song is

00:17:58.280 The lyrics are

00:18:00.020 Just as a total, as a single

00:18:02.360 The lyrics and the production

00:18:03.320 I think that is definitely one of the highlights of the album

00:18:05.580 But

00:18:05.840 You know, I mean

00:18:08.340 Sometimes I don't blame them for wanting you

00:18:11.520 I've got to get to you first

00:18:13.700 Steven has another

00:18:14.500 Yeah

00:18:14.900 It's funny

00:18:15.660 I just

00:18:16.500 Wow

00:18:17.000 To get to her to corrupt her first 1.00

00:18:18.600 Or something like that

00:18:19.380 Exactly

00:18:19.780 But you know what's interesting

00:18:21.340 I'll take you under my wing

00:18:22.140 What's

00:18:23.260 Just

00:18:23.820 Is 0.88

00:18:24.100 Ironic

00:18:25.140 Is that

00:18:25.860 Martin was very influenced by

00:18:28.720 Gary Glitter

00:18:30.060 Who

00:18:30.960 For those who don't know

00:18:32.800 They actually probably do know

00:18:34.500 Because

00:18:35.020 Gary Glitter wrote this song called Rock and Roll

00:18:37.860 Which is

00:18:38.420 It was in like

00:18:39.200 Happy Gilmore

00:18:39.960 It's like

00:18:40.280 Da-na-na-na-na-na 1.00

00:18:41.980 Da-na-na-na-na-na-na-na-na-na-na-na 1.00

00:18:44.440 There's not really any lyrics

00:19:02.160 It's just like kind of chanting

00:19:03.580 And it's played at like stadiums and sports arenas

00:19:07.840 But Gary Glitter

00:19:09.540 Is like a serial 0.98

00:19:11.560 Like pedophile 0.88

00:19:12.600 And 0.97

00:19:13.020 As in

00:19:14.080 Had to like flee the country

00:19:15.720 Flee

00:19:16.380 The UK

00:19:17.160 He was big

00:19:18.380 In the 70s

00:19:19.880 I think

00:19:20.280 In the UK 0.52

00:19:20.820 But I'm not

00:19:22.260 I'm not trying to say

00:19:23.480 Obviously

00:19:24.400 It's just an irony

00:19:25.780 Not an influence

00:19:26.780 But yeah

00:19:28.100 I mean

00:19:28.460 That definitely

00:19:29.500 This song

00:19:30.400 A Question of Time

00:19:31.120 Definitely helps to make

00:19:32.060 The album

00:19:32.940 A little bit more edgy

00:19:35.260 I think it's worth

00:19:38.120 Pointing that out

00:19:39.040 Because

00:19:39.400 You know

00:19:40.140 Little 15

00:19:41.040 You get away with it

00:19:43.580 Because the song

00:19:44.820 Is enveloped

00:19:45.720 In a sort of sadness

00:19:47.020 You know

00:19:48.580 You can drive away

00:19:50.140 If you had a car

00:19:51.000 You could drive away

00:19:51.900 But

00:19:52.820 I think

00:19:54.140 Question of Time

00:19:56.180 Is not

00:19:56.940 It's

00:19:57.360 It's almost written

00:19:58.240 From the

00:19:58.920 The

00:19:59.520 I guess not pedophile

00:20:01.020 Technically

00:20:01.480 But just

00:20:01.940 Just seducer 0.92

00:20:02.980 Criminals

00:20:04.260 Perspective

00:20:05.160 And I'm gonna get you

00:20:06.500 Kind of like that song

00:20:08.500 From Blondie

00:20:09.480 I'm gonna get you

00:20:10.060 Get you

00:20:10.320 Get you

00:20:10.680 And it is interesting

00:20:12.080 How when you see it

00:20:13.140 Through that lens

00:20:13.860 A lot of the

00:20:14.680 Lyrics resonate

00:20:15.540 Differently

00:20:16.120 But

00:20:17.100 You know

00:20:19.000 I don't know

00:20:19.840 Maybe it's kind of

00:20:20.840 Like

00:20:21.080 Unfortunate

00:20:22.680 That

00:20:23.180 You can't write

00:20:24.880 A super dark

00:20:25.860 And edgy song

00:20:26.620 Anymore

00:20:27.060 You know

00:20:27.980 I mean

00:20:28.640 Just saying

00:20:29.540 Definitely

00:20:29.940 Yeah

00:20:30.600 And

00:20:31.280 You know

00:20:31.620 Not endorsing

00:20:32.600 Obviously

00:20:33.060 Criminal activity

00:20:33.900 But you know

00:20:34.440 What I mean

00:20:34.800 Of course

00:20:34.980 Of course

00:20:35.780 And

00:20:36.960 You know

00:20:38.340 I mean

00:20:38.840 The Beatles

00:20:39.320 Did have

00:20:40.040 Well she was

00:20:41.000 Just 17

00:20:42.220 You know

00:20:43.180 That was

00:20:43.800 That wasn't edgy

00:20:45.540 At the time

00:20:46.260 It was just like

00:20:47.020 Oh okay

00:20:47.680 She's young

00:20:48.320 And she's spry

00:20:49.160 Whatever

00:20:50.040 Jimmy Page

00:20:51.780 Of Led Zeppelin

00:20:52.660 Did have

00:20:53.720 Like

00:20:54.420 An extended

00:20:55.660 Relationship

00:20:56.460 With a 14

00:20:57.160 Year old

00:20:57.460 Girl 0.91

00:20:57.740 While he

00:20:58.220 Was

00:20:58.560 I don't

00:20:59.580 Know

00:20:59.700 Maybe

00:20:59.940 Almost 10

00:21:00.540 Years

00:21:00.940 Her senior

00:21:01.700 So yeah

00:21:02.840 When you talk

00:21:03.400 About rock

00:21:03.880 And roll

00:21:04.260 And this

00:21:05.220 Kind of

00:21:05.720 This kind

00:21:06.440 Of stuff

00:21:06.960 It is

00:21:08.420 It was

00:21:09.140 Definitely

00:21:09.460 There

00:21:09.860 And

00:21:10.540 Yeah

00:21:12.260 It's still

00:21:12.700 A great

00:21:12.980 Song

00:21:13.300 I still

00:21:13.920 Think as

00:21:14.440 Far as

00:21:15.020 The

00:21:15.720 The

00:21:16.620 Production

00:21:17.420 Goes

00:21:17.740 There's

00:21:17.920 Like a lot

00:21:18.260 Of interesting

00:21:18.800 Samples

00:21:19.440 On it

00:21:19.960 There

00:21:20.940 And I

00:21:21.760 Think that's

00:21:22.160 Another thing

00:21:22.600 About the

00:21:22.960 Sound of

00:21:23.380 This album

00:21:23.800 There's

00:21:24.340 More like

00:21:24.900 Record samples

00:21:26.160 Instead of

00:21:26.920 There still

00:21:27.600 Is live

00:21:28.240 Sampling

00:21:28.780 Of like

00:21:29.180 Drums

00:21:29.700 And maybe

00:21:30.620 A stomp

00:21:31.060 On the

00:21:31.320 Ground

00:21:31.540 Or something

00:21:31.940 Like that

00:21:32.460 Or

00:21:34.080 Someone's

00:21:35.340 Voice

00:21:35.700 But they

00:21:37.160 Took this

00:21:37.740 Really obscure

00:21:39.020 Like 1950s 0.71

00:21:40.300 Record

00:21:40.580 By this

00:21:41.560 Band

00:21:41.940 Called

00:21:42.260 The

00:21:42.480 Chanters

00:21:42.960 She

00:21:43.200 Wants

00:21:43.580 To

00:21:43.860 Mambo

00:21:44.360 And in

00:21:45.080 Like the

00:21:45.700 Right before

00:21:46.920 The chorus

00:21:47.480 To the

00:21:48.560 Song

00:21:49.000 There's

00:21:50.260 Like this

00:21:50.780 Woman 0.99

00:21:51.240 Chanting 0.93

00:21:52.020 Or not

00:21:52.820 Chanting 0.93

00:21:53.200 Rather

00:21:53.500 Like a

00:21:54.240 High pitched

00:21:54.740 Squeak

00:21:55.360 And they

00:21:55.580 Just like

00:21:55.880 Pitched up

00:21:56.360 Even higher

00:21:56.920 And that's

00:21:57.680 What's

00:21:57.860 Making that

00:21:58.280 Like

00:21:58.520 Kind of

00:22:02.040 Sound in

00:22:02.540 The beginning

00:22:03.120 And then

00:22:03.400 All throughout

00:22:03.780 The record

00:22:04.280 It's hard

00:22:05.000 To even

00:22:05.540 Mimic 0.59

00:22:06.160 Get

00:22:08.220 Where

00:22:09.640 It's hard

00:22:16.560 I want

00:22:17.020 To

00:22:17.200 Mambo

00:22:17.760 She

00:22:18.140 Wants

00:22:18.500 To

00:22:18.720 Mambo

00:22:19.320 I want to mambo 0.51

00:22:20.780 She wants to mambo 1.00

00:22:22.300 I want to mambo 0.51

00:22:23.820 She wants to mambo 1.00

00:22:25.340 I want to mambo 0.51

00:22:26.800 She wants to mambo 1.00

00:22:28.320 I want

00:22:29.280 She wants to mambo 1.00

00:22:38.520 trees

00:22:40.800 tree

00:22:43.680 trees

00:22:44.920 tree

00:22:45.760 tree

00:22:46.740 tree

00:22:47.780 tree

00:22:48.780 but yeah just really like weird uh a choice to to sample this like a 1950s doo-wop record

00:23:02.620 you're just you're taking a sound and then transforming it beyond all recognition and

00:23:08.140 finding something new in it i i could even see this i mean i i mentioned this in our last um

00:23:15.140 episode but the um ein stirs into annoy about and the they they put on a performance in which they

00:23:24.440 were creating these sounds with drills and so on i mean they've done some more uh you know

00:23:31.020 commercial stuff like they've done some songs that you'd recognize as a song and so on but they were

00:23:36.860 going full bore just i mean literally full bore in this case just noise drilling into cement

00:23:44.860 etc and you can see that in in the music video for stripped which also also of interest it's filmed

00:23:53.260 in berlin i mean there's photos of the there's there's images of the berlin wall i mean it's

00:23:57.760 really fascinating and kind of like projecting onto the berlin wall from the west berlin perspective

00:24:02.860 but just that slamming sledgehammers into a car it's almost like they're reenacting

00:24:09.600 noibouton's performance but doing it within the context of a song that you know is is a is kind

00:24:19.360 of an anthem song and and is poppy but it and is it is commercial to some degree but they're they're

00:24:25.660 just like taking that whole ethic and bringing it into commercial music

00:24:33.060 yeah

00:24:33.640 come with me into the trees

00:24:54.180 yeah

00:24:54.740 come with me into the trees

00:25:01.780 Trees, we'll lay on the grass, and let the eyes pass.

00:25:08.820 Take one hand, come back to the land.

00:25:13.800 Let's get away, just for one day.

00:25:18.380 Let me see you stripped down to the far. 0.86

00:25:25.380 Let me see you stripped down to the far. 0.86

00:25:46.280 Do you mind if I read a little bit from an interview with their producer, Gareth Jones, when he was talking about sampling?

00:25:52.800 Sure. He says, when we sampled, we made sure we didn't use anyone else's music, and that was adhered to even in this track, he's talking about Black Celebration, where we had the idea of sampling Sir Winston Churchill.

00:26:05.820 We wanted to use his A Brief Period of Rejoicing quote on the title track, as we loved that idea of A Brief Moment of Rejoicing.

00:26:13.660 We didn't use his voice, though. Instead, Daniel said the words, we processed his performance, and we used that instead.

00:26:20.380 That's how determined we were to not use anyone else's work.

00:26:26.100 It's definitely an album that's really seeking originality.

00:26:31.000 Maybe even trying to be too original, which, I mean, Dave Gahn has also said in interviews that I was reading that he's like, I don't like anything I hear on the charts.

00:26:43.180 And this was 1986. You know, I don't like anything I hear on the charts, and we're determined to, like, really just kind of, like, fuck everything up and really shake up, you know, music in general with this album.

00:26:59.360 And I think that it certainly is. And, you know, I could say critically, maybe it's a step back, because this was supposed to be, like, the album that set them commercially to the next level.

00:27:13.020 You had on Some Great Reward, you had People Are People and Master and Servant, which were relatively good songs, even in America, very relatively popular songs.

00:27:26.140 And then there's nothing on this album that charts, and on the America, none of the singles that chart in America.

00:27:36.280 And it goes, the album as a whole goes to number 90 on the U.S., like, Billboard year-end charts.

00:27:43.880 So it was a disappointment, and I think Daniel Miller was kind of vindicated when he told Martin, I don't hear any singles.

00:27:52.420 But he still allowed them to make the record, you know, which, to his credit.

00:27:58.160 Yeah. But again, like, these songs inflect the 101 live album, which I definitely think we should talk about at some point soon.

00:28:09.280 And these songs are still performed. I mean, I have heard A Question of Time performed live.

00:28:18.720 Black Celebration was performed on their latest tour.

00:28:24.480 Stripped was also performed. I've heard Stripped performed, I think, gosh, three or four times live just in the past, let's say, 15 years.

00:28:32.520 Even here in this house gets performed, like, on occasion, A Question of Lust.

00:28:39.680 I mean, it's, yeah, I mean, it's just like every fly on a windscreen as well.

00:28:46.740 I've heard that performed live.

00:28:48.340 I mean, maybe, like, World Full of Nothing or Dressed in Black or New Dress are kind of the, you know,

00:28:56.820 I mean, they're not bad or anything, but they're kind of like the secondary mood and sometimes, you know,

00:29:03.900 the kind of moody songs that add to the album.

00:29:07.420 But other than that, you have, like, six classic songs from this album that I don't think you can, you know,

00:29:17.280 they really are kind of indispensable as well.

00:29:19.860 You know, we were talking about Delta Machine.

00:29:21.420 I remember editing that podcast recently before I released it, and it was kind of like, I like a lot of these songs,

00:29:28.300 but in a way, if they all went away, nothing would really change.

00:29:33.400 But you can't say that about this album.

00:29:36.800 And the other thing that I would say is that I was thinking through this today.

00:29:42.420 I mean, so if we go back to Speak and Spell, and then if we also look at a band like Kroftwerk,

00:29:51.400 which obviously influenced Depeche Mode, even at that point,

00:29:55.300 they're doing this music that I've described as objective in the sense that they're describing an object.

00:30:04.740 Light switch, man switch.

00:30:08.720 Photographic.

00:30:09.240 Your, what is it, your name, your voice, the tape is your voice.

00:30:18.060 It's this weird, like, fetish of technology with a certain layer of irony on top of it.

00:30:24.920 A white house, a white room, the program of today.

00:30:32.480 Lights on, switch on, your eyes are far away.

00:30:37.800 The map represents you, and the tape is your voice.

00:30:45.120 Follow all along you till you recognize a choice.

00:30:54.580 I take pictures.

00:30:58.040 Where they're moving with this album, and where they'll certainly go with music for the masses,

00:31:10.700 and I think it's quintessential Depeche Mode, they'll start to sing about a theme.

00:31:16.920 And all of the lyrics are understandable.

00:31:22.060 They're not, like, stream of consciousness or anything like that.

00:31:25.740 But they're singing in a way about something, like, they're singing about something that's sacred.

00:31:33.700 Or they're singing about a black celebration.

00:31:38.340 And yet you don't know what that black celebration is outside of some, you know, very vague lyrics.

00:31:51.080 Let's have a black celebration tonight to celebrate the fact that we've seen the back of another black day. 0.93

00:31:57.520 I look to you, how we carry on, when all hope is gone, can't you see?

00:32:02.960 Your optimistic eyes seem like paradise to someone like me.

00:32:08.280 It's, you know, sacred.

00:32:10.680 It's this singing, let me see you strip down through the bone.

00:32:14.180 I want to see you speak without your television, basically.

00:32:18.300 It's this, you're singing about an experience, but then that experience is actually either ambiguous or even vacuous.

