RadixJournal - Depeche Mode： Construction Time Again

00:00:00.000 Ž

00:00:04.900 Ž

00:00:09.240 Ž

00:00:12.040 Ž

00:00:18.140 Ž

00:00:21.160 Ž

00:00:24.100 Ž

00:00:29.820 all right

00:00:36.500 so i think this was really

00:00:43.800 depeche mode's first album

00:00:47.000 don't you think absolutely yeah this is and it's you know i never

00:00:54.360 liked this album all that much when i was a lot younger like when i was into

00:01:01.360 depeche mode when i was you know 10 to 15 years old or something

00:01:04.880 i you know everything counts was a classic track of course but i would

00:01:10.500 mostly just listen to the live album 101 over and over again

00:01:15.680 basically but i did mention that it i i remember

00:01:19.880 listening to catching up with depeche mode on cd actually very early on

00:01:24.280 and i did almost discount a lot of the speak and spell

00:01:29.120 and broken frame tracks it was like uh you know

00:01:33.020 you know it's just too early they don't have the sound but

00:01:37.500 even with the opening track of love in itself

00:01:41.540 which you know isn't actually that impressive in terms of

00:01:46.500 lyrics or so on you hear the industrial sound

00:01:53.100 the banging and clanging there's a certain new toughness you could say

00:02:01.260 to dave gahan's voice and i feel like this was actually it

00:02:09.440 all of the verse and the definite last that lay in store for me

00:02:17.500 there was a time when all on my mind was love

00:02:24.340 now i find that most of the time

00:02:32.640 love's not enough in itself

00:02:37.480 and i i wasn't even positive that i would have said this

00:02:43.420 before we started doing this you know 15 album homage podcast

00:02:48.140 but i i this is it in the sense that

00:02:53.400 this album contains all of the essential elements

00:02:58.800 of depeche mode the samples the noise at one point i can't remember which track

00:03:04.740 it is at this time but but it's almost like they recorded like a

00:03:08.220 um subway or uban train when they were in berlin

00:03:12.460 and uh and played it and and integrated it into the song

00:03:18.460 and so everything the lyrics the socialist whether that's communist or fascist vibe

00:03:27.980 the tough singing by dave that you move they're starting to move away from a love song

00:03:36.900 and they're singing protest songs which is very interesting

00:03:41.200 and they're also singing a song like everything counts which both

00:03:47.540 is is overtly critical of capitalism of course

00:03:52.240 and in talks about the the shallowness of it all

00:03:55.940 but then you could almost imagine this song as a soundtrack to wall street or something like it

00:04:02.740 in in criticizing capitalism there's almost something

00:04:07.640 aesthetic or cool about so to speak you know what it like in the way that wall street

00:04:14.740 and you know gordon gecko's speech about greed is good and all that kind of stuff

00:04:19.980 you know taking from the needy giving to the greedy that is good as i had ran said

00:04:26.200 you know that overtly anti-capitalist film probably inspired more people to go to wall street and be a

00:04:34.800 broker than i and i ran novel perhaps i mean if you understand what i'm saying

00:04:39.000 the handshake still the contract from the contract there's no turning back

00:04:56.300 the turning point of a career in korea being insincere

00:05:04.400 the holiday was fun packed the contract still intact

00:05:15.400 the grabbing hands grab all for themselves after all

00:05:24.500 the grabbing hands grab all they can all for themselves after all

00:05:32.740 it's a competitive world

00:05:35.660 everything counts in large amounts

00:05:41.400 yeah i mean i think it's all here and then the other thing because i'm just giving my kind of

00:05:53.920 my general overview here is that with alan wilder it was clear that alan wilder is paying a lot of

00:06:02.740 attention to the sound uh there's an interesting quote i have from the book just can't get enough but

00:06:09.080 uh about alan in studio he's also writing songs i mean even one of the b-sides from this album

00:06:17.780 fools is one of my favorite songs from the album actually and it's a b-side absolutely