00:32:28.860 There's no there there, in a way.

00:32:32.260 And I don't say that as a criticism.

00:32:35.840 I think this is something about Depeche Mode where it can speak to you because it's so ambiguous and even vacuous.

00:32:45.480 And where it can kind of evoke a darker, bigger theme without ever putting that into words.

00:32:55.360 And it makes it kind of monumental and epic in that way.

00:33:00.380 Do you understand what I'm saying there?

00:33:03.200 Yeah, I think I do.

00:33:04.460 Yeah, what I would kind of describe it as like going from basically objectivity in the lyrics to subjectivity, ambiguity and sacrality in another way, I guess.

00:33:16.460 Right.

00:33:16.620 Yeah.

00:33:17.040 Is that what you're saying?

00:33:18.360 Yeah.

00:33:19.740 Yeah.

00:33:20.180 And you kind of know, but you don't know fully what it's about.

00:33:25.960 And I think with this album, this Black Celebration sort of paves the way for the rest for especially albums like Violator and Songs of Faith and Devotion.

00:33:37.860 I'd even put Ultra into that category as well.

00:33:41.080 The only reason maybe I wouldn't include Music for the Mass is I feel like Music for the Mass is another detour lyrically.

00:33:48.400 There still are dark themes like Little 15, but I just think this album relates more with Violator, Songs of Faith and Devotion and Ultra.

00:33:59.160 But yeah, so I mean, with the song like Black Celebration, it is kind of I get this overall vibe from this song, but then throughout the rest of the album of like, basically, let's live for today.

00:34:14.480 You know, our life sucks in this working class industrial town.

00:34:19.680 But let's just, you know, party.

00:34:22.180 I think they've gone beyond the industrial town thing.

00:34:25.540 That was something that they kept repeating in even with songs written by Alan Wilder with Some Great Reward where, yeah, it's just like, you know, if you want to, let's go or, you know, you've got your black dress on kind of thing.

00:34:43.500 Your little dress on.

00:34:44.340 Which one was it?

00:34:45.080 Now I've got your.

00:34:48.280 I think this they're moving.

00:34:51.200 They're they're they're moving kind of away from that.

00:34:54.360 And it's a more like existential dread with.

00:34:59.720 And I think they've dropped a lot of the working class ethos.

00:35:04.160 You could say like death is everywhere.

00:35:06.780 There are flies on the windscreen for a start reminds reminding us we could be torn apart tonight.

00:35:13.360 I hope it's not.

00:35:14.360 I hope it's not.

00:35:15.120 I hope it's not.

00:35:15.140 I hope it's not.

00:35:15.300 I hope it's not.

00:35:45.300 Come here.

00:36:14.900 kiss me now.

00:36:16.320 I think it's more existential and and even a song that I think it's cool and interesting.

00:36:24.460 But like new dress it's it's about media perception and almost like postmodern nihilism.

00:36:36.880 You could say let me the lyrics to this are actually quite funny.

00:36:41.200 Sex jibe husband murders his wife bomb blast victim fights for life girl 13 attacked with a knife princess die is wearing a new dress.

00:36:51.900 So it's you know you're evoking pop culture you're evoking the myth of Diana probably at the height of her powers at this point in terms of being on the tabloids and television etc.

00:37:03.740 And the fact that she never wore the fact that she never wore the same dress twice and you know jet airliner shot from the sky it it is you know you're you're playing with that kind of postmodern irony.

00:37:16.160 Sex jibe husband murders wife bomb blast victim fights for life.

00:37:34.160 Sex case jibe husband murders wife. 0.98

00:37:43.780 Sex jibe husband murders wife. 1.00

00:37:46.980 Sexинки and estilo. 0.99

00:37:49.180 Sex ли maps. 0.64

00:37:59.780 now i think they go back to some problems i find with construction time again where there's like a

00:38:17.440 a little bit of sentimental i don't know what marxism i guess you can't change the world but

00:38:25.400 you can change the facts and when you change the facts you can change points of view if you change

00:38:29.540 points of view you can change a vote and when you change a vote you can change the world i mean it's

00:38:34.740 not wrong of course um probably i i would have if i were martin i would have just stuck with the

00:38:43.300 like superficial nihilism of of the song um and even that song kind of gets rocking out at some

00:38:53.760 point like princess die is wearing a new dress but then it's kind of cold and detached

00:39:00.480 and definitely not a ballad definitely i don't even know how to describe it just this like almost

00:39:06.200 dance mix or something

00:39:08.120 so i i think they're going in a lot of new new interesting directions um

00:39:29.880 i think they're going in a lot of new new interesting directions um uh it doesn't matter

00:39:36.320 i think is also fascinating it doesn't matter too i should say because there was a it doesn't matter

00:39:41.980 some great reward album nothing matters for martin gore you have this like this music that begins that

00:39:50.160 or i'm not even doing it right um oh i what is it again like the octave jump like

00:39:57.300 yeah really reminds me of yeah really really reminds me of philip glass

00:40:06.900 and minimalism so-called and you know like einstein the beach or something like that just

00:40:14.240 this like repetitive synth very simplistic music almost like vince clark level clear simplicity

00:40:23.140 that also

00:40:52.840 is a new direction you don't you hear a lot of that monotonous like driving uh sound and

00:41:01.140 tepeche mode i think that's when essential i don't know if anyone else did it in the way that

00:41:06.500 they did it um but this is i would imagine and i haven't heard many people mention this but i would

00:41:13.360 imagine this was uh you know they're they're being influenced by noi bauten but they're also taking

00:41:20.560 in some philip glass they're taking in that minimalism that notion of you know repeating a

00:41:25.820 major third or an octave a hundred times over and over and kind of weirdly making it

00:41:31.400 rhythmic and cut and and listenable but but almost a lack of melody um i think that is also fascinating

00:41:41.280 and um definitely shows a new direction for them a direction i don't think they'll ever really go back to

00:41:48.240 you know

00:42:01.000 As I lay here with you

00:42:26.260 The shame lies with us

00:42:30.340 We talk of love and trust

00:42:34.500 That doesn't matter

00:42:36.480 Though we may be the last in the world

00:42:43.820 We feel like pioneers

00:42:47.780 Telling hopes and fears

00:42:52.080 To one another

00:42:54.000 I think with It Doesn't Matter 2, that chord progression is really interesting

00:42:59.580 Because it just makes me question

00:43:03.240 How do any of these chords fit together?

00:43:07.160 It goes from E minor to D sharp major

00:43:10.780 To A minor

00:43:12.360 That D sharp or E flat

00:43:14.340 Whatever you want to call it

00:43:15.180 D sharp major to A minor

00:43:17.960 And then back to E minor

00:43:19.520 But that changes like

00:43:21.920 But he makes it work

00:43:23.600 You would not find that

00:43:25.920 In 99

00:43:28.580 Well, 90 plus percent of pop music

00:43:32.460 That sort of change

00:43:34.860 But somehow he makes it work

00:43:38.600 I think

00:43:39.440 The content of

00:43:42.720 It Doesn't Matter 2

00:43:44.140 The lyrical content

00:43:45.060 Is a little bit different

00:43:46.220 Because I feel as though

00:43:48.380 On

00:43:48.900 It Doesn't Matter 1

00:43:51.300 On Some Great Reward

00:43:52.560 He's almost like

00:43:54.040 From the perspective

00:43:54.980 Of a

00:43:56.260 Travis Bickle

00:43:57.540 Like stalker type

00:43:59.520 I am happy

00:44:01.620 That I have you

00:44:03.340 Even though you're far away

00:44:06.780 And then

00:44:08.340 Yeah

00:44:08.660 You know, you're thinking of somebody

00:44:11.020 But it's definitely not me

00:44:12.180 That kind of thing

00:44:13.460 And then they've got like these

00:44:14.780 It sounds like really quirky

00:44:16.560 But then they throw in these like dissonant

00:44:18.220 Like synth noises

00:44:19.780 To almost

00:44:21.140 That almost come across as like

00:44:22.720 The re, re, re, re

00:44:24.140 Sound in like Psycho, you know

00:44:26.120 So that's the way that I interpreted

00:44:29.440 It Doesn't Matter 1

00:44:31.580 On Some Great Reward

00:44:32.780 It's like this

00:44:34.260 Weird stalkery

00:44:36.180 Kind of guy

00:44:37.680 Who really believes that this girl

00:44:39.240 Is in love with him

00:44:39.960 But probably doesn't know his

00:44:41.600 His own name

00:44:43.140 It doesn't matter

00:44:45.960 If this all shatters

00:44:49.500 Nothing

00:44:52.660 But it's forever

00:44:55.840 But I'm praying

00:44:59.500 That we're staying

00:45:02.820 Together

00:45:06.120 I am all mine

00:45:14.580 Your friendship

00:45:16.580 Even when you're far away

00:45:23.040 And I'm happy

00:45:26.700 In the knowledge

00:45:30.700 We may need

00:45:32.860 It doesn't matter too

00:45:34.300 It's like

00:45:34.980 I just literally don't care about you

00:45:38.240 You are 0.98

00:45:38.880 You're good for lust

00:45:41.040 And that's about it

00:45:42.520 In a way though

00:45:43.740 It's more honest

00:45:45.540 You know

00:45:46.080 It's like

00:45:46.800 Lust

00:45:48.240 Fulfils

00:45:49.740 That

00:45:50.140 Natural drive

00:45:52.300 That we all have

00:45:53.520 And you know

00:45:54.660 If he would have made a love song

00:45:55.980 It would have been dishonest

00:45:57.000 Oh you're the only one

00:45:58.180 And yada yada

00:45:58.980 That we've heard

00:45:59.600 A million times before

00:46:00.900 But this is like

00:46:01.740 The anti-love song

00:46:03.780 Oh yeah

00:46:04.480 Speaking of both chords

00:46:09.380 And anti-love songs

00:46:11.160 It's worth looking at

00:46:12.640 A question of lust

00:46:13.800 Which has always been

00:46:14.700 One of my favorite

00:46:15.840 Favorites

00:46:16.640 It was sung by

00:46:18.200 Martin Gore

00:46:19.260 And then also

00:46:19.960 It was a single

00:46:22.280 Which is also new

00:46:23.480 I mean I think I mentioned

00:46:24.660 On one or two podcasts ago

00:46:26.800 That

00:46:27.140 You know

00:46:28.460 Depeche Mode

00:46:29.360 Was basically

00:46:31.580 Dave Gahan's voice

00:46:32.820 To a large extent

00:46:33.820 You know

00:46:34.860 That was the characteristic

00:46:36.260 That everyone knew

00:46:37.300 Particularly as his voice

00:46:38.500 Was getting lower

00:46:39.280 And darker

00:46:39.880 And as you know

00:46:42.100 The years went by

00:46:43.340 But this was interesting

00:46:45.000 In that it was performed

00:46:46.040 By Martin Gore

00:46:47.340 And actually

00:46:47.780 I don't think it could have

00:46:48.800 Been performed by Dave

00:46:49.960 Unless he used falsetto

00:46:52.280 Or something

00:46:52.680 It actually goes up

00:46:53.480 To a high G sharp

00:46:54.660 On the

00:46:55.980 Crumble to dust

00:46:57.880 That kind of thing

00:46:59.120 But

00:46:59.380 It's in E major

00:47:00.800 But

00:47:02.080 It starts out

00:47:03.900 With a fifth

00:47:05.600 So you don't really know

00:47:07.120 Whether it's major or minor

00:47:08.660 And it

00:47:09.880 Has some minor

00:47:11.240 E vocations

00:47:12.540 But it's

00:47:13.200 You know

00:47:13.500 The fragile

00:47:14.580 So you're

00:47:16.680 Starting on a dissonant note

00:47:18.660 And

00:47:19.760 Then you have a fairly

00:47:21.320 You know

00:47:22.500 Standard

00:47:23.160 Romantic

00:47:24.580 Love song

00:47:25.620 Then

00:47:28.400 When you

00:47:29.460 So

00:47:30.020 And it's in E major

00:47:32.060 Then when you move

00:47:33.700 To

00:47:34.220 A

00:47:34.860 The chorus

00:47:35.720 Of

00:47:35.960 It's a question

00:47:37.020 Of trust

00:47:38.380 So you're moving

00:47:39.800 To A major

00:47:40.920 And then

00:47:42.000 And then B

00:47:42.740 It's a question

00:47:43.920 Of not

00:47:44.840 Letting

00:47:45.920 What we've

00:47:46.900 Built up

00:47:48.100 Crumble

00:47:48.840 To dust

00:47:49.900 Way up high

00:47:51.000 And then it's

00:47:52.120 It is all

00:47:53.220 Of these things

00:47:54.480 And more

00:47:55.500 It's almost like

00:47:56.160 You're going

00:47:56.460 To A minor

00:47:57.280 So the chord

00:47:58.080 Formations there

00:47:58.820 When you go

00:47:59.600 Built up

00:48:00.380 Crumble

00:48:00.700 To dust

00:48:01.300 You're in

00:48:01.680 A major

00:48:02.240 Then you go

00:48:03.320 To a

00:48:03.600 G major 0.87

00:48:04.540 Which would

00:48:05.300 Only occur

00:48:06.000 In the

00:48:06.360 A minor

00:48:06.860 Key

00:48:07.260 So you're

00:48:08.080 Flattening

00:48:08.860 Flattening

00:48:09.740 A lot

00:48:10.060 Of those

00:48:10.400 A lot

00:48:12.160 Of those

00:48:12.500 Sharps 0.97

00:48:13.420 All of

00:48:14.560 These things

00:48:15.400 Then your

00:48:15.860 C major

00:48:16.620 Which again

00:48:17.160 Would only

00:48:17.620 Occur in

00:48:18.000 A minor

00:48:18.460 Things

00:48:19.340 And more

00:48:20.220 Now you're

00:48:20.680 In A minor

00:48:21.400 So you've

00:48:21.840 Gone to

00:48:22.260 This A minor

00:48:22.820 Key

00:48:23.160 That keep

00:48:24.220 Us

00:48:24.640 Together

00:48:25.600 Then you're

00:48:26.700 Back in

00:48:27.300 E minor

00:48:28.160 And then

00:48:32.360 Independence 0.62

00:48:33.620 Back in

00:48:34.580 E major

00:48:35.240 Fragile

00:48:55.720 Like a

00:48:58.320 Baby

00:48:58.820 In

00:48:59.320 Your

00:48:59.680 Arms

00:49:02.720 Be gentle

00:49:05.680 With me

00:49:06.880 I'd never

00:49:08.440 Will

00:49:09.040 Me

00:49:09.700 Do you

00:49:10.700 How

00:49:11.740 Apologies

00:49:15.540 For all

00:49:18.480 You seem

00:49:19.060 To get

00:49:19.700 From me

00:49:21.540 But just

00:49:25.540 Like a

00:49:26.380 Child

00:49:27.220 You make

00:49:28.620 Me smile

00:49:29.420 When you

00:49:30.240 Care for me

00:49:31.520 And you

00:49:32.520 Know

00:49:33.180 It's a

00:49:34.000 Question

00:49:34.520 Of

00:49:35.060 Us

00:49:35.680 It's a

00:49:36.660 Question

00:49:37.100 Of

00:49:37.640 Trust

00:49:38.340 It's a

00:49:39.220 Question

00:49:39.700 Of

00:49:40.220 Love

00:49:41.060 That

00:49:41.520 It won't

00:49:42.100 We

00:49:42.460 Build

00:49:43.440 Out

00:49:43.900 Crumble

00:49:44.760 To

00:49:45.360 Dance

00:49:45.940 It is

00:49:47.020 All

00:49:47.520 These

00:49:47.900 Things

00:49:48.580 And

00:49:49.160 More

00:49:49.800 It

00:49:50.760 Is 0.88

00:49:51.560 To

00:49:52.060 It's

00:49:59.940 Just

00:50:00.300 Yeah

00:50:01.600 I mean

00:50:02.060 It's

00:50:02.420 I

00:50:03.340 Find

00:50:03.780 It

00:50:04.080 I find

00:50:05.080 All of

00:50:05.600 That

00:50:05.820 Very

00:50:06.280 Interesting

00:50:06.900 And

00:50:07.180 Ambitious

00:50:07.740 I mean

00:50:08.040 It's

00:50:08.360 Like

00:50:08.640 I

00:50:10.020 Think

00:50:10.380 That's

00:50:10.640 The

00:50:10.760 Most

00:50:10.980 Lyrical

00:50:12.060 Reaching

00:50:14.520 Kind

00:50:15.460 Of

00:50:15.580 Like

00:50:15.780 I

00:50:16.700 Don't

00:50:16.880 Know

00:50:17.040 Quasi

00:50:17.480 Show

00:50:17.960 Tune

00:50:18.460 If

00:50:18.780 You

00:50:19.080 Will

00:50:19.880 Writing

00:50:21.240 From

00:50:21.840 Martin

00:50:22.160 Gore

00:50:22.460 It's

00:50:23.360 Interesting

00:50:24.400 The chords

00:50:25.060 He chooses

00:50:25.600 It's

00:50:26.140 Not

00:50:26.520 You know

00:50:26.840 To

00:50:26.980 Just

00:50:27.220 Start

00:50:28.060 An E 0.97

00:50:28.560 And

00:50:28.880 Then

00:50:29.100 Move

00:50:30.160 To

00:50:30.380 A

00:50:30.760 Major

00:50:31.220 For

00:50:31.520 Your

00:50:31.660 Chorus

00:50:32.200 And

00:50:32.560 Then

00:50:32.680 A

00:50:32.880 Minor

00:50:33.280 And

00:50:35.480 Then

00:50:35.600 Just

00:50:35.780 Return

00:50:36.220 Back

00:50:36.760 It's

00:50:37.280 An

00:50:37.480 Interesting

00:50:38.300 Departure

00:50:39.060 I

00:50:41.820 You know

00:50:43.300 Again

00:50:43.540 He's

00:50:43.800 Like

00:50:44.000 23

00:50:44.480 Years

00:50:44.840 Old

00:50:45.120 At

00:50:45.280 This

00:50:45.440 Point

00:50:45.680 Or

00:50:45.880 25

00:50:47.120 Maybe

00:50:47.600 The

00:50:47.780 Most

00:50:47.980 Who

00:50:48.140 Knows

00:50:48.340 But

00:50:48.680 It's

00:50:49.800 Actually

00:50:50.080 Very

00:50:50.440 Mature

00:50:51.020 Writing

00:50:51.740 And

00:50:53.460 It

00:50:53.820 Musically

00:50:54.340 That

00:50:54.820 Is 0.88

00:50:55.140 There

00:50:55.700 There's

00:50:56.040 A

00:50:56.180 There's

00:50:56.440 A

00:50:56.620 Sense

00:50:57.000 Of

00:50:57.220 Despair

00:50:57.920 Within

00:50:58.280 The

00:50:58.500 Love

00:50:58.700 Song

00:50:59.080 You know

00:51:00.420 Of

00:51:00.900 We're

00:51:01.280 Just

00:51:01.420 Going

00:51:01.580 To

00:51:01.640 Allow

00:51:02.080 Everything

00:51:02.520 We

00:51:02.740 Built

00:51:03.040 Up

00:51:03.240 To

00:51:03.400 Crumble

00:51:03.720 To

00:51:03.940 Dust

00:51:04.340 While

00:51:04.720 He's

00:51:05.020 Singing

00:51:05.280 About

00:51:06.160 Staying

00:51:07.060 Together

00:51:07.380 So

00:51:07.800 I

00:51:08.640 You know

00:51:09.220 It's

00:51:09.480 A

00:51:09.580 Great

00:51:09.740 Song

00:51:10.140 I've

00:51:10.480 Heard

00:51:10.620 It

00:51:10.760 Live

00:51:11.180 I

00:51:11.880 Love

00:51:13.300 It

00:51:13.420 When

00:51:13.540 They

00:51:13.660 Perform

00:51:14.060 It

00:51:14.220 Live

00:51:14.660 I

00:51:15.140 Think

00:51:15.320 It's

00:51:15.460 A

00:51:15.580 Classic

00:51:16.100 One

00:51:17.560 Of

00:51:17.680 Their

00:51:17.800 Best

00:51:18.140 Actually

00:51:18.600 One

00:51:20.840 Of

00:51:20.940 Their

00:51:21.040 More

00:51:21.260 Interesting

00:51:21.740 As

00:51:22.400 Well

00:51:22.820 Of

00:51:23.520 That

00:51:24.980 Just

00:51:39.600 Really

00:51:40.220 Kind

00:51:40.600 Of

00:51:40.680 Infective

00:51:41.500 Secondary

00:51:42.540 Melody

00:51:43.080 That's

00:51:43.780 Going

00:51:44.020 On

00:51:44.400 It

00:51:44.560 Feels

00:51:44.980 Like

00:51:45.180 It

00:51:45.280 Could

00:51:45.380 Just

00:51:45.540 Keep

00:51:45.780 Going

00:51:46.060 On

00:51:46.280 Forever

00:51:46.640 It

00:51:46.900 Actually

00:51:47.120 Does

00:51:47.360 Have

00:51:47.500 A

00:51:47.640 Fade

00:51:47.880 Out

00:51:48.180 I

00:51:49.860 Yeah

00:51:50.180 Just

00:51:50.680 I

00:51:51.320 Think

00:51:51.500 An

00:51:51.620 Amazing

00:51:51.900 Song

00:51:52.300 It

00:51:54.220 It's

00:51:54.300 A

00:51:54.480 Question

00:51:55.000 Of

00:51:55.520 Lust

00:51:56.220 It's

00:51:56.820 A

00:51:57.040 Question

00:51:57.480 Of

00:51:58.020 Trust

00:51:58.740 It's

00:51:59.400 A

00:51:59.640 Question

00:52:00.060 Of

00:52:00.600 Love

00:52:01.520 And

00:52:02.020 What

00:52:02.520 We

00:52:02.880 Build

00:52:03.880 Up

00:52:04.500 From

00:52:05.140 To

00:52:05.760 Dust

00:52:06.400 Is 0.88

00:52:07.420 All

00:52:07.780 These

00:52:08.340 Things

00:52:09.000 I

00:52:09.580 Know

00:52:10.220 We

00:52:11.160 Keep

00:52:11.520 Us

00:52:12.120 Together

00:52:12.880 It's

00:52:35.220 A

00:52:35.440 Question

00:52:35.920 Of

00:52:36.500 Lust

00:52:37.140 It's

00:52:37.780 A

00:52:38.080 Question

00:52:38.480 Of

00:52:39.040 Probably

00:52:39.760 My

00:52:40.080 Favorite

00:52:40.460 On

00:52:40.760 The

00:52:40.920 Album

00:52:41.240 It's

00:52:42.060 Got

00:52:42.400 That

00:52:42.880 Good

00:52:43.400 It

00:52:44.900 Sounds

00:52:45.140 Like

00:52:45.300 A

00:52:45.420 Beatles

00:52:45.680 Song

00:52:46.120 In

00:52:46.340 A

00:52:46.480 Lot

00:52:46.640 Of

00:52:46.720 Ways

00:52:46.920 And

00:52:47.100 Martin

00:52:47.400 Has

00:52:47.920 Said

00:52:48.140 That

00:52:48.340 Before

00:52:48.800 As

00:52:49.100 Far

00:52:49.340 As

00:52:49.600 The

00:52:50.300 Just

00:52:51.680 The

00:52:51.880 At

00:52:52.580 Least

00:52:52.740 The

00:52:52.940 Major

00:52:53.260 Part

00:52:53.720 Of

00:52:53.980 It

00:52:54.200 It

00:52:55.480 Does

00:52:55.860 Sound

00:52:56.080 You

00:52:56.300 Know

00:52:56.360 Like

00:52:56.540 A

00:52:56.720 Classic

00:52:57.600 Love

00:52:57.920 Song

00:52:58.160 If

00:52:58.340 You

00:52:58.460 Just

00:52:58.720 Played

00:52:59.040 It

00:52:59.160 On

00:52:59.400 Like

00:52:59.660 Acoustic

00:53:00.080 Guitar

00:53:00.460 I

00:53:01.640 Think

00:53:01.900 Another

00:53:02.640 Interesting

00:53:04.040 Part

00:53:04.380 Of

00:53:04.520 The

00:53:04.800 Sound

00:53:06.020 In

00:53:07.180 A