00:06:22.720 don't know the reason why i think i've been here before

00:06:34.680 this place seems so familiar

00:06:38.500 but then i can't be sure

00:06:42.420 here comes that time again when

00:06:46.480 you'll walk right out the door don't tell me secrets anymore

00:06:53.480 don't tell me secrets anymore

00:06:57.480 you'll be followed another day

00:07:05.080 and all the chances that fall your way

00:07:09.180 are in the fire on your dying day

00:07:12.500 so call me now and tell me

00:07:15.540 that you're home

00:07:17.140 and i just

00:07:31.020 think this is it this is when they're still young at this point and they're still in that

00:07:38.840 put out an album every year and kind of throw it together in a few months and

00:07:42.320 you know see what happens kind of thing uh but this is it i i think this is where

00:07:48.800 depeche mode found a unique sound that no one else can do

00:07:55.780 at the time before them afterward their obvious influences

00:08:02.960 there's kraftwerk influences there's like a lot of german new wave because they were in germany

00:08:08.700 recording this um there's all sorts of things that you could say are influencing them david bowie

00:08:14.620 you know as well it's this is where there's like a confident

00:08:19.980 demonstration of who they are in one album so those are my opening thoughts and i was surprised

00:08:27.740 to have them i'll say before i let you speak um is that again i so many of these things you know

00:08:35.980 get grooved into your mind and my how i remembered this album was uh it's not that great it's kind of

00:08:43.500 like broken frame um you know everything counts as a great single but nothing else is there and

00:08:49.620 just sitting down and re-listening to it and listening to the whole album as again doing the

00:08:55.600 vinyl thing just sitting down putting the needle to the to the record letting it play it really

00:09:01.820 changed my perspective on things so i i this album increased a great deal in my estimation and and

00:09:08.540 also just in like a historical or objective look at it i think this might be their most important album actually

00:09:17.580 interesting to say that you think that it's it's it could be their most important album

00:09:22.940 i guess i understand that insofar as it kind of projected them to get that kind of quality fan like you and i

00:09:29.340 and kind of made them who they are i guess sonically as far as the uh super superficiality of the uh

00:09:39.740 the music you know with using synthesizers and you you're kind of making up your own sound and i think it

00:09:47.260 kind of reflects that the neoliberal capitalist era of uh of the thatcher reagan period and i think this album as a

00:09:57.020 whole in in some ways is a repudiation but like you said could also be construed as a uh kind of

00:10:04.700 buttressing of of that time period yes this was released the year that margaret thatcher came to

00:10:11.740 power by the way it's kind of interesting that makes sense the themes are pretty the whole album i think

00:10:20.860 it's kind of anti-martin gore in a lot of ways because it's outward looking it's objective it's

00:10:28.140 about other people it's about you in the world but it's you know maybe three quarters about the world

00:10:34.780 and one quarter about you there's not the as we've talked about the martin gore that is introspective

00:10:42.540 navel gazing guilt-ridden as much i mean there is you know with a song like shame that might be an

00:10:49.260 exception

00:11:10.220 but it's still outward looking even the song love in itself

00:11:13.500 it's kind of like about it's relatable you can yeah it's about him losing his first love and

00:11:23.260 getting over that there was a time when all on my mind was love now that i find uh most of the time

00:11:28.860 love's not enough in itself yeah don't you think that's also like a manifesto i mean usually the

00:11:35.980 first track on the album at least for the best moment i think for a lot of bands it's a bit of a

00:11:41.020 manifesto it's kind of it's telling you what the album is about i mean i i was just editing our uh

00:11:47.580 podcast on memento mori and and you know my cosmos is mine kind of sums up so much of the

00:11:56.060 album and this it offers sonically as well just kind of is a statement about the album and yeah love's

00:12:03.020 not enough in itself like we're not singing those songs anymore right and i you know with my cosmos is

00:12:10.140 mine it's obviously outward looking as well i think that's been the kind of repeated theme

00:12:16.380 with a lot of their songs as i said with world in my eyes on violator and uh love in itself obviously

00:12:24.620 but i think that i think to say that it is just simply like a political or conscious album

00:12:31.580 is is wrong uh i think that's what some have said about it this sounds like a labor party