00:53:07.280 Question

00:53:07.540 Of

00:53:07.720 Lust

00:53:08.080 Is 0.88

00:53:08.720 It

00:53:09.700 Has

00:53:09.940 This

00:53:10.260 Kind

00:53:10.660 Of

00:53:11.240 The

00:53:11.680 Drums

00:53:12.140 In

00:53:12.340 That

00:53:12.540 Song

00:53:12.840 Kind

00:53:13.140 Of

00:53:13.220 Had

00:53:13.360 This

00:53:13.560 Standard

00:53:14.640 Like

00:53:14.900 80s

00:53:15.380 Ballad

00:53:15.940 That

00:53:16.460 You

00:53:16.640 Could

00:53:16.860 Hear

00:53:17.160 In

00:53:17.380 A

00:53:17.520 Song

00:53:17.760 Like

00:53:18.000 Drive

00:53:18.380 By

00:53:18.760 The

00:53:18.920 Cars

00:53:19.280 This

00:53:19.520 Like

00:53:19.860 Do

00:53:20.640 Do

00:53:21.100 Do

00:53:21.200 Like

00:53:22.960 With

00:53:23.220 That

00:53:23.420 Snare

00:53:23.840 On

00:53:24.020 The

00:53:24.140 Four

00:53:24.560 Like

00:53:25.140 Nothing

00:53:25.480 And

00:53:25.800 Then

00:53:25.920 This

00:53:26.080 Shuffling

00:53:27.180 Kick 0.71

00:53:27.840 Drum

00:53:28.120 Pattern

00:53:28.680 And

00:53:28.780 Then

00:53:28.960 This

00:53:29.620 Snare

00:53:30.240 On

00:53:30.400 The

00:53:30.540 Four

00:53:30.820 And

00:53:32.000 Also

00:53:32.320 The

00:53:32.860 E

00:53:33.620 And

00:53:33.800 D

00:53:34.000 Sharp

00:53:34.240 The

00:53:34.500 Do

00:53:34.820 Do

00:53:35.320 Do

00:53:35.820 Do

00:53:36.820 Do

00:53:37.240 Do

00:53:37.820 Do

00:53:38.360 Do

00:53:38.920 Throughout

00:53:39.300 The

00:53:39.500 Verse

00:53:39.840 Kind

00:53:41.320 Of

00:53:41.460 Gives

00:53:41.860 It

00:53:42.000 That

00:53:42.180 Tension

00:53:42.560 Of

00:53:42.760 That

00:53:42.980 Half

00:53:44.840 Step

00:53:45.100 Between

00:53:45.500 E

00:53:46.100 And

00:53:46.200 D

00:53:46.340 Sharp

00:53:46.620 But

00:53:48.140 It

00:53:48.300 It

00:53:49.140 All

00:53:49.280 It's

00:53:49.540 Like

00:53:49.760 A

00:53:50.480 Darker 1.00

00:53:50.940 Version

00:53:51.280 Of

00:53:51.600 Somebody

00:53:52.320 Like

00:53:53.080 In

00:53:53.320 The

00:53:53.480 First

00:53:53.860 Verse

00:53:54.680 He's

00:53:55.000 Talking

00:53:55.380 About

00:53:55.740 How

00:53:55.960 He's

00:53:56.220 Fragile 0.61

00:53:57.040 And

00:53:57.240 Vulnerable

00:53:57.840 In

00:53:59.020 This

00:53:59.500 Girl's

00:54:00.140 Arms

00:54:00.480 And

00:54:00.700 Then

00:54:00.840 The

00:54:01.040 Second

00:54:01.300 Verse

00:54:01.700 He's

00:54:02.220 Stressing

00:54:02.660 Independence 0.62

00:54:03.540 It's

00:54:05.240 You know

00:54:05.520 It

00:54:05.640 Gives

00:54:05.820 You

00:54:05.940 That

00:54:06.100 Perspective

00:54:06.640 Of

00:54:07.600 Somebody

00:54:07.880 Who

00:54:08.160 Doesn't

00:54:08.700 Know

00:54:08.840 What

00:54:09.000 They

00:54:09.120 Want

00:54:09.480 In

00:54:10.200 A

00:54:10.440 In

00:54:10.920 A

00:54:11.020 Relationship

00:54:11.800 But

00:54:12.280 Yeah

00:54:12.460 It

00:54:12.640 Is 0.88

00:54:12.900 Just

00:54:13.300 That

00:54:13.940 Is 0.88

00:54:14.400 Definitely

00:54:14.720 Single

00:54:15.200 Material

00:54:15.900 For

00:54:16.480 Sure

00:54:16.720 Yeah

00:54:17.060 Yeah

00:54:18.980 And

00:54:20.420 Sometimes

00:54:21.000 Almost

00:54:21.340 Seems

00:54:21.780 Like

00:54:22.220 A

00:54:22.480 Somebody

00:54:23.180 Remake

00:54:25.300 Yeah

00:54:27.860 I

00:54:28.080 Do

00:54:28.280 There

00:54:28.620 Is 0.88

00:54:28.760 Something

00:54:29.040 Interesting

00:54:29.560 About

00:54:29.880 That

00:54:30.120 I

00:54:30.840 Like

00:54:31.140 It

00:54:31.340 Yeah

00:54:31.620 There's

00:54:33.040 Something

00:54:33.300 Interesting

00:54:33.740 About

00:54:33.980 Like

00:54:34.220 The

00:54:34.460 Fact

00:54:34.840 That

00:54:35.020 It

00:54:35.180 Sounds

00:54:35.500 Like

00:54:35.720 Incomplete

00:54:36.480 You know

00:54:37.540 And

00:54:37.760 You can

00:54:38.180 Hear

00:54:38.360 This

00:54:38.500 Kind

00:54:38.680 Of

00:54:38.740 Like

00:54:38.900 Shuffling

00:54:39.560 Into

00:54:39.900 The

00:54:40.060 Background

00:54:40.560 Like

00:54:41.480 It

00:54:41.760 Is 0.88

00:54:42.000 Almost

00:54:42.280 Like

00:54:42.600 Just

00:54:43.100 A

00:54:43.300 Half

00:54:43.640 Fleshed

00:54:44.140 Out

00:54:44.240 Idea

00:54:44.600 You

00:54:46.060 Know

00:54:46.240 Like

00:54:46.420 It's

00:54:46.620 Missing

00:54:47.100 Maybe

00:54:48.500 A

00:54:49.560 Coda

00:54:50.680 Or

00:54:51.040 Maybe

00:54:51.840 A

00:54:52.020 Better

00:54:52.160 Chorus

00:54:52.620 Or

00:54:52.800 Something

00:54:53.080 But

00:54:53.440 Yeah

00:54:53.980 I

00:54:54.200 Think

00:54:54.660 It

00:54:55.680 Leaves

00:54:56.000 You

00:54:56.140 Wanting

00:54:56.500 More

00:54:56.900 Yeah

00:54:57.940 Here

00:54:58.280 In

00:54:58.440 This

00:54:58.620 House

00:54:59.020 And

00:54:59.280 World

00:54:59.560 Full

00:54:59.760 Of

00:54:59.880 Nothing

00:55:01.620 It's

00:55:02.440 Funny

00:55:02.700 Because

00:55:02.940 Reading

00:55:03.540 About

00:55:03.880 This

00:55:04.080 They

00:55:04.440 Spent

00:55:05.120 Three

00:55:06.320 Months

00:55:07.220 In

00:55:07.700 Hansa

00:55:08.760 Studios

00:55:09.320 Or

00:55:09.640 Something

00:55:10.180 Like

00:55:10.440 This

00:55:10.680 And

00:55:10.860 They

00:55:11.080 They

00:55:11.300 Said

00:55:11.520 Daniel

00:55:12.160 Miller

00:55:12.420 Said

00:55:12.640 That

00:55:12.780 They

00:55:12.900 Wanted

00:55:13.200 To

00:55:13.340 Live

00:55:13.720 The

00:55:13.900 Album

00:55:14.280 So

00:55:14.480 They

00:55:14.600 Were

00:55:14.680 Just

00:55:14.860 Showing

00:55:15.240 Up

00:55:15.400 To

00:55:15.540 Work

00:55:15.840 Every

00:55:16.140 Day

00:55:16.560 You

00:55:18.000 Know

00:55:18.140 Spending

00:55:18.600 The

00:55:18.780 Whole

00:55:18.960 Day

00:55:19.160 In

00:55:19.260 The

00:55:19.380 Studio

00:55:19.760 Each

00:55:20.600 Of

00:55:20.740 Them

00:55:20.860 Working

00:55:21.160 On

00:55:21.380 Something

00:55:21.660 Different

00:55:22.060 Who

00:55:22.840 Knows

00:55:23.100 What

00:55:23.300 Fletch

00:55:23.620 Was

00:55:23.780 Up

00:55:23.940 To

00:55:24.240 You

00:55:25.600 Know

00:55:25.720 Maybe

00:55:26.060 Was

00:55:26.680 Became

00:55:27.260 A

00:55:31.620 Foreign

00:55:31.940 Language

00:55:32.340 Or

00:55:32.540 Something

00:55:32.780 But

00:55:33.120 It

00:55:35.000 They

00:55:36.060 They

00:55:36.360 Have

00:55:36.580 A

00:55:36.700 Couple 0.60

00:55:36.920 Of

00:55:37.060 The

00:55:37.180 Songs

00:55:37.520 That

00:55:37.720 Are

00:55:37.820 Almost

00:55:38.100 A

00:55:38.280 Little

00:55:38.400 Bit

00:55:38.580 Elliptical

00:55:39.160 Like

00:55:39.340 They

00:55:39.480 Feel

00:55:40.080 Unfinished

00:55:40.800 Again

00:55:41.600 Sometimes

00:55:42.260 It's

00:55:42.480 Like

00:55:42.680 That

00:55:43.120 World

00:55:45.460 Full

00:55:45.700 Of

00:55:45.840 Nothing

00:55:46.180 And

00:55:46.400 Here

00:55:46.600 In

00:55:46.720 This

00:55:46.880 House

00:55:47.240 But

00:55:47.540 They're

00:55:47.740 All

00:55:47.940 Just

00:55:48.220 They're

00:55:48.960 Almost

00:55:49.180 Like

00:55:49.360 Little

00:55:49.640 Kind

00:55:49.960 Of

00:55:50.220 Excursions

00:55:51.600 Within

00:55:51.920 The

00:55:52.180 Whole

00:55:52.600 Broader

00:55:53.980 Album

00:55:54.460 And

00:55:54.740 I

00:55:54.920 Like

00:55:55.240 It

00:55:55.360 I

00:55:55.480 Almost

00:55:55.680 Don't

00:55:56.000 Want

00:55:56.240 Them

00:55:56.380 To

00:55:56.500 Go

00:55:56.660 On

00:55:56.880 Now

00:55:57.260 Something

00:55:57.580 Like

00:56:01.620 It's

00:56:02.340 It's

00:56:02.620 The

00:56:02.760 Most

00:56:03.060 Just

00:56:03.400 Standard

00:56:04.060 In

00:56:05.540 Terms

00:56:05.840 Of

00:56:05.980 Writing

00:56:06.400 The

00:56:06.780 Most

00:56:07.000 Standard

00:56:07.520 By

00:56:07.860 The

00:56:08.020 Book

00:56:08.240 Love

00:56:08.500 Song

00:56:08.800 To

00:56:08.960 The

00:56:09.100 Point

00:56:09.420 Of

00:56:09.660 Cringe

00:56:10.100 Actually

00:56:10.600 But

00:56:11.320 Then

00:56:11.620 You

00:56:12.160 Can

00:56:12.400 See

00:56:13.220 That

00:56:13.440 They've

00:56:13.680 Added

00:56:14.060 In

00:56:14.220 Like

00:56:14.360 You

00:56:14.480 Can

00:56:14.620 Hear

00:56:14.900 Children

00:56:15.440 In

00:56:15.680 The

00:56:15.780 Background

00:56:16.200 Or

00:56:16.800 Like

00:56:17.400 A

00:56:17.640 Merry

00:56:18.000 Go

00:56:18.240 Round

00:56:18.700 Or

00:56:18.980 There's

00:56:19.680 Something

00:56:20.100 You

00:56:20.500 Know

00:56:20.700 Kind

00:56:21.360 Of

00:56:21.460 Like

00:56:21.600 With

00:56:21.740 Blasimus

00:56:22.160 Rumors

00:56:22.680 Where

00:56:22.860 You

00:56:22.960 Have

00:56:23.140 All

00:56:23.300 These

00:56:23.560 Other

00:56:24.180 Sounds

00:56:24.860 It's

00:56:25.140 Kind

00:56:25.280 Of

00:56:25.340 Almost

00:56:25.540 Cinematic

00:56:26.220 And

00:56:26.880 Heartbeats

00:56:28.160 Are

00:56:28.360 Like

00:56:29.760 It's

00:56:30.480 They're

00:56:31.040 Trying

00:56:31.420 To

00:56:31.580 Create

00:56:32.060 Like

00:56:32.240 A

00:56:32.420 Movie

00:56:32.760 Or

00:56:33.060 Visual

00:56:33.480 Quality

00:56:34.160 To

00:56:34.340 The

00:56:34.440 Music

00:56:34.680 And

00:56:35.400 They

00:56:36.540 Don't

00:56:36.940 Do

00:56:37.200 That

00:56:37.660 A

00:56:38.040 Lot

00:56:38.420 With

00:56:39.260 Those

00:56:39.640 You

00:56:40.240 Know

00:56:40.320 Three

00:56:40.600 Songs

00:56:41.100 That

00:56:41.280 I

00:56:41.360 Mentioned

00:56:41.840 Although

00:56:42.160 I

00:56:42.720 Don't

00:56:42.880 I

00:56:43.000 Guess

00:56:43.160 There's

00:56:43.360 The

00:56:43.520 Clock

00:56:44.180 Ticking

00:56:44.760 With

00:56:45.000 Here

00:56:45.120 In

00:56:45.220 This

00:56:45.360 House

00:56:45.600 But

00:56:45.900 Here

00:56:50.360 Is 0.88

00:56:50.740 The

00:56:51.200 House

00:56:52.300 Where

00:56:53.200 It

00:56:53.560 All

00:56:54.100 Happens

00:56:55.700 Those

00:56:56.940 Tender

00:56:57.540 Moments

00:56:59.680 Under

00:57:00.820 This

00:57:01.640 Roof

00:57:04.680 Body

00:57:05.580 And

00:57:06.000 Soul

00:57:06.360 Come

00:57:06.780 Together

00:57:07.720 As

00:57:09.220 We

00:57:09.500 Come

00:57:09.860 Closer

00:57:10.440 Together

00:57:11.580 And

00:57:12.680 As

00:57:13.260 It

00:57:13.640 Happens

00:57:14.200 It

00:57:14.420 Happens

00:57:15.360 Here

00:57:15.860 In

00:57:16.080 This

00:57:16.320 House

00:57:17.460 And

00:57:32.200 I

00:57:32.400 Feel

00:57:32.820 You're

00:57:33.340 Home

00:57:33.840 And

00:57:34.100 It

00:57:34.320 Feels

00:57:34.760 Like

00:57:35.240 Home

00:57:35.800 And

00:57:36.020 There's

00:57:36.280 Someone

00:57:36.980 Calling

00:57:37.860 On

00:57:38.140 The

00:57:38.340 Telephone

00:57:39.580 Let's

00:57:40.520 Stay

00:57:40.900 Home

00:57:41.540 Let's

00:57:41.940 Go

00:57:42.380 Down

00:57:42.800 Side

00:57:43.620 And

00:57:43.900 I

00:57:44.300 Have

00:57:44.780 So

00:57:45.280 So

00:57:45.300 Much

00:57:45.880 To

00:57:46.280 Confide

00:57:47.100 To

00:57:47.360 You

00:57:47.880 But

00:57:51.000 I'm

00:57:51.580 Glad

00:57:51.980 In

00:57:52.260 A

00:57:52.340 Way

00:57:52.460 I

00:57:52.600 Kind

00:57:52.760 Of

00:57:52.860 Like

00:57:53.100 Those

00:57:53.360 Songs

00:57:53.700 As

00:57:53.920 They

00:57:54.060 Are

00:57:54.340 They're

00:57:54.700 Just

00:57:54.880 Kind

00:57:55.200 Of

00:57:55.280 Like

00:57:55.520 Two

00:57:56.220 And

00:57:56.360 A

00:57:56.420 Half

00:57:56.600 Minutes

00:57:57.060 That's

00:57:57.560 Enough

00:57:57.960 To

00:57:59.180 To

00:57:59.200 To

00:57:59.260 B

00:57:59.460 Side

00:57:59.860 It's

00:58:00.220 It's

00:58:00.240 It's

00:58:00.500 An

00:58:00.600 Excursion

00:58:01.340 Etc

00:58:02.000 Yeah

00:58:04.900 I

00:58:05.060 Think

00:58:05.400 Here

00:58:06.500 In

00:58:06.940 Here's

00:58:08.180 The

00:58:08.320 House

00:58:08.660 Is 0.88

00:58:09.140 It

00:58:10.260 Does

00:58:10.480 Kind

00:58:10.680 Of

00:58:10.760 Remind

00:58:11.080 Me

00:58:11.300 Of

00:58:11.760 Just

00:58:12.900 Because

00:58:13.200 Of

00:58:13.340 The

00:58:13.460 Lyrics

00:58:13.760 Our

00:58:14.060 House

00:58:14.340 By

00:58:14.560 Madness

00:58:15.060 It's

00:58:15.320 Certainly

00:58:15.580 Not

00:58:15.960 Like

00:58:16.180 Anthemic

00:58:16.860 Like

00:58:17.380 That

00:58:17.620 Song

00:58:47.380 But

00:58:49.440 You

00:58:49.620 Can

00:58:49.760 Just

00:58:49.920 Picture

00:58:50.380 In

00:58:50.620 Your

00:58:50.760 Head

00:58:51.080 Like 0.99

00:58:51.520 You

00:58:52.240 Know

00:58:52.360 A

00:58:52.540 Couple 0.60

00:58:52.860 Like

00:58:53.180 Staying

00:58:53.700 In

00:58:53.940 And

00:58:54.160 Like

00:58:54.560 By

00:58:54.900 The

00:58:55.060 Fire

00:58:55.260 It's

00:58:55.760 A

00:58:55.900 Tender

00:58:56.520 Song

00:58:56.920 And

00:58:57.180 Actually

00:58:57.720 A lot

00:58:58.080 Of

00:58:58.320 This

00:58:59.140 Album

00:58:59.520 Especially

00:59:01.340 The

00:59:01.520 Martin

00:59:01.700 Songs

00:59:02.020 Are

00:59:02.380 Like

00:59:02.860 Very

00:59:03.160 Tender

00:59:03.580 This

00:59:04.140 Isn't

00:59:04.400 A

00:59:04.520 Martin

00:59:04.720 Song

00:59:05.020 You

00:59:05.140 Know

00:59:05.260 But

00:59:05.720 I

00:59:06.120 Mean

00:59:06.300 They

00:59:07.040 Have

00:59:07.240 Like

00:59:07.420 A

00:59:07.520 Great

00:59:07.780 Use

00:59:08.020 Of

00:59:08.180 Harmony

00:59:08.680 Between

00:59:09.660 Him

00:59:10.660 And

00:59:10.800 Dave

00:59:11.020 Which

00:59:11.300 I

00:59:12.640 Wish

00:59:13.000 They

00:59:13.240 Would

00:59:13.600 Have

00:59:13.960 Explored

00:59:14.620 A

00:59:14.920 Little

00:59:15.040 Bit

00:59:17.380 Only

00:59:18.100 Did

00:59:18.300 They

00:59:18.420 Really

00:59:18.720 Explore

00:59:19.200 Their

00:59:19.500 Harmony

00:59:19.920 With

00:59:20.100 His

00:59:20.260 Baritone

00:59:20.720 And

00:59:21.180 Martin's

00:59:21.720 Tenor

00:59:22.080 But

00:59:24.220 The

00:59:24.480 Song

00:59:24.940 It's

00:59:26.980 That's

00:59:27.920 Got

00:59:28.040 A

00:59:28.360 Sort

00:59:29.100 Of

00:59:29.220 Interesting

00:59:29.680 Chord

00:59:30.980 Structure

00:59:31.400 As

00:59:32.320 Far

00:59:32.520 As

00:59:32.720 Going

00:59:33.680 From

00:59:33.920 C

00:59:34.300 Minor

00:59:34.640 To

00:59:34.940 E

00:59:35.340 Flat

00:59:35.860 To

00:59:36.540 A

00:59:36.820 Flat

00:59:37.120 All

00:59:37.520 Those

00:59:37.760 Are

00:59:37.940 In

00:59:38.140 C

00:59:38.360 Minor

00:59:38.600 But

00:59:38.800 Then

00:59:38.940 Going

00:59:39.100 To

00:59:39.240 G

00:59:39.500 Major

00:59:40.080 You

00:59:40.740 Know

00:59:40.880 That

00:59:41.140 Is 0.88

00:59:41.420 In

00:59:42.340 Itself

00:59:42.700 Is 0.88

00:59:42.940 Interesting

00:59:43.300 And

00:59:43.480 That's

00:59:43.680 Like

00:59:43.820 Classic

00:59:44.320 Martin

00:59:45.440 Gore

00:59:45.760 But

00:59:46.600 When

00:59:48.360 You

00:59:48.540 Not

00:59:48.840 That

00:59:49.140 Unusual

00:59:49.580 I

00:59:49.760 Would

00:59:49.900 Say

00:59:50.160 With

00:59:50.580 That

00:59:50.760 You

00:59:51.740 Just

00:59:52.000 Said

00:59:52.260 But

00:59:52.480 Yeah

00:59:52.800 There

00:59:53.640 Is 0.88

00:59:53.980 That

00:59:54.200 You're

00:59:54.500 Going

00:59:54.720 From

00:59:54.940 B

00:59:55.260 Flat

00:59:55.560 To

00:59:55.780 B

00:59:56.100 Natural

00:59:57.240 The

00:59:58.320 Leading

00:59:58.660 Tone

00:59:58.920 To

00:59:59.080 C

00:59:59.320 You

01:00:00.060 Know

01:00:00.280 And

01:00:00.600 Yeah

01:00:00.840 I

01:00:01.140 Like

01:00:01.340 The

01:00:01.460 Yeah

01:00:02.320 It's

01:00:02.600 Enough

01:00:02.940 To

01:00:03.420 Catch

01:00:04.920 Your

01:00:05.080 Ear

01:00:05.320 And

01:00:06.220 With

01:00:08.220 What I

01:00:09.100 Think

01:00:09.280 I

01:00:09.440 Found

01:00:09.780 Really

01:00:10.260 Interesting

01:00:10.680 With

01:00:11.580 World

01:00:12.880 Full

01:00:13.120 Of

01:00:13.300 Nothing

01:00:13.720 Is 0.88

01:00:14.780 That

01:00:14.880 It

01:00:15.860 Just

01:00:16.100 Describes

01:00:16.980 Like

01:00:17.440 A

01:00:18.640 Couple 0.60

01:00:19.020 In

01:00:21.580 Like

01:00:21.920 You

01:00:22.340 Know

01:00:22.620 Forgive

01:00:23.060 Me

01:00:23.400 But

01:00:23.760 A

01:00:24.020 Couple 0.60

01:00:24.300 In

01:00:24.600 Like

01:00:24.960 A

01:00:26.160 Working

01:00:26.520 Class

01:00:26.940 Super

01:00:27.340 Mundane

01:00:27.960 Deindustrialized

01:00:29.000 Like

01:00:29.340 Town

01:00:29.920 I

01:00:30.200 Can

01:00:30.460 Personally

01:00:30.960 Find

01:00:31.340 This

01:00:31.680 Relatable

01:00:32.400 Just

01:00:33.940 Based

01:00:34.300 On

01:00:34.680 Where

01:00:35.800 I'm

01:00:36.140 From

01:00:36.680 You

01:00:36.900 Know

01:00:37.060 There's

01:00:38.060 Something

01:00:38.300 About

01:00:38.720 The

01:00:39.100 The

01:00:39.420 Lyrics

01:00:39.820 In

01:00:40.860 The

01:00:41.000 Chorus

01:00:41.320 Though

01:00:42.000 It's

01:00:42.200 Not

01:00:42.400 Love

01:00:42.660 It

01:00:42.800 Means

01:00:43.040 Something

01:00:43.400 Very

01:00:43.700 Simple

01:00:44.160 Maybe

01:00:45.060 Too

01:00:45.360 Simple

01:00:45.720 But

01:00:46.120 It

01:00:47.200 Gets

01:00:47.420 To

01:00:47.600 The

01:00:47.740 Point

01:00:48.080 And

01:00:49.140 That

01:00:49.500 In

01:00:49.760 Itself

01:00:50.100 That

01:00:50.360 Progression

01:00:50.820 Of

01:00:51.060 The

01:00:51.220 Verse

01:00:51.600 Is 0.88

01:00:52.840 Kind

01:00:53.760 Of

01:00:53.880 Like

01:00:54.040 A

01:00:54.260 Martin

01:00:54.720 Gore

01:00:55.080 Isation

01:00:55.660 Or

01:00:55.940 A

01:00:56.120 Minor

01:00:56.460 Isation

01:00:57.100 Of

01:00:57.520 The

01:00:57.740 Standard

01:00:58.400 Chord

01:00:59.060 Progression

01:00:59.420 That

01:00:59.620 You've

01:00:59.840 Talked

01:01:00.100 About

01:01:00.380 Before

01:01:00.800 Which

01:01:01.620 Is 0.88

01:01:01.760 Like

01:01:01.920 Going

01:01:02.120 From

01:01:02.380 The

01:01:02.740 One

01:01:03.740 To

01:01:04.300 The

01:01:04.440 Minor

01:01:04.660 Six

01:01:05.180 To

01:01:05.560 The

01:01:05.700 Four

01:01:05.880 To

01:01:06.020 Five

01:01:06.500 There's

01:01:06.940 So

01:01:09.820 Breath

01:01:09.960 You

01:01:10.140 Take

01:01:10.480 By

01:01:10.660 The

01:01:10.800 Police

01:01:11.180 Does

01:01:11.480 That

01:01:11.820 Stand

01:01:12.220 By

01:01:12.380 Me

01:01:12.600 By

01:01:12.800 Benny

01:01:13.080 King

01:01:13.460 When

01:01:13.900 The

01:01:14.100 Night

01:01:14.560 Has

01:01:15.100 Come

01:01:15.620 Won't

01:01:18.400 You

01:01:18.560 Stand

01:01:19.040 By

01:01:19.860 Me

01:01:20.440 You

01:01:20.680 Know

01:01:20.800 That

01:01:20.960 Kind

01:01:21.240 Of

01:01:21.460 Progression

01:01:22.880 Except

01:01:23.500 What

01:01:23.720 Martin

01:01:24.080 Does

01:01:24.480 Is 0.88

01:01:24.820 Make

01:01:25.060 All

01:01:25.580 Of

01:01:25.700 The

01:01:25.820 Chords

01:01:26.200 Minor

01:01:26.780 So

01:01:27.440 It's

01:01:27.740 A

01:01:28.020 Minor

01:01:28.380 To

01:01:28.840 F

01:01:29.120 Sharp

01:01:29.480 Minor

01:01:29.880 Which

01:01:30.520 Is 0.88

01:01:30.660 A

01:01:30.780 Huge

01:01:31.060 You

01:01:32.360 Know

01:01:32.480 That's

01:01:32.760 A

01:01:32.880 Jump

01:01:33.060 Of

01:01:33.200 A

01:01:33.360 Third

01:01:33.640 And

01:01:34.880 Then

01:01:35.100 To

01:01:35.360 D

01:01:35.640 Minor

01:01:35.940 Another

01:01:36.380 Third

01:01:36.700 Way

01:01:36.920 And

01:01:37.120 To

01:01:37.420 E

01:01:37.700 Minor

01:01:38.000 Back

01:01:38.460 To

01:01:38.720 A

01:01:39.800 Minor

01:01:40.120 It's

01:01:41.000 Just

01:01:41.260 Again

01:01:42.020 Another

01:01:42.440 Anti

01:01:43.100 Love

01:01:43.500 Song

01:01:43.840 Close

01:01:49.260 Naked

01:01:52.580 Skin

01:01:54.780 On

01:01:55.220 Skin

01:01:56.520 Tears

01:01:57.920 Are

01:01:58.240 Falling

01:01:59.520 Tears

01:02:00.340 Of

01:02:00.600 Joy

01:02:01.520 Her

01:02:02.620 First

01:02:03.260 Boy

01:02:04.180 His

01:02:05.400 First

01:02:05.960 Girl 0.91

01:02:07.000 Makes

01:02:08.620 A

01:02:08.900 Change

01:02:09.700 In

01:02:10.100 A

01:02:10.400 World

01:02:10.900 Full

01:02:11.440 Of

01:02:11.700 Nothing

01:02:12.500 Though

01:02:13.480 It's

01:02:13.940 Not

01:02:14.260 Love

01:02:15.100 It

01:02:15.360 Means

01:02:16.680 Something

01:02:17.460 It

01:02:26.220 also

01:02:26.540 just

01:02:26.840 sticks

01:02:27.140 with

01:02:27.360 this

01:02:27.640 theme

01:02:28.580 of

01:02:28.800 what

01:02:29.240 gore

01:02:29.660 is

01:02:29.780 going

01:02:30.020 for

01:02:30.320 the

01:02:30.480 entire

01:02:30.780 time

01:02:31.160 which

01:02:31.360 is

01:02:31.520 a

01:02:31.760 world

01:02:32.260 full

01:02:32.580 of

01:02:32.780 nothing

01:02:33.260 finding

01:02:34.300 love

01:02:34.860 within

01:02:35.360 that

01:02:35.780 and

01:02:37.140 I

01:02:37.880 think

01:02:38.280 that's

01:02:38.660 the

01:02:38.880 broader

01:02:39.760 theme

01:02:40.500 of

01:02:40.740 I

01:02:42.380 think

01:02:42.660 actually

01:02:43.020 every

01:02:43.400 song

01:02:43.960 now

01:02:44.680 that

01:02:44.840 I'm

01:02:44.960 looking

01:02:45.180 at

01:02:45.400 it

01:02:45.880 yeah

01:02:46.600 silver

01:02:47.100 lining

01:02:47.540 yeah

01:02:48.460 so

01:02:48.900 it's

01:02:49.180 it's

01:02:49.380 kind

01:02:49.540 of

01:02:49.640 like

01:02:49.860 it's

01:02:50.400 a 0.91

01:02:50.500 black

01:02:50.860 celebration

01:02:51.520 it's

01:02:51.820 it's

01:02:52.180 enveloping

01:02:52.980 any

01:02:53.220 sort

01:02:53.460 of

01:02:53.600 love

01:02:53.960 within

01:02:54.300 death

01:02:54.780 and

01:02:55.940 nihilism

01:02:57.180 or

01:02:57.680 meaninglessness

01:02:58.520 or

01:02:59.140 you know

01:03:00.460 consumerism

01:03:01.580 you know

01:03:02.720 the

01:03:02.840 you know

01:03:03.240 what is

01:03:03.760 it

01:03:03.900 sex

01:03:04.380 jibe 0.92

01:03:04.840 husband

01:03:05.260 murders

01:03:05.820 his 1.00

01:03:06.080 wife

01:03:06.440 or

01:03:06.600 whatever

01:03:06.940 you know

01:03:07.800 plane

01:03:08.280 goes

01:03:08.580 down

01:03:09.040 you know

01:03:09.360 all

01:03:09.780 this

01:03:10.080 kind

01:03:10.380 of

01:03:10.500 like

01:03:10.720 headlines

01:03:11.580 of

01:03:11.880 disasters

01:03:12.620 or murders

01:03:13.480 or something

01:03:14.080 but

01:03:14.520 princess

01:03:15.560 dies

01:03:15.980 wearing

01:03:16.280 a new

01:03:16.520 dress

01:03:16.720 I mean

01:03:16.940 it's

01:03:17.140 just

01:03:17.240 it's

01:03:17.460 just

01:03:17.580 a

01:03:17.740 recurring

01:03:18.180 thing

01:03:18.420 but

01:03:18.520 that's

01:03:19.140 again

01:03:19.580 why

01:03:20.100 I

01:03:20.280 like

01:03:20.540 this

01:03:20.720 I

01:03:20.840 mean

01:03:20.940 it's

01:03:21.260 it's

01:03:21.520 one

01:03:22.020 album

01:03:22.620 in

01:03:23.280 some

01:03:23.500 musical

01:03:24.100 you know

01:03:25.100 interesting

01:03:25.580 musical

01:03:26.080 developments

01:03:28.380 like

01:03:30.420 it

01:03:30.600 doesn't

01:03:31.080 matter

01:03:31.280 too

01:03:31.600 or

01:03:31.760 something

01:03:32.020 but

01:03:32.280 but it's

01:03:32.800 just

01:03:33.000 really

01:03:33.520 one

01:03:34.100 theme

01:03:34.740 one

01:03:35.700 song

01:03:36.320 actually

01:03:38.260 it's

01:03:40.080 easy

01:03:40.300 to slip

01:03:41.040 away

01:03:42.060 and

01:03:43.120 believe

01:03:43.800 it

01:03:44.140 all

01:03:44.780 it's

01:03:45.460 easy

01:03:45.660 to

01:03:45.960 slip

01:03:46.400 away

01:03:47.420 and

01:03:48.460 believe

01:03:49.160 it

01:03:49.520 all

01:03:51.640 though

01:03:53.180 it's

01:03:53.780 not

01:03:54.100 love

01:03:54.840 it

01:03:55.120 means

01:03:56.480 something

01:03:57.460 though

01:03:58.480 it's

01:03:59.140 not

01:03:59.480 love

01:04:00.240 it

01:04:00.560 means

01:04:01.640 something

01:04:02.640 like I

01:04:19.260 said

01:04:19.480 my only

01:04:20.220 criticism

01:04:20.740 really

01:04:21.480 is

01:04:21.980 the

01:04:22.460 sounding

01:04:22.860 maybe

01:04:23.620 making

01:04:24.000 something

01:04:24.240 that

01:04:24.580 punches

01:04:24.940 a little

01:04:25.240 bit

01:04:25.400 more

01:04:25.600 and

01:04:25.700 maybe

01:04:25.840 a little

01:04:26.060 bit

01:04:26.300 tougher

01:04:26.940 but

01:04:27.260 I

01:04:28.220 can't

01:04:28.420 be

01:04:28.520 upset

01:04:28.740 about

01:04:28.920 this

01:04:29.120 is

01:04:29.280 a

01:04:29.500 different

01:04:29.800 expression

01:04:30.480 you know

01:04:31.080 and

01:04:31.440 it's

01:04:31.800 a path

01:04:32.540 that

01:04:32.700 they're

01:04:32.860 forging

01:04:33.380 I think

01:04:33.880 she's

01:04:41.840 dressed

01:04:42.120 in

01:04:42.440 black

01:04:42.940 again 0.99

01:04:43.620 and

01:04:44.280 I'm

01:04:45.620 falling

01:04:46.120 down

01:04:46.740 again

01:04:47.480 down

01:04:48.780 to

01:04:49.740 the

01:04:50.080 floor

01:04:50.600 again

01:04:51.360 I'm

01:04:52.120 begging

01:04:53.420 for

01:04:53.860 more

01:04:54.460 again

01:04:55.200 but

01:04:55.820 oh

01:04:56.460 what

01:04:57.120 can

01:04:57.460 you

01:04:57.720 do

01:04:58.120 when

01:04:58.400 she's

01:04:58.780 dressed

01:04:59.080 in

01:04:59.380 black

01:04:59.780 my 0.99

01:05:07.340 mind

01:05:08.640 wanders

01:05:09.280 endlessly

01:05:10.140 on

01:05:11.240 parts

01:05:12.480 where

01:05:12.800 she's

01:05:13.220 leading

01:05:13.660 me

01:05:14.240 with

01:05:15.060 games

01:05:16.300 that

01:05:16.600 she

01:05:16.860 likes

01:05:17.320 to

01:05:17.540 play

01:05:18.060 words

01:05:19.540 that

01:05:20.440 she

01:05:20.700 doesn't

01:05:21.400 say

01:05:22.020 not

01:05:23.680 when

01:05:24.060 we're

01:05:24.480 alone

01:05:25.060 and

01:05:25.320 she's

01:05:25.700 dressed

01:05:26.020 in

01:05:26.340 black

01:05:26.660 I have

01:05:27.440 a take

01:05:27.860 on

01:05:28.240 dressed

01:05:28.620 in

01:05:28.820 black

01:05:29.360 but

01:05:30.020 it's

01:05:31.220 probably

01:05:31.660 wrong

01:05:32.240 what do

01:05:32.620 you think

01:05:33.160 of the

01:05:33.740 song

01:05:34.080 dressed

01:05:34.420 in

01:05:34.600 black

01:05:34.940 of

01:05:35.300 just

01:05:36.080 the

01:05:36.500 the

01:05:37.120 lyrics

01:05:37.520 and

01:05:38.120 all

01:05:38.400 well

01:05:39.620 when

01:05:40.000 you

01:05:40.140 said

01:05:40.500 that

01:05:40.920 my

01:05:41.920 mind

01:05:42.400 started

01:05:42.800 turning

01:05:43.300 and I

01:05:43.600 was

01:05:43.740 wondering

01:05:44.020 if

01:05:44.260 you

01:05:44.380 were

01:05:44.620 going

01:05:46.160 some

01:05:46.480 player

01:05:46.780 interesting

01:05:47.480 she's

01:05:48.500 dressed

01:05:48.760 in

01:05:48.900 black

01:05:49.120 again 0.99

01:05:49.580 and

01:05:50.660 I'm

01:05:50.880 falling

01:05:51.140 down

01:05:51.440 again

01:05:51.860 down

01:05:52.560 to

01:05:52.740 the

01:05:52.860 floor

01:05:53.100 again

01:05:53.400 I'm

01:05:53.620 begging

01:05:53.840 for

01:05:54.100 more

01:05:54.380 again

01:05:54.680 but

01:05:54.840 oh

01:05:55.100 what can

01:05:55.900 you

01:05:56.020 do

01:05:56.180 when

01:05:56.300 she's

01:05:56.520 dressed

01:05:56.800 in

01:05:56.960 black

01:05:57.340 as 1.00

01:05:59.340 a

01:05:59.460 picture

01:05:59.700 of

01:05:59.880 herself

01:06:00.240 she's

01:06:00.560 a

01:06:00.660 picture

01:06:00.840 of

01:06:01.000 the

01:06:01.120 world

01:06:01.500 a

01:06:01.680 reflection

01:06:02.080 of

01:06:02.320 you