00:12:38.780 manifesto uh but i don't actually uh think that that's the case i kind of think that

00:12:45.820 with a song like the landscape is changing that's it's kind of like about uh britain changing uh maybe

00:12:55.180 financially uh or fiscally or environmentally but it's also about them changing in my opinion

00:13:01.020 and demographically becoming uh less traditional in a way

00:13:15.260 evolution the solution on a saturday can you imagine this intrusion of their privacy

00:13:24.380 because i don't care if you're going nowhere just take good care of the world

00:13:34.860 i don't care if you're going nowhere just take good care of the world

00:13:42.620 it's obviously a political album in the sense that these are protest songs and maybe

00:13:51.740 people are people could count as something like that and it's something that they moved away from

00:14:00.460 um some great reward is definitely a different album in terms of tone black celebration etc

00:14:07.100 uh but it i i think it gets to something we were talking about with spirit as well where

00:14:17.020 there's and and a broken frame there there's somewhat of a pretense

00:14:22.140 about depeche mode and i mean that in a good way even though the word's not usually used that way in the

00:14:28.860 sense of it's it they're they're kind of imagining a certain vibe or situation or attitude um and

00:14:43.420 they're evoking communism and fascism in pretty much equal measure and they they kind of were trying to get

00:14:53.100 at that aesthetic very early on and i think now they're they're achieving it so it's a it is a very

00:15:00.460 it's an aesthetic socialism in in in both ways i mean in in both senses of that term it's talking about

00:15:09.340 the landscape is changing like the and then there's there's a there's a way in which martin gore is kind

00:15:15.900 of throwing up his hands but then also offering something a radical vision of taking a map off the

00:15:22.380 wall and tearing it into pieces and they all the boys and girls will see how easy it would be to

00:15:28.940 tear you know redraw the lines of the map or tear it up or refashion everything um but then there's

00:15:35.100 also a certain kind of sarcasm or irony is that all all we need at the start's universal revolution

00:15:45.820 that's all uh and we'll trust in our hearts we'll find the solution so i mean i take that as a little bit

00:15:51.740 a little bit um a little bit sarcastic or the cheeky is maybe the better i certainly it's ironic

00:16:00.060 in the sense of we we can't really do it but then look how easy it would be just to remold

00:16:05.420 all of this

00:16:06.700 let's take a map of the world

00:16:14.700 tear it into pieces

00:16:18.780 all of the boys and girls

00:16:24.700 we'll see how easy it is

00:16:27.980 to put it all down and start again from the top to the bottom and then

00:16:38.380 i'll have faith or i prefer to think that things couldn't turn out worse

00:16:52.700 all that we need at the start

00:17:01.900 all that we need at the start

00:17:02.380 beautiful

00:17:03.580 universal revolution

00:17:05.180 nice

00:17:07.420 and if we trust in our hearts we'll find the solutions

00:17:17.420 to put it all down and start again from the top to the bottom and then

00:17:27.420 i'll have faith or i prefer to think that things couldn't turn out worse

00:17:36.940 i guess what i'm saying is that

00:17:40.380 they're they're trying to capture

00:17:43.340 a a certain attitude

00:17:45.820 attitude or or vibe or aesthetic and i think they're they're better achieving it at this

00:17:52.780 point but i think the aesthetic comes first it sounds like a criticism in a way but dogmatic or

00:18:00.620 didactic or preachy music just stinks to high heaven and to be on to be fair here there's a little bit of that

00:18:09.020 you know with um

00:18:12.060 uh i i don't care if you're going nowhere just take good care of the world i mean a little

00:18:18.060 little sing-songy and preachy there um but

00:18:21.980 so you know they sometimes will miss the mark

00:18:25.340 but a a a working class song that's telling you to vote labor or

00:18:32.140 you know lower taxes or put your trust in jesus or something

00:18:37.500 these things suck inherently conservative movies as as an example of a didactic 0.97

00:18:45.340 type of art form just sucks it's unwatchable 0.99

00:18:47.820 it's uh it's it's patronizing and insulting on some level hollywood is much more 0.98

00:18:56.140 sophisticated than conservatives when they make films they'll teach you something