01:06:02.480 a

01:06:02.600 reflection

01:06:02.920 of

01:06:03.140 me

01:06:03.380 and it's

01:06:04.140 all there

01:06:04.380 to see

01:06:04.860 if you

01:06:06.160 only give

01:06:06.940 in to

01:06:07.320 the fire

01:06:07.880 within

01:06:08.220 I don't

01:06:10.740 know what

01:06:11.040 it's

01:06:11.220 about

01:06:11.520 I'm

01:06:15.240 gonna

01:06:15.320 sound

01:06:15.540 like a

01:06:15.800 trad

01:06:16.060 cath

01:06:16.340 for

01:06:16.520 this

01:06:16.780 but

01:06:17.140 forgive

01:06:17.440 me

01:06:17.660 I

01:06:17.880 kind

01:06:18.220 of

01:06:18.340 get

01:06:18.520 the

01:06:18.700 impression

01:06:19.160 that

01:06:20.040 it's

01:06:20.280 like

01:06:20.560 about

01:06:20.940 like

01:06:21.480 sex

01:06:21.940 and

01:06:22.160 death

01:06:22.480 like

01:06:22.680 he's

01:06:22.920 only

01:06:23.120 giving

01:06:23.440 into

01:06:23.700 the

01:06:23.880 fire

01:06:24.200 within

01:06:24.640 she's

01:06:25.500 dressed

01:06:25.940 in

01:06:26.160 black

01:06:26.580 gives 0.99

01:06:27.180 like

01:06:27.380 mourner

01:06:27.840 funeral

01:06:28.440 maybe

01:06:28.880 priest

01:06:29.600 vibes

01:06:30.280 and

01:06:31.280 it

01:06:31.540 might

01:06:31.940 even

01:06:32.420 if

01:06:32.840 it's

01:06:33.020 about 0.95

01:06:33.200 sex

01:06:33.540 and

01:06:33.740 death

01:06:34.000 then

01:06:34.180 it

01:06:34.300 might

01:06:34.500 even

01:06:34.740 be

01:06:34.920 about

01:06:35.200 AIDS

01:06:35.600 because

01:06:35.880 this

01:06:36.260 is

01:06:36.380 1986

01:06:37.040 I

01:06:38.340 don't

01:06:39.360 know

01:06:39.580 that's

01:06:40.240 just

01:06:40.480 I

01:06:41.600 couldn't

01:06:41.940 really

01:06:42.260 as far

01:06:43.340 as

01:06:43.580 what to

01:06:44.100 make

01:06:44.300 out

01:06:44.540 of it

01:06:44.740 what to

01:06:45.020 take

01:06:45.280 out

01:06:45.460 of it

01:06:45.740 I

01:06:46.460 can't

01:06:46.860 really

01:06:47.060 think

01:06:47.340 of

01:06:47.480 anything

01:06:47.980 else

01:06:49.040 other

01:06:51.660 than

01:06:51.840 like

01:06:52.020 dream

01:06:52.280 reaper

01:06:52.780 kind

01:06:53.140 of

01:06:53.780 yeah

01:06:54.140 yeah

01:06:55.500 and she

01:06:59.240 stands

01:06:59.740 there over

01:07:00.300 me

01:07:00.720 and waits

01:07:01.420 to encompass

01:07:02.000 me I

01:07:02.520 lay here

01:07:02.960 helplessly

01:07:03.760 but oh

01:07:04.820 what can

01:07:05.180 you do

01:07:05.440 when she's

01:07:05.740 dressed in

01:07:06.080 black

01:07:06.240 yeah 0.80

01:07:06.580 it's

01:07:07.020 menacing

01:07:07.440 in fact

01:07:08.400 and this

01:07:10.840 goes back

01:07:11.220 to a lot

01:07:11.620 of stuff

01:07:11.940 even like

01:07:12.400 Tora

01:07:12.700 Tora

01:07:13.000 Tora

01:07:13.480 you know

01:07:15.440 Martin's

01:07:16.120 song from

01:07:16.620 speak and

01:07:17.380 spell

01:07:17.600 this kind

01:07:18.200 of

01:07:18.640 Halloween

01:07:19.540 vibe

01:07:20.340 or something

01:07:21.400 that he's

01:07:21.860 that he

01:07:22.440 goes for

01:07:23.020 he will

01:07:23.880 often go

01:07:24.520 there

01:07:24.880 there's

01:07:27.120 something

01:07:27.360 on Delta

01:07:28.280 Machine

01:07:28.680 of standing

01:07:29.820 on the

01:07:30.140 grave

01:07:30.640 and your

01:07:31.460 arms are

01:07:32.140 coming out

01:07:32.580 of the

01:07:32.760 ground

01:07:33.120 it's like

01:07:33.640 zombie

01:07:34.260 vocation

01:07:35.040 it's

01:07:35.460 interesting

01:07:35.960 so let's

01:07:43.040 talk a little

01:07:43.620 bit about

01:07:44.140 the cover

01:07:44.860 I all

01:07:51.620 everyone

01:07:52.100 involved

01:07:52.820 so this

01:07:53.380 was Brian

01:07:53.960 Griffin

01:07:54.380 and this

01:07:55.180 was really

01:07:55.760 his downfall

01:07:57.080 in fact

01:07:57.740 so they

01:07:59.920 would move

01:08:00.420 to Corbin

01:08:01.200 for all

01:08:02.140 visuals

01:08:02.720 after that

01:08:04.120 and from

01:08:05.100 what I

01:08:05.360 can tell

01:08:05.620 ever

01:08:05.800 since

01:08:06.300 it's an

01:08:11.280 interesting

01:08:11.860 you know

01:08:12.560 whereas

01:08:13.120 some great

01:08:15.180 reward evoked

01:08:16.240 the factory

01:08:16.960 and then

01:08:17.800 you know

01:08:18.280 this young

01:08:19.600 loving

01:08:20.000 couple

01:08:20.540 with you

01:08:22.460 know

01:08:22.580 enveloped

01:08:23.140 within that

01:08:23.560 world

01:08:23.900 this is

01:08:25.280 almost

01:08:25.660 evoking

01:08:26.620 New York

01:08:28.700 City

01:08:29.080 or maybe

01:08:30.240 Berlin

01:08:30.680 Wall

01:08:31.020 Street

01:08:31.300 vibes

01:08:31.700 it's

01:08:31.940 actually

01:08:32.220 a model

01:08:32.960 and

01:08:34.700 it

01:08:36.160 just

01:08:36.980 doesn't

01:08:37.920 work

01:08:38.240 there's

01:08:38.740 like

01:08:38.940 reflections

01:08:39.560 of flowers

01:08:40.340 below

01:08:40.860 there's

01:08:41.660 black

01:08:42.200 flags 0.89

01:08:42.940 coming down

01:08:43.900 the building

01:08:44.420 and it

01:08:45.860 just looks

01:08:46.280 like a

01:08:46.580 mess

01:08:46.980 actually

01:08:48.340 and they

01:08:51.380 never hired

01:08:52.060 the poor

01:08:52.500 man again

01:08:52.980 I mean

01:08:53.360 it's

01:08:54.020 it's

01:08:54.780 unfortunate

01:08:55.240 but it

01:08:56.400 is interesting

01:08:56.980 what they're

01:08:57.500 going for

01:08:58.060 so this

01:08:58.700 is the

01:08:59.000 first time

01:08:59.520 you see

01:08:59.780 this rose

01:09:00.460 which will

01:09:00.900 come back

01:09:01.240 in

01:09:01.380 Violator

01:09:01.860 and

01:09:03.240 there's

01:09:04.120 also

01:09:05.420 as I

01:09:05.980 was saying

01:09:06.360 that kind

01:09:06.740 of 80s

01:09:07.600 vibe

01:09:08.320 of the

01:09:09.780 skyscraper

01:09:11.340 with windows

01:09:12.120 at night

01:09:12.780 then there's

01:09:13.680 this black 0.73

01:09:14.440 flag hanging

01:09:15.180 down

01:09:15.500 and we

01:09:16.000 actually

01:09:16.260 mentioned

01:09:16.720 this I

01:09:17.140 think maybe

01:09:17.560 in our

01:09:17.860 spirit

01:09:18.260 review

01:09:18.780 of

01:09:19.420 this

01:09:20.940 desire

01:09:21.620 to evoke

01:09:22.700 the

01:09:23.620 Nazis

01:09:24.640 in fact

01:09:25.480 aesthetically

01:09:26.680 and

01:09:28.040 this

01:09:28.720 you know

01:09:29.620 you were

01:09:29.940 gonna

01:09:30.120 it was

01:09:30.780 gonna be

01:09:31.080 like

01:09:31.320 Berlin

01:09:31.700 in 1936

01:09:32.900 but it

01:09:34.480 was gonna 0.92

01:09:34.760 be black

01:09:35.440 flags

01:09:36.020 hanging

01:09:36.360 down

01:09:36.740 and there

01:09:36.980 was just

01:09:37.260 gonna be

01:09:37.580 this

01:09:37.920 you know

01:09:39.400 cool

01:09:40.020 but cold

01:09:41.060 fash

01:09:42.080 aesthetic

01:09:42.700 that they're

01:09:43.820 going for

01:09:44.380 I think

01:09:44.780 they are

01:09:45.220 going for

01:09:45.840 it

01:09:46.020 I just

01:09:46.440 think

01:09:46.640 they don't

01:09:47.340 achieve

01:09:47.740 it

01:09:47.940 at all

01:09:48.520 I don't

01:09:50.360 want to

01:09:50.600 sound like

01:09:50.980 a neo-Nazi

01:09:51.680 but

01:09:52.500 we kind

01:09:54.260 of admired

01:09:54.820 the way

01:09:55.260 those

01:09:55.660 big banners

01:09:56.480 used to

01:09:57.040 hang on

01:09:57.580 kind of

01:09:58.080 German

01:09:58.840 Nazi

01:10:00.760 headquarters

01:10:01.300 you see

01:10:01.700 in like

01:10:02.460 the 30s

01:10:03.220 and during

01:10:03.860 the war

01:10:04.340 they'd hang

01:10:05.140 these big

01:10:05.660 banners 0.88

01:10:06.020 with a

01:10:06.360 swastika

01:10:06.840 on

01:10:07.140 and they'd

01:10:08.340 come down

01:10:08.620 the whole

01:10:08.900 side of

01:10:09.220 the building

01:10:09.660 and Daniel

01:10:10.560 and I

01:10:10.880 talked about

01:10:11.660 doing something

01:10:13.060 like that

01:10:13.460 with these

01:10:13.840 logos

01:10:14.240 and so

01:10:15.740 I talked

01:10:17.740 to Daniel

01:10:18.420 about doing

01:10:19.100 it with a

01:10:19.540 real building

01:10:20.140 and then

01:10:21.800 the next thing

01:10:22.600 I know

01:10:22.860 Brian

01:10:23.340 made this

01:10:25.320 model

01:10:25.720 it was

01:10:27.620 about this

01:10:28.160 big on a

01:10:28.660 tabletop

01:10:29.260 and it was

01:10:30.180 supposed to

01:10:30.560 represent this

01:10:31.220 like 30

01:10:32.320 story

01:10:32.760 Italian

01:10:33.640 futurist

01:10:34.300 building

01:10:34.700 and it

01:10:35.600 had these

01:10:35.940 like bits

01:10:36.380 of ribbon

01:10:36.820 hanging

01:10:37.140 down the

01:10:37.560 side

01:10:37.840 and I

01:10:38.920 think we

01:10:39.220 might have

01:10:39.460 had a

01:10:39.660 little fan

01:10:40.160 there to

01:10:40.560 try and

01:10:40.900 blow 0.99

01:10:41.160 them 0.99

01:10:41.340 but because

01:10:42.480 of the

01:10:42.720 scale

01:10:43.060 it just

01:10:43.400 looked 0.94

01:10:43.660 ridiculous 0.80

01:10:44.280 I don't 0.99

01:10:45.560 know

01:10:45.720 what he

01:10:46.240 was smoking

01:10:46.780 that day

01:10:47.260 but I

01:10:48.160 just thought

01:10:48.540 it looked

01:10:48.820 terrible

01:10:49.260 and it

01:10:50.320 was kind

01:10:50.700 of a

01:10:50.900 bit of

01:10:51.120 a disaster

01:10:51.680 because I

01:10:52.100 think that

01:10:52.560 was a

01:10:54.280 much

01:10:54.560 anticipated

01:10:55.120 record

01:10:55.660 and the

01:10:56.840 schedules

01:10:57.220 were

01:10:57.480 deadly

01:10:57.840 tight

01:10:58.420 but I

01:10:59.360 actually

01:10:59.600 went to

01:10:59.940 Hansel

01:11:00.320 I think

01:11:00.760 that time

01:11:01.500 to show

01:11:03.040 him the

01:11:03.280 photographs

01:11:03.760 and they

01:11:05.040 were pretty

01:11:05.360 disappointed

01:11:05.940 but it's

01:11:07.880 still

01:11:08.840 interesting

01:11:09.960 that they're

01:11:10.340 going for

01:11:10.840 it but

01:11:11.120 do you

01:11:11.320 have any

01:11:11.640 thoughts

01:11:11.920 on that

01:11:12.240 because

01:11:12.380 there's

01:11:12.560 another

01:11:12.860 aspect

01:11:13.340 of the

01:11:13.900 album

01:11:15.460 that

01:11:15.860 two other

01:11:16.700 aspects

01:11:17.060 that are

01:11:17.340 worth

01:11:17.500 mentioning

01:11:17.880 yeah

01:11:19.540 I think

01:11:20.520 with

01:11:20.780 the cover

01:11:21.880 it definitely

01:11:22.840 is Brian

01:11:23.560 Griffin's

01:11:24.100 downfall

01:11:24.620 and I

01:11:25.040 actually

01:11:25.300 looked into

01:11:26.380 some

01:11:26.640 interviews

01:11:27.020 when he

01:11:27.680 would talk

01:11:29.360 about this

01:11:29.940 this cover

01:11:30.700 and according

01:11:31.600 to him

01:11:32.300 there was

01:11:32.920 basically

01:11:33.380 attention

01:11:34.520 between

01:11:35.360 Brian

01:11:35.740 Griffin

01:11:36.080 the

01:11:36.760 photographer

01:11:37.380 and

01:11:38.520 Martin

01:11:38.820 Adkins

01:11:39.280 the

01:11:39.640 creative

01:11:40.220 director

01:11:40.800 or art

01:11:41.860 director

01:11:42.260 who also

01:11:43.360 worked on

01:11:44.060 like album

01:11:44.740 covers for

01:11:45.320 Echo and

01:11:45.780 the Bunnymen

01:11:46.280 they weren't

01:11:48.340 able to

01:11:48.860 they just

01:11:49.340 didn't see

01:11:49.820 eye to

01:11:50.320 eye

01:11:50.680 and

01:11:51.500 according

01:11:52.340 to Brian

01:11:52.880 Griffin

01:11:53.220 basically

01:11:53.720 there were

01:11:54.000 like too

01:11:54.380 many cooks

01:11:54.920 in the

01:11:55.180 kitchen

01:11:55.460 kind of

01:11:55.840 thing

01:11:56.060 by this

01:11:56.800 time

01:11:57.120 in 1986

01:11:57.940 Depeche

01:11:58.960 Mode

01:11:59.200 was

01:11:59.580 a bigger

01:12:01.180 name

01:12:01.760 so they

01:12:02.240 had that

01:12:02.820 many more

01:12:03.420 people

01:12:03.880 trying to

01:12:04.360 direct

01:12:04.820 them

01:12:05.260 in all

01:12:05.940 sorts

01:12:06.220 of ways

01:12:06.820 and

01:12:07.880 Brian

01:12:08.640 Griffin

01:12:09.000 this is

01:12:10.520 just

01:12:10.700 according

01:12:10.980 to him

01:12:11.320 felt as

01:12:11.860 though

01:12:12.160 he was

01:12:13.620 like forced

01:12:14.100 to make

01:12:14.440 something

01:12:14.840 meanwhile

01:12:15.260 he's got

01:12:15.800 you know

01:12:16.280 he's juggling

01:12:16.880 like 10

01:12:17.460 or 15

01:12:18.200 other projects

01:12:18.980 whatever

01:12:19.240 and

01:12:20.340 he said

01:12:21.880 at this

01:12:22.480 point on

01:12:22.840 Black Celebration

01:12:23.720 the communication

01:12:24.320 with the band

01:12:25.180 was like

01:12:25.640 very little

01:12:26.720 whereas on

01:12:27.520 Speak and Spell

01:12:28.500 and A Broken

01:12:29.620 Frame

01:12:30.200 say what

01:12:32.060 you want

01:12:32.380 about the

01:12:32.880 Speak and Spell

01:12:33.700 album cover

01:12:34.340 I actually

01:12:34.840 do think

01:12:35.300 there is

01:12:35.920 something

01:12:36.160 very interesting

01:12:36.960 about that

01:12:38.400 it's

01:12:38.960 shocking

01:12:40.060 it's

01:12:40.860 shocking

01:12:41.180 it's cheap

01:12:41.740 but then

01:12:42.040 it kind

01:12:42.740 of makes

01:12:43.140 you

01:12:43.260 is this

01:12:43.720 like a

01:12:44.040 statement

01:12:44.280 about

01:12:44.560 environmentalism

01:12:45.560 is it

01:12:46.060 sure

01:12:46.660 you know

01:12:47.240 is it

01:12:47.840 a statement

01:12:49.040 about

01:12:49.580 how beauty

01:12:51.000 is enveloped

01:12:52.220 in plastic

01:12:52.880 in the

01:12:53.360 commercial

01:12:53.680 world

01:12:54.040 I mean

01:12:54.280 it's

01:12:54.880 you know

01:12:55.520 maybe

01:12:55.780 pretentious

01:12:56.520 you could

01:12:56.820 even say

01:12:57.340 but

01:12:58.940 but definitely

01:13:00.100 interesting

01:13:00.540 and then

01:13:00.940 then obviously

01:13:01.600 Broken Frame

01:13:02.320 is just

01:13:02.720 you know

01:13:03.560 one of the

01:13:03.980 best photographs

01:13:04.860 of all time

01:13:05.680 yeah

01:13:05.960 I mean

01:13:06.300 I say that

01:13:07.100 not just

01:13:07.500 even as a

01:13:08.740 Depeche Mode

01:13:09.300 fan

01:13:09.760 it's an

01:13:11.220 incredible

01:13:11.800 photograph

01:13:12.260 but

01:13:13.080 there are

01:13:14.100 two other

01:13:14.540 aspects to

01:13:15.300 this

01:13:15.500 so

01:13:15.840 there's

01:13:16.400 this

01:13:16.940 subtitle

01:13:19.860 this is

01:13:20.240 life in

01:13:20.960 the so-called

01:13:21.640 space age

01:13:22.640 so

01:13:24.060 first off

01:13:24.680 they're

01:13:25.100 subtitling

01:13:26.160 the album

01:13:26.800 it's

01:13:30.500 so-called

01:13:31.280 seems

01:13:31.940 rather

01:13:32.340 sarcastic

01:13:33.140 and

01:13:35.220 you know

01:13:36.780 it

01:13:37.000 it

01:13:37.300 kind of

01:13:38.220 reminds me

01:13:38.820 the sentiment

01:13:39.360 kind of

01:13:39.700 reminds me

01:13:40.300 of when

01:13:41.240 people will

01:13:43.060 watch a film

01:13:43.940 like 2001

01:13:44.860 or something

01:13:45.820 and

01:13:46.400 they'll

01:13:47.560 you know

01:13:48.360 in our

01:13:48.780 day and age

01:13:49.380 or

01:13:49.620 or even

01:13:51.460 20 years

01:13:51.960 ago

01:13:52.220 and they're

01:13:52.460 like wow

01:13:52.940 we were

01:13:53.320 promised

01:13:53.900 like

01:13:54.600 interstellar

01:13:56.600 space travel

01:13:57.400 and all

01:13:58.580 of this

01:13:59.160 heady

01:14:00.620 ambition

01:14:02.200 and

01:14:02.960 instead

01:14:03.440 we're renting

01:14:04.980 this film

01:14:05.460 at Blockbuster

01:14:06.100 I mean

01:14:06.400 it's

01:14:06.940 you know

01:14:08.520 there's a

01:14:09.020 kind of

01:14:09.300 there's a

01:14:09.840 letdown

01:14:10.440 I think

01:14:11.420 maybe they're

01:14:12.140 going for that

01:14:12.880 but I don't

01:14:13.700 know

01:14:13.880 I don't see

01:14:14.380 any other

01:14:15.020 evocation of

01:14:15.940 space

01:14:16.440 throughout the

01:14:16.960 whole album

01:14:17.400 it sounds

01:14:18.220 almost

01:14:18.540 I don't

01:14:19.160 know

01:14:19.320 maybe a

01:14:19.780 bit of

01:14:19.980 a clunker

01:14:20.620 yeah

01:14:23.000 are they

01:14:23.300 saying

01:14:23.600 something

01:14:23.960 else

01:14:24.420 space

01:14:25.120 age

01:14:25.580 I don't

01:14:26.740 know

01:14:26.980 I

01:14:27.960 yeah

01:14:28.860 that does

01:14:29.580 not

01:14:29.880 I think

01:14:30.900 it's just

01:14:31.860 an overall

01:14:32.300 like confusion

01:14:33.620 there

01:14:33.960 that doesn't

01:14:34.700 doesn't

01:14:35.840 make sense

01:14:36.420 but

01:14:37.200 the thing

01:14:39.000 is

01:14:39.240 and you're

01:14:39.820 right

01:14:40.140 it is

01:14:41.260 from

01:14:41.780 yeah

01:14:42.320 Violator

01:14:42.820 on

01:14:43.240 Anton

01:14:44.400 is the

01:14:45.160 basically

01:14:46.120 creative

01:14:46.540 director

01:14:46.940 photographer

01:14:47.560 and he's

01:14:48.540 really been

01:14:48.900 in charge

01:14:49.220 of everything

01:14:49.540 since

01:14:49.940 but

01:14:50.580 Brian

01:14:51.360 Griffin

01:14:51.640 did

01:14:52.040 actually

01:14:52.760 shoot

01:14:54.580 the music

01:14:54.940 video

01:14:55.320 for

01:14:56.000 it's

01:14:56.620 only

01:14:56.780 when I

01:14:57.060 lose

01:14:57.240 myself

01:14:57.640 which

01:14:57.840 would

01:14:58.000 have

01:14:58.120 been

01:14:58.380 the

01:14:58.760 single

01:14:59.300 to

01:14:59.660 that

01:14:59.960 singles

01:15:00.780 album

01:15:01.120 that

01:15:01.320 they

01:15:01.420 had

01:15:01.580 in

01:15:01.700 1998

01:15:02.200 but

01:15:02.940 as far

01:15:03.460 as I

01:15:03.640 understand

01:15:03.940 that

01:15:04.340 is

01:15:04.760 the

01:15:05.080 end

01:15:05.380 of

01:15:05.580 his

01:15:05.940 involvement

01:15:07.380 with

01:15:07.940 with

01:15:08.680 the

01:15:08.840 band

01:15:09.180 but

01:15:10.440 Anton

01:15:10.880 did

01:15:11.360 also

01:15:12.360 do

01:15:13.460 the

01:15:13.860 video

01:15:14.960 for

01:15:15.560 a

01:15:16.680 question

01:15:16.960 of

01:15:17.100 time

01:15:17.420 which

01:15:17.880 is

01:15:18.220 just

01:15:19.240 to

01:15:20.080 get

01:15:20.460 back

01:15:20.600 to

01:15:20.700 what

01:15:20.780 we

01:15:20.860 said

01:15:21.000 real

01:15:21.160 quick

01:15:21.420 about

01:15:21.720 a

01:15:21.960 question

01:15:22.220 of

01:15:22.360 time

01:15:22.660 he's

01:15:23.480 got

01:15:24.200 these

01:15:24.680 babies

01:15:25.200 in

01:15:25.580 the

01:15:25.900 video

01:15:27.740 that is

01:15:28.160 a bit

01:15:28.480 strange

01:15:29.180 I guess

01:15:31.020 the focus

01:15:31.600 on youth

01:15:32.500 or whatever

01:15:32.900 I'll try

01:15:33.680 not to

01:15:34.300 be a

01:15:36.580 schizophrenic 1.00

01:15:37.360 and try 0.99

01:15:38.420 and read

01:15:39.120 anything

01:15:40.640 into

01:15:41.060 into

01:15:41.880 that

01:15:42.140 anything

01:15:42.440 more

01:15:42.800 into

01:15:43.060 that

01:15:43.320 but

01:15:43.740 yeah

01:15:44.740 anyway

01:15:45.120 I

01:15:45.400 just

01:15:45.840 don't

01:15:46.100 think

01:15:46.340 that

01:15:46.640 the

01:15:47.040 this

01:15:47.440 the

01:15:47.840 cover

01:15:48.080 for 0.68

01:15:48.340 black

01:15:48.740 celebration

01:15:49.320 yeah

01:15:50.580 it's

01:15:50.800 easily

01:15:51.080 their

01:15:51.300 their

01:15:51.660 worst

01:15:52.080 yeah

01:15:53.540 and

01:15:54.140 the

01:15:54.520 other

01:15:54.760 aspect

01:15:55.200 is

01:15:55.720 that

01:15:56.080 they

01:15:56.920 have

01:15:57.400 these

01:15:57.840 logos

01:15:58.660 that

01:16:00.600 almost

01:16:01.780 seem

01:16:02.240 a bit

01:16:02.780 like

01:16:03.380 clip

01:16:04.280 art

01:16:04.660 but

01:16:05.440 they're

01:16:06.580 interesting

01:16:07.040 so if

01:16:07.820 you go

01:16:08.120 down

01:16:08.520 the album

01:16:09.060 there are

01:16:09.560 three

01:16:09.820 trumpets

01:16:10.520 and

01:16:11.760 then

01:16:12.060 there's

01:16:12.540 a

01:16:12.780 V

01:16:13.140 for

01:16:13.400 victory

01:16:14.080 almost

01:16:16.600 in

01:16:16.920 an

01:16:17.120 O

01:16:17.460 or

01:16:17.820 C

01:16:18.260 and

01:16:18.700 then

01:16:18.840 there

01:16:18.960 are

01:16:19.080 three

01:16:19.340 flags

01:16:20.120 almost

01:16:21.380 remind

01:16:21.720 me

01:16:21.860 of

01:16:21.980 like

01:16:22.180 Antifas

01:16:23.140 there's

01:16:26.000 a

01:16:26.120 birthday

01:16:26.440 cake

01:16:26.920 there's

01:16:27.180 a

01:16:27.320 torch

01:16:27.840 that

01:16:28.260 kind

01:16:28.620 of

01:16:28.720 reminds

01:16:29.060 me

01:16:29.280 of

01:16:29.580 Fran

01:16:29.840 National's

01:16:30.580 logo

01:16:30.840 there's

01:16:31.900 an

01:16:32.060 explosion

01:16:32.720 with

01:16:33.100 like

01:16:33.260 a

01:16:33.440 lightning

01:16:33.920 bolt

01:16:34.320 pointy

01:16:35.040 explosion

01:16:35.560 there's

01:16:36.060 there's

01:16:36.360 planes

01:16:36.920 flying off

01:16:37.480 in three

01:16:37.740 direction

01:16:38.140 there's

01:16:38.460 filing

01:16:38.880 cabinet

01:16:39.400 and

01:16:40.280 then

01:16:40.520 you

01:16:40.740 also

01:16:41.120 get

01:16:41.500 to

01:16:41.680 the

01:16:41.860 megaphone

01:16:42.720 within

01:16:43.200 a

01:16:43.380 triangle

01:16:43.780 so

01:16:44.100 you're

01:16:44.360 you're

01:16:44.640 kind of

01:16:44.880 looking

01:16:45.120 forward

01:16:45.380 to

01:16:45.520 where

01:16:45.660 they're

01:16:45.800 going

01:16:46.200 with

01:16:47.260 music

01:16:48.040 for

01:16:48.200 the

01:16:48.280 masses

01:16:48.560 there's

01:16:48.860 a

01:16:49.000 firecracker

01:16:49.660 explosion

01:16:50.320 I

01:16:52.600 you

01:16:53.180 could

01:16:53.720 perhaps

01:16:55.060 associate

01:16:55.900 these

01:16:57.060 with

01:16:57.220 each

01:16:57.960 of

01:16:58.080 the

01:16:58.240 songs

01:16:58.860 1

01:16:59.700 2

01:16:59.900 3

01:17:00.120 4

01:17:00.400 5

01:17:00.800 6

01:17:01.180 7

01:17:01.480 8

01:17:01.800 9

01:17:02.120 10

01:17:02.380 11

01:17:02.940 there

01:17:04.000 are

01:17:04.040 actually

01:17:04.280 12

01:17:04.740 logos

01:17:05.380 so

01:17:05.780 I

01:17:05.940 don't

01:17:06.220 I

01:17:06.440 don't

01:17:06.600 know

01:17:06.880 I

01:17:08.020 think

01:17:08.320 they're

01:17:08.660 again

01:17:09.060 I

01:17:09.280 would

01:17:09.420 just

01:17:09.580 get

01:17:09.800 back

01:17:10.000 to

01:17:10.140 what

01:17:10.260 I've

01:17:10.420 been

01:17:10.540 saying

01:17:10.820 for

01:17:11.000 a

01:17:11.120 little

01:17:11.240 while

01:17:11.660 is

01:17:12.000 that

01:17:12.280 they

01:17:13.200 they're

01:17:14.080 they're

01:17:14.540 trying

01:17:15.080 to

01:17:15.360 capture

01:17:15.740 a 0.99

01:17:16.040 fascist

01:17:16.620 aesthetic

01:17:17.200 and

01:17:18.800 they're

01:17:20.360 trying to

01:17:21.120 make the

01:17:21.540 music

01:17:21.860 meet

01:17:22.280 that

01:17:22.700 and

01:17:23.080 they're

01:17:23.280 trying

01:17:23.640 to

01:17:23.820 evoke

01:17:24.220 that

01:17:24.600 without

01:17:25.160 the

01:17:25.460 swastika

01:17:26.000 say

01:17:26.380 or the

01:17:26.760 fascis

01:17:27.340 but

01:17:27.620 but

01:17:29.560 they're

01:17:29.720 not

01:17:30.120 maybe

01:17:31.260 not

01:17:31.620 always

01:17:32.120 at least

01:17:32.980 here

01:17:33.260 not

01:17:33.560 quite

01:17:34.400 successfully

01:17:35.080 implementing

01:17:35.660 it

01:17:35.980 they

01:17:37.160 have a

01:17:37.740 singles

01:17:38.180 collection

01:17:38.800 or like

01:17:39.580 you know

01:17:39.980 some live

01:17:40.600 tracks

01:17:41.060 and

01:17:41.320 b-sides

01:17:42.020 where they

01:17:42.760 have those

01:17:43.240 three

01:17:43.540 flags

01:17:44.160 and then

01:17:44.980 definitely

01:17:45.380 the megaphone

01:17:46.260 will start

01:17:46.680 to come

01:17:47.040 into play

01:17:47.640 with music

01:17:48.600 for the

01:17:48.840 masses

01:17:49.100 so

01:17:49.400 again

01:17:50.060 and then

01:17:50.760 there's

01:17:51.160 nuclear

01:17:51.480 war

01:17:51.900 which

01:17:52.280 you know

01:17:53.340 is

01:17:54.620 evoked

01:17:55.300 in other

01:17:56.340 tracks

01:17:56.600 so I

01:17:56.880 think

01:17:57.200 they're

01:17:57.360 trying

01:17:57.860 to get

01:17:58.260 at

01:17:58.420 something

01:17:58.840 not

01:18:01.400 always

01:18:01.660 successfully

01:18:02.180 I mean

01:18:02.540 the birthday

01:18:03.000 cake

01:18:03.380 is just

01:18:03.720 kind of

01:18:04.080 funny

01:18:04.380 it's

01:18:04.600 just 0.94

01:18:04.740 black

01:18:05.020 celebration

01:18:05.640 it's

01:18:08.700 interesting

01:18:09.200 yeah

01:18:12.580 I

01:18:13.220 I'm not

01:18:14.040 a huge

01:18:14.300 fan of

01:18:14.700 the

01:18:14.840 logos

01:18:15.120 and

01:18:15.300 there

01:18:15.440 are

01:18:15.600 versions

01:18:16.060 of

01:18:16.820 the

01:18:17.060 album

01:18:17.400 cover

01:18:17.760 without

01:18:18.080 the

01:18:18.360 logos

01:18:18.760 as far

01:18:19.660 as

01:18:19.820 I

01:18:20.180 understand

01:18:20.800 from

01:18:22.020 this

01:18:22.240 Brian

01:18:22.700 Griffin

01:18:23.320 interview

01:18:23.860 that I

01:18:24.960 was

01:18:25.060 watching

01:18:25.540 Martin

01:18:26.280 Adkins

01:18:26.740 did

01:18:27.020 all

01:18:27.260 the

01:18:27.560 logos

01:18:28.240 so

01:18:28.940 Brian

01:18:29.880 Griffin

01:18:30.440 was in

01:18:30.900 charge of

01:18:31.280 the model

01:18:31.840 and bring

01:18:32.320 it in

01:18:32.640 and trying

01:18:32.980 to

01:18:33.240 like

01:18:33.520 that

01:18:33.780 banner

01:18:34.260 he

01:18:34.620 tried

01:18:34.880 to

01:18:35.060 I

01:18:35.200 guess

01:18:35.380 he

01:18:35.500 tried

01:18:35.740 to

01:18:36.000 have

01:18:36.660 like

01:18:36.800 a

01:18:37.000 fan

01:18:37.440 blow 0.77

01:18:37.900 on

01:18:38.200 it

01:18:38.420 to

01:18:38.600 make

01:18:39.020 it

01:18:39.160 look

01:18:39.400 realistic

01:18:41.100 or

01:18:41.480 whatever

01:18:41.760 but

01:18:42.120 it

01:18:42.420 didn't

01:18:42.620 end

01:18:42.800 up

01:18:43.060 working

01:18:44.260 I

01:18:45.220 just

01:18:45.420 think

01:18:45.640 the

01:18:45.940 album

01:18:46.360 artwork

01:18:47.760 for

01:18:48.120 this

01:18:48.360 is

01:18:48.640 yeah

01:18:49.420 I

01:18:49.900 probably

01:18:50.400 would have

01:18:50.720 fired

01:18:50.920 both

01:18:51.240 of

01:18:51.420 them

01:18:51.560 to be

01:18:51.860 honest

01:18:52.140 if I

01:18:52.420 was

01:18:52.540 the

01:18:52.660 band

01:18:53.000 but

01:18:53.740 Martin

01:18:54.400 Adkins

01:18:54.780 to his

01:18:55.180 credit

01:18:55.560 he does

01:18:56.040 redeem

01:18:56.300 himself

01:18:56.760 unforced

01:18:56.840 error

01:18:57.180 yeah

01:18:58.640 he does

01:18:59.300 yeah

01:19:00.100 he does

01:19:00.980 redeem

01:19:01.360 himself

01:19:01.720 though

01:19:01.960 Martin

01:19:02.200 Adkins

01:19:02.580 with

01:19:02.840 that

01:19:03.180 with

01:19:04.620 the

01:19:04.760 music

01:19:05.000 for

01:19:05.400 the

01:19:05.840 masses

01:19:06.140 I

01:19:06.360 think

01:19:06.580 that

01:19:07.540 is

01:19:08.500 a

01:19:09.420 really

01:19:09.700 good

01:19:10.100 logo

01:19:11.060 as far

01:19:11.620 as

01:19:11.840 the

01:19:12.300 whatever

01:19:13.480 it

01:19:13.720 says

01:19:13.860 bong 0.65

01:19:14.260 on it

01:19:14.660 and