00:18:59.980 but it's very subtle and they almost make you think that you came up with the ideas yourself

00:19:05.500 but anyway i won't go into that but they're trying to get to an aesthetic of fascism

00:19:12.700 i'll just say it i i actually i'm gonna dump all the commie stuff at this point i mean look at

00:19:17.980 the cover of the album it's a guy with a sledgehammer granted hammer and sickle

00:19:23.020 you know the the sickle was in the last album but he's standing before the matterhorn and

00:19:29.500 it looks pretty fashy so they are trying to get towards an aesthetic of fascism and i think

00:19:35.580 they're writing some like the kind of song that a fascist would write let's put it that way okay

00:19:43.180 yeah yeah and so it's not really i mean again with some exceptions where it's preachy and not that

00:19:50.220 and and a little bit cloying um we'll we'll forgive those faults but i think overall they're

00:19:57.900 they're they're they're approaching that fascism as an aesthetic and you know remember when we

00:20:03.260 were talking about spirit where you know they said that they they were inspired by the hitler youth

00:20:08.940 and again i don't i i obviously don't think that any member of the band is some hitlerite or anti-semite

00:20:16.700 or or whatever they just grasp that the nazis or their national socialism as a as optics

00:20:25.580 was just very successful and it was powerful it inspired in many ways so much of the fashion

00:20:33.260 movement going forward and corporate presentation a national presentation etc and i think they're they're

00:20:40.620 trying to capture that and in the next few albums from that again three albums recorded in germany

00:20:50.300 very interesting they're they're going to get there and and they'll end up with music for the masses with

00:20:58.300 a red megaphone as this you know commie fasci aesthetic all in one but it is an aesthetic i think this and i i

00:21:07.580 say that as praise i think this would be a lesser album if it were actually singing about working

00:21:14.220 class issues or or offering some kind of mawkish pain to the working poor or something not that the not

00:21:20.860 that those people don't deserve sympathy but the the best way to show them sympathy is not to sing some

00:21:27.660 you know hippie anthem or or saccharine uh pop song it's i i think they're going for something very

00:21:35.580 different and in a weird way it sounds strange to say this about a rock band but they're going for a

00:21:42.380 visual aesthetic that they're achieving sonically if that makes sense sure i another way you could

00:21:51.500 say it is that the image reflects the music i guess or the music reflects the image yeah the the yeah

00:21:59.100 the album cover and uh yeah you know the associated artwork yeah and just the vibe they've dropped the

00:22:05.340 sweaters and and the like vintage suits that they wore there this is when you know martin gore is wearing

00:22:13.420 bondage gear the leather jackets the toughness are they even from britain at this point you mentioned uh

00:22:20.780 and then and there's kind of two interpretations of that song that i have uh with the lyric i took a

00:22:28.940 plane across the world got in a car when i reached my destination i hadn't gone far superficially it's a

00:22:35.980 comment on how technology of transportation makes uh the world smaller but yeah i kind of also see it as

00:22:43.180 like capitalism uh has kind of homogenized our our world in a lot of way for example

00:22:51.580 in vegas you can visit new york new york or the bony eiffel tower that they have there or even

00:22:56.700 something as simple as getting like a neapolitan italian food in new york city that's you know might

00:23:03.820 even be better than neapolitan food in naples i which i think is is what they're what they're getting at

00:23:12.460 yeah there's no doubt that i i think that's i hadn't gone far you you could read that in all sorts

00:23:18.060 of ways but um like he personally hadn't gone far or something um but yeah what i think it is is looking

00:23:24.860 at this homogenization of the west at the very least and most of the globe through industrialization

00:23:33.500 and again they're going to embrace this i mean they're going to write as an album called music for

00:23:39.100 the masses and what is that outside of this almost like fashy gloss that they're going to put

00:23:49.100 on onto western capitalism i think gareth jones needs to be kind of recognized as taking their sound

00:24:00.060 and making it so much harder and so much more interesting because this album is especially

00:24:06.540 sample based at this point it's it's the most sample based uh of of their three albums at the

00:24:13.340 time but it's also harder and edgier and as you said dave really comes into his own as having that

00:24:21.100 quintessential dave gone almost kind of yawning baritone that that he was popular for in the 80s

00:24:28.860 and you know i mean they're taking especially in a song like a pipeline they're they're taking

00:24:37.020 basically all of those sounds were with the exception of a few were really just sounds that

00:24:43.660 they had in that they found in a uh construction site and i mean they have the train at the end of the

00:24:52.460 song they have the train literally going over the tunnel to kind of end the song uh and so the the

00:25:00.540 sound is i can understand where it's labor related or labor adjacent whatever because these are all

00:25:06.780 industrial kind of sounds and it they're using you know i smack a hammer on a piece of aluminum siding

00:25:14.140 and kind of pitch it in the in the keyboard and spread it across the keyboard and then i play the melody

00:25:19.420 do do do do do do

00:25:46.060 you

00:25:49.420 At the time, it would have been extremely radical and original.

00:26:02.200 There were other bands who were doing it, but Depeche Mode was doing it in a similar way that the Beatles were incorporating, let's say, Indian music into their songs.

00:26:14.040 So they had kind of taken it and really pushed it to the fore and made it popular.

00:26:23.140 And, I mean, you hear that, of course, in Everything Counts with the scraping of the metal to open the track.

00:26:44.040 It's something that I appreciate.

00:27:08.080 But if you let friends listen to it today, they're kind of like, ah, this is kind of corny.

00:27:14.140 This is, it's not new and exciting and fresh.

00:27:18.180 But to which I rebut, well, what is, you know, today at least.

00:27:22.720 Yeah, no, I think there's definitely, I mean, like Pipeline, I think taking from the needy, giving to the greedy is a bit cringe.

00:27:36.440 And it also, when you have a line like that, I don't quite know what you're singing about.

00:27:44.320 But those are my criticisms of the song.

00:27:47.560 And it's obviously not this fun song that, you know, you want to dance to or sing along or something.

00:27:56.140 That's granted, but it's not trying to be that.

00:27:58.400 I mean, I definitely, it's this art song with all of these layers, these repetitive sounds that will enter in a kind of crescendo and then leave and then come back.

00:28:10.680 And it really, it strikes me as a kind of more listenable version of some experimental music that people might write in like grad school or something.

00:28:26.200 Like they're trying to do a kind of anti-music and put it together and make something of it.

00:28:32.400 And yeah, I mean, again, is it like a song I love listening to or singing along with?

00:28:39.040 Not really, but it's great as a statement on about what they're trying to achieve.

00:28:46.760 Take it from the knee, take it into the knee. 0.65

00:29:15.480 Take it from the knee, take it into the knee. 0.65

00:29:33.480 Take it from the knee, take it into the knee. 0.65

00:29:39.480 Yeah, I mean, I think one of the things that makes it not very Martin Gorey is the...

00:29:59.480 One, the fact that it's outward facing and it's kind of objective, but there's no, as far as the chords, there's no, you know, enjoy the silence type of chord where it's that C minor to E flat minor.

00:30:13.880 That kind of dark.

00:30:15.360 This album is tough, but it's not very dark.

00:30:19.480 Yeah.

00:30:19.680 It's weird and quirky, unfortunately, a little bit corny.

00:30:25.880 What do you think More Than A Party is about?

00:30:28.700 See, I wouldn't actually...

00:30:30.680 I think this is their most left-wing album.

00:30:34.160 Yeah.

00:30:34.340 You know, so I see it as...

00:30:38.820 Okay.

00:30:40.460 I know, go on.

00:30:41.900 I don't want to...

00:30:42.440 It's their most labor-y album.

00:30:47.840 Maybe a comment on Thatcher's, the neoliberal revolution and it being more than just a party.

00:30:55.340 This is more than just the Republican or conservative party.

00:30:58.320 This is a revolution in the West as far as deregulation and kind of, I don't know what you call it, hypercapitalism or just neoliberalism.

00:31:07.540 I don't want to throw those words out there because they're kind of buzzwords, but I'm kind of short on the vocabulary.

00:31:15.320 But what do you think it's about?

00:31:17.920 Yeah, I think that's interesting.

00:31:19.840 I'm not...

00:31:21.060 I'm not positive.

00:31:24.880 The failed magician waves his hand and in an instant the laughter's gone.

00:31:30.300 Lots of surprises in store.

00:31:31.800 This isn't a party.

00:31:32.660 It's a whole lot more.

00:31:33.700 I mean, you don't know.

00:31:35.240 I was thinking while I was reading Simon Spence's Just Can't Get Enough, this is a quote by a man named Fettin.

00:31:46.700 He said, Martin had broken up with Anne.

00:31:49.040 We talked a little bit about that regarding Broken Frame and started going out with these more sophisticated women. 1.00

00:31:56.280 We'd go to some strange fetish-style club somewhere in the Netherlands and he'd do a strip tease on the table.

00:32:02.340 But I have to say, it was mostly harmless fun of people being silly rather than anything heavy.

00:32:08.700 I don't remember there being any drugs.

00:32:10.400 They drank.

00:32:10.940 Everyone drank.

00:32:11.780 But not to excess.

00:32:13.780 I don't know if there's a little bit of that quality to it.

00:32:19.240 It's more than a party.

00:32:20.220 But I think your reading is also probably correct.

00:32:28.220 The film magician wastes his bond

00:32:40.540 And in an instant the laughter's gone

00:32:44.520 This is more than a party

00:32:47.460 More than a party

00:32:51.980 You know, might they be singing about the Tories or something?

00:33:05.060 Maybe.

00:33:05.700 I don't know.

00:33:06.100 It's very ambiguous.

00:33:09.320 Lots of surprises in store.

00:33:10.980 Okay, yeah, I could definitely see that being about a swinging party or some kind of BDSM laden

00:33:19.120 Yeah, I don't know.

00:33:20.540 It's kind of both or something.

00:33:21.600 You know, we talked about this.

00:33:22.560 There's the hidden, there's like the personal hidden meeting for Martin Gore

00:33:27.500 And then there's how you take it or something.

00:33:31.420 And, yeah.

00:33:32.580 As far as the failed magician waves his hand and the laughter's gone

00:33:38.480 I could also take that as a song about deindustrialization overall

00:33:42.960 With like, okay, I waved my hand and these factories are now in Asia or wherever

00:33:48.740 And they're closed down and you have no job

00:33:51.140 Because I kind of view the magician as, you know, he's asserting his will on reality

00:33:59.640 And changing reality in the same way that a politician can actually do that

00:34:03.400 I mean, maybe that's a stretch, but, you know, they wave their hand

00:34:06.760 The corporation waves their hand and the jobs go overseas

00:34:12.220 And the laughter's gone because, you know, people are out of a job

00:34:16.700 And actually, the next album in Some Great Reward

00:34:20.540 That image of that factory

00:34:22.120 That same year that that picture was taken in 1984

00:34:25.220 Which I think is in a place called Shoreditch

00:34:29.080 Was demolished and taken down

00:34:31.920 So, I mean, deindustrialization might be a theme to consider

00:34:37.140 Interesting

00:34:38.220 And I think just overall that Martin's

00:34:42.740 He's, whereas if he's channeling any humanities or disciplines

00:34:49.960 He's kind of channeling psychology

00:34:51.600 He's talking about himself

00:34:52.580 I'm talking about the quintessential Martin Gore that we know and love

00:34:56.520 But in this album, he's kind of like channeling like political science or economics or something

00:35:02.680 It's not, as I said, it's very outward

00:35:05.720 And I think it's outward first and then inward second

00:35:10.980 Yeah

00:35:12.440 Also, a song that struck me was Two Minute Warning

00:35:15.900 Which was written by Alan Wilder

00:35:19.760 We're lying by the orange sky

00:35:23.040 Two million miles across the land

00:35:25.280 Scattered to the highest high

00:35:27.200 Expect they'll either laugh or cry

00:35:30.240 No sex, no consequence, no sympathy

00:35:32.880 You're good enough to heat

00:35:34.820 And so he's talking about nuclear annihilation

00:35:40.780 This certainly, this was on everyone's mind

00:35:46.160 I mean, around this time, Naina had this single 0.99

00:35:49.500 99 red balloons in English

00:35:56.300 That was about like releasing red balloons

00:35:59.220 And it starts a nuclear war

00:36:01.460 99 red balloons

00:36:13.220 Floating in the summer sky

00:36:15.600 Panic badge, it's red alert

00:36:17.980 There's something here from somewhere else

00:36:20.600 The war machine springs to life 0.80

00:36:23.220 Opens up one eager eye

00:36:25.600 Focusing it on the sky

00:36:27.980 99 red balloons go by

00:36:31.460 So I think a lot of this almost like black comedic look

00:36:45.440 At nuclear war was there

00:36:49.920 But I appreciate the, again, the hardness of it all

00:36:55.800 Where it's, it's not, it's not saying like

00:36:59.840 Two minute warning

00:37:00.780 And the babies will be crying

00:37:03.380 Why did you do this to us?

00:37:05.260 It makes no sense 0.99

00:37:06.440 You madman 0.97

00:37:07.080 You know, those are 0.99

00:37:08.700 Sentiments are fine and good

00:37:10.540 But it gets

00:37:13.480 It's cynical

00:37:15.040 And ironic

00:37:18.180 And more disturbing

00:37:21.740 Where it's talking about the people

00:37:24.520 Expect they'll either laugh or cry

00:37:26.280 There's no sex 0.99

00:37:27.200 No consequence

00:37:27.800 But also no sympathy

00:37:29.020 You're good enough to heat

00:37:30.380 The dawning of another year

00:37:33.880 Marks time for those who understand

00:37:36.680 One in four are still here

00:37:38.600 While you and I go hand in hand

00:37:41.040 So they're among the survivors

00:37:42.300 No radio, no sound

00:37:43.520 No sin

00:37:44.260 No sanctuary

00:37:45.760 So welcome to your last

00:37:48.620 So it's, I mean, again

00:37:50.560 It's very laconic

00:37:51.520 And it's simple

00:37:55.080 But I think in just a few lines

00:37:57.100 Really creates this

00:37:59.040 This imagery of nuclear holocaust 0.90

00:38:02.280 And the fact that it's focusing on sex

00:38:08.060 It's like no sex, no consequence 0.74

00:38:09.580 But also no sympathy before you die

00:38:11.340 And then afterward

00:38:12.100 You have no sin

00:38:13.660 But also no sanctuary

00:38:14.880 I think it's actually great

00:38:19.160 Two million miles across the land

00:38:22.540 Scattered to the highest high

00:38:26.760 Expect they'll either laugh or cry

00:38:30.980 No sex, no consequence, no sympathy

00:38:34.480 You're good enough to heat

00:38:38.300 Two minute morning

00:38:39.800 Two minutes later

00:38:41.860 When time has come

00:38:43.940 My days are numbered

00:38:46.380 Two minute morning

00:38:48.580 Two minutes later

00:38:50.520 When time has come

00:38:52.640 My days are numbered

00:38:55.020 You know, I don't know how many times

00:39:01.820 This has been performed afterward

00:39:03.080 It's not one of their greatest

00:39:04.160 But, or most classic

00:39:06.160 But in terms of setting the mood

00:39:09.500 And establishing Depeche Mode's essence

00:39:14.760 I think a song like that really does it

00:39:18.280 Interesting

00:39:19.400 With the no radio, no sound

00:39:21.480 No sin, no sanctuary

00:39:22.620 I get very much Garden of Eden

00:39:26.080 Type of vibes

00:39:27.460 Like a new world after

00:39:28.860 Yeah

00:39:29.720 The nuclear holocaust 0.96

00:39:31.520 Definitely

00:39:32.220 There are a couple of other things

00:39:34.120 Worth mentioning

00:39:34.980 So the next three albums

00:39:36.940 Are recorded at

00:39:39.280 Hansa Studios

00:39:40.960 And that is in West Germany

00:39:44.360 So obviously the Cold War

00:39:45.900 Is still on

00:39:47.640 At this point in time

00:39:49.720 And it's, you know

00:39:51.500 On everyone's mind

00:39:52.540 And it's interesting

00:39:55.860 Because David Bowie

00:39:57.200 He recorded

00:39:59.040 Lodger, Heroes, and Lowe

00:40:02.060 At Hansa Studios

00:40:04.640 It's kind of

00:40:05.440 It's known as

00:40:05.940 This Berlin Trilogy

00:40:07.480 And

00:40:08.760 This will also be

00:40:11.160 Where U2 records

00:40:13.220 Octoon Baby

00:40:14.140 Which is their very Berlin 0.90

00:40:16.320 Album

00:40:18.760 And their greatest album

00:40:19.720 It was recorded

00:40:20.440 During the end of the Cold War

00:40:22.120 As well

00:40:22.480 I mean, it's

00:40:23.060 Quite incredible

00:40:24.220 And I think they were

00:40:26.180 You know, they were becoming

00:40:27.400 A European band

00:40:28.380 I mean, I

00:40:28.860 None of this surprised me

00:40:30.440 When I was reading

00:40:31.180 This chapter

00:40:32.180 In Simon Spence's book

00:40:33.780 But

00:40:34.020 They're

00:40:35.180 They're failing

00:40:37.140 To chart

00:40:38.020 In England

00:40:38.760 They're selling

00:40:40.040 More copies

00:40:40.920 In Germany

00:40:41.580 They

00:40:43.560 They actually

00:40:44.240 Don't do

00:40:45.100 An American tour

00:40:46.040 For this album

00:40:47.540 But they do

00:40:48.560 Spain and France

00:40:49.840 And Germany

00:40:50.740 I mean, eventually

00:40:51.560 They'll go to the Soviet Union 0.99

00:40:52.680 As well

00:40:53.840 On their tours

00:40:54.380 And

00:40:55.380 I think this too

00:40:56.980 Was a

00:40:57.980 Liberation of sorts

00:40:59.520 From England

00:41:00.200 And

00:41:01.940 Depeche Mode

00:41:03.460 You know

00:41:04.360 I mean, perhaps they

00:41:05.280 Sense this all along

00:41:06.820 With a French name

00:41:07.500 But it's becoming

00:41:08.600 A European band

00:41:10.180 They're

00:41:11.100 They're

00:41:11.660 You know, they're

00:41:12.440 They're intentionally

00:41:13.300 Choosing to record

00:41:14.560 These things

00:41:15.040 In West Germany

00:41:16.120 Which is, you know

00:41:16.680 Again, it's

00:41:17.140 It's like an island city

00:41:18.440 It's in

00:41:19.120 East Germany

00:41:20.220 There's the wall

00:41:21.700 Separating you from the east 0.98

00:41:22.960 Hansa Studios

00:41:24.180 Overlooks the wall

00:41:25.760 You know

00:41:27.760 A lot of people

00:41:28.340 Living in Berlin

00:41:29.140 Thought, you know

00:41:29.720 If the bombs

00:41:30.660 Start flying

00:41:31.320 We'll probably be first

00:41:32.680 I mean

00:41:32.980 Whether or not

00:41:34.700 That's

00:41:35.000 That was correct

00:41:35.700 That is definitely

00:41:36.740 The sentiment

00:41:37.740 In the air

00:41:39.320 And then also

00:41:40.860 This is when

00:41:41.800 Alan Wilder

00:41:42.540 Is really allowed

00:41:43.540 Into the band

00:41:44.420 And he

00:41:46.500 Again

00:41:48.760 I think his

00:41:49.840 Influence on the music

00:41:51.280 And where

00:41:51.820 Martin Gore

00:41:52.440 Will be as a songwriter

00:41:53.280 Later

00:41:53.680 Or Dave Gahan

00:41:55.180 As a songwriter

00:41:55.880 Even for that matter

00:41:57.000 Is 0.88

00:41:57.400 Underestimated

00:41:59.280 And

00:42:00.240 This is just a paragraph

00:42:02.060 From the book

00:42:02