01:19:14.760 it's

01:19:14.940 got

01:19:15.120 the

01:19:15.400 big

01:19:15.840 megaphones

01:19:16.560 and

01:19:16.760 like

01:19:16.980 the

01:19:17.280 megaphones

01:19:17.900 you know

01:19:18.700 to

01:19:18.940 nowhere

01:19:19.340 basically

01:19:19.840 but

01:19:20.320 yeah

01:19:20.740 yeah

01:19:21.460 not

01:19:21.820 good

01:19:22.180 yeah

01:19:24.260 so

01:19:25.700 there

01:19:26.020 are

01:19:26.100 also

01:19:26.320 some

01:19:26.600 interesting

01:19:26.960 things

01:19:27.380 they

01:19:27.660 were

01:19:28.080 because

01:19:28.400 they

01:19:28.560 were

01:19:28.680 spending

01:19:28.960 so much

01:19:29.320 time

01:19:29.880 there

01:19:30.800 you know

01:19:31.480 I mentioned

01:19:31.980 that singles

01:19:32.660 collection

01:19:33.240 and

01:19:34.140 you know

01:19:37.600 like

01:19:37.840 gasping

01:19:38.440 for air

01:19:39.020 I think

01:19:39.320 is what

01:19:39.540 it's

01:19:39.700 called

01:19:39.880 a

01:19:40.020 gasping

01:19:40.360 for breath

01:19:40.820 is an

01:19:41.100 interesting

01:19:41.640 remix 0.91

01:19:43.620 and

01:19:45.120 then

01:19:45.660 there's

01:19:45.960 also

01:19:46.600 the

01:19:47.660 the

01:19:48.620 b-side

01:19:49.300 which is

01:19:49.920 actually

01:19:50.560 one of

01:19:51.960 their more

01:19:52.340 famous

01:19:52.880 b-sides

01:19:53.620 which is

01:19:54.780 but not

01:19:55.340 tonight

01:19:55.760 which

01:19:56.220 I know

01:19:56.720 when they

01:19:56.920 released

01:19:57.320 this

01:19:57.540 digitally

01:19:58.000 they

01:19:58.600 included

01:20:00.820 that

01:20:01.200 actually

01:20:01.560 in the

01:20:01.920 album

01:20:02.460 and

01:20:02.800 it's

01:20:02.980 in

01:20:03.120 this

01:20:03.400 interesting

01:20:04.280 singles

01:20:05.180 collection

01:20:05.740 that

01:20:07.540 black

01:20:07.960 day

01:20:08.380 again

01:20:08.700 it's

01:20:08.900 almost

01:20:09.100 like

01:20:09.280 a

01:20:09.400 new

01:20:09.580 song

01:20:10.040 it's

01:20:10.320 a 0.91

01:20:10.420 black

01:20:12.320 celebration

01:20:12.920 Christmas

01:20:13.380 Island

01:20:13.980 they're

01:20:15.480 doing

01:20:15.740 some

01:20:16.020 really

01:20:16.320 interesting

01:20:16.880 things

01:20:17.820 they're

01:20:19.120 going

01:20:21.740 and

01:20:35.940 they're

01:20:36.600 going

01:20:37.640 to

01:20:38.580 après

01:20:39.000 the

01:20:39.400 song

01:20:40.880 they've established themselves they have a long time to spend in the studio

01:20:58.020 they can create their own remixes i mean but not tonight i mean for what it's worth we're

01:21:03.540 actually recording this on depeche mode day as declared by the city council of los angeles so

01:21:09.080 there you go uh hopefully we'll be getting off work on this day and post office will be closed and

01:21:15.120 we've got to do something about these democrat-run cities

01:21:19.740 yeah i'm i i actually would not be surprised at all if a conservative criticizes them for doing

01:21:30.200 this the democrats um but i i believe her name uh i think her let me just go check i don't want to

01:21:37.160 miss um identifier i think it's monica rodriguez um yes monica rodriguez la city councilwoman 7th

01:21:48.880 district um she looks pretty gen x to me i couldn't find her year of birth but she looks like she's 40

01:21:55.100 or maybe 50 um and it's kind of interesting because she um her name is hispanic she i don't i'm not 0.95

01:22:06.340 going to guess her ethnicity because you always get in trouble there um first off it's interesting

01:22:11.160 that she did this i i do think that depeche mode just speaks to the gen xers and they are our

01:22:18.180 rolling stones and they spoke to us when we were uh we were teenage angsty and etc etc they have been

01:22:26.920 just a very hard-working long-term project as well which is remarkable in itself um the

01:22:34.560 the city council described depeche mode as teaching us about love and unity and i was

01:22:41.520 just kind of like of all the bands that don't teach us about those things like you know it's like of all

01:22:49.980 the bands to associate with love and unity it's really funny to pick depeche mode it's it's maybe

01:22:55.860 like saying that you know arsenic taught us science and or something i don't know like you know um

01:23:05.660 cancer taught us about christianity or it's just a odd choice but uh obviously she's just she's just a 0.99

01:23:13.460 fan as she's politicking

01:23:14.700 i am councilwoman monica rodriguez and i am so proud to be here on what we have officially declared in the

01:23:30.540 city of los angeles as depeche mode day i want to thank you all for coming out to honor a very

01:23:43.260 treasured band that has meant so much to los angeles meeting us where we are with their lyrics

01:23:51.340 and their musical stylings that helped to keep us whole when sometimes the world was falling apart

01:23:58.340 and i couldn't be more proud to be here in solidarity with all of you to recognize a global

01:24:08.280 sensation that has not only made an indelible mark in los angeles but around the globe ladies and

01:24:15.780 gentlemen help me welcome david gahan martingor dipache one thing i would notice i mentioned

01:24:28.100 this on twitter is that okay for instance i recently just went to vegas for the weekend and i saw you

01:24:36.460 two live in the sphere great concert um i i was just in general admission and a lot of people there

01:24:45.820 everyone was standing actually in general admission below the stage and if you you purchased other

01:24:52.620 tickets you you were actually seated now believe it or not martin gore is actually in the audience

01:24:57.020 while i was there and bono sang personal jesus at one point so you know it was special that i was there

01:25:03.840 anyway um i noticed this uh with maybe a couple of exceptions it was like a high school reunion from

01:25:15.360 1986 or 1996 it was just all whites um just a big group of like 500 to a thousand white people who are

01:25:29.040 middle-aged younger middle-aged they're still young enough to go to a concert

01:25:32.340 now when i went to a depeche mode concert i always do notice this i've noticed this about the last like

01:25:39.780 three or four times i've seen them in madison square garden i've seen them in washington dc i've seen them

01:25:44.580 in las vegas i've seen them in chicago i've those are my last four concerts i believe uh a lot of there's

01:25:52.320 a big hispanic fan base and i don't you know they might even be like underrepresented as a percentage of

01:26:02.220 the population or something but i but all i'm saying is that you rarely see black depeche mode fans

01:26:09.900 you obviously see a lot of white fans and you see older people and you see some younger people

01:26:14.220 there for whatever reason there there's a like hispanic american depeche mode fandom of some

01:26:22.340 significance i totally totally agree with you i don't other than like i know in like latin america

01:26:32.160 they have like this really big thing for the virgin mary and i'm thinking like maybe there's

01:26:40.160 some kind of like it's not like martin gore talks about the virgin mary uh necessarily but like she's

01:26:47.040 a woman and she's sacred and you know being that she's a woman like there's maybe like this intersection

01:26:55.520 or something between like sex and religiousness or sacrality i'm not i'm not really sure uh what it

01:27:04.040 is but yeah i mean there was this um documentary actually about depeche mode fans that came out

01:27:10.800 i don't know maybe like 15 years ago and this kid is from los angeles he's a mexican kid and he is just

01:27:19.300 like really obsessed like he scares me that's how fanatical uh because i have my collage here i have uh

01:27:27.940 rose you know and uh put incense right here you know devotion

01:27:35.140 he puts like a little candle in front of the little collage that he has every day he likes the little um

01:27:42.180 it's a boat of candle um because he says that dave gahan is the greatest and that you know he's god

01:27:50.260 this is my obsession this is what i live for and they mean a lot to me and you know i'm always gonna

01:27:56.020 love them no matter what i i think this is all fine and good i'm just simply making an observation but

01:28:01.540 you know why is it um i think it must be the christian things themes the the sex that's enveloped in

01:28:11.540 christian themes that goes throughout their albums that that is my guess that it it is perceived

01:28:18.020 by people who have who have a kind of a residual catholicism or a catholic background as a sort it

01:28:25.220 just resonates with them i'll just say that and but i don't even know if they would explain it in

01:28:29.700 those ways you know if you ask them why do you like this they they might very well come up with

01:28:33.940 different explanations this is just my interpretation especially actually when i was at the show

01:28:41.380 wow this is crazy i didn't even think about there was this hispanic guy next to me uh at the show in

01:28:45.700 chicago and he was like man i hope they play higher love and i was like dude they're not gonna play higher

01:28:51.460 love like that it's not 1993 or 4 they're not playing that song but like i sure i'd love it too

01:28:57.700 that's one of my favorites but um i would say i hope like play puppets yeah but i was like so i was

01:29:06.660 surprised yeah yeah deep deep god christmas island yeah right like christmas island unbelievable deep

01:29:15.060 cut like only people who had like single b-side collections would be like oh wow yeah glad they

01:29:22.820 played that is alan back in the band but yeah but yeah there is just something uh it's it's yeah i think

01:29:35.540 you know especially the devotional tour i think that was interesting that he mentioned higher love

01:29:40.820 obviously religious invocations but like especially that tour and it just looks like liturgical i don't know

01:29:48.820 any other word to describe the the shows yeah i i got that very strong sense uh performing black

01:29:57.860 celebration it did it yes it felt epic it felt fascist it felt like it was an official national anthem of

01:30:10.900 some sort that we were all participating in yes um so i don't know um conservatives should stop

01:30:20.180 criticizing hispanics i guess that's maybe my takeaway uh but yeah but don't they like make up most of 0.99

01:30:26.980 the republican party now right they just are totally misunderstood i think what do you what do you make

01:30:35.300 of the song but not tonight because i gotta be honest that is for as poppy as it is i really

01:30:42.820 love that song there's no yeah i do too nothing to analyze you know really but like there's just

01:30:48.660 something great about that song and i think the band hates that song almost as much as they hate um

01:30:54.820 um it's called a heart yeah well i i so it's apparently or reportedly it was recorded in three

01:31:03.140 hours and it you know no doubt it took longer to write that song or to come up with it but

01:31:10.100 maybe not maybe it was just a kind of one-off you know they'd done this whole album it seems easy for

01:31:15.620 them just to you know just spit it out because you you're just in the rhythm of it all um i yeah i love

01:31:23.860 that song i think it's great it's a classic it's so monica rodriguez claimed that that was her

01:31:29.380 favorite song from depeche mode so better you know over like enjoy the silence personal jesus

01:31:36.740 just can't get enough no but not tonight

01:31:53.860 the stars in the stars in the sky bring tears to my eyes

01:32:04.020 they're lighting my way tonight

01:32:11.620 and i haven't felt so alive in years

01:32:23.860 one interesting tidbit so

01:32:51.620 that was the that was the b-side for stripped and when they sent the music to sire

01:32:59.940 which is a synth pop outfit similar to mute or maybe even connected i think connected with mute in

01:33:06.100 fact in the united states and they were producing like madonna and all this kind of stuff they flipped

01:33:11.860 it and they made uh they made stripped the b-side um just because it was popular and would appeal to

01:33:20.180 an american audience i mean it sounds closer to madonna you could say than it sounds to the black

01:33:26.500 celebration album so there it is yeah i i think it's a good song i i actually don't blame them i love

01:33:34.740 stripped and the stripped is a better song but it's like um i don't know penny lane and strawberry fields

01:33:43.060 like strawberry fields is a better song but of course you put penny lane as the a-side because

01:33:47.860 it's probably going to hit now and burn out faster whereas a deeper song like strawberry fields forever

01:33:56.180 maybe something that deep but a better song like strawberry fields forever you put as the b-side and

01:34:03.540 it's got more i don't know what's the word uh linearity maybe to it and i um but yeah i don't i don't blame

01:34:11.860 them for for doing that actually

01:34:24.180 so

01:34:41.860 go

01:35:01.540 into the trees

01:35:04.180 laying on the grass

01:35:06.820 let the eyes pass

01:35:08.740 take my hands

01:35:10.740 take my hands

01:35:11.300 come back to the land 0.98

01:35:13.940 let's get away

01:35:16.420 just for one way

01:35:19.300 let me see you straight

01:35:23.300 down to the farm

01:35:31.300 let me see you straight

01:35:33.300 down to the farm

01:35:37.300 down to the farm

01:35:39.620 go

01:35:43.220 let me

01:35:46.900 go

01:35:47.780 so

01:35:47.860 We'll be right back.

01:36:17.860 We'll be right back.

RadixJournal - February 08, 2024

Depeche Mode： Black Celebration

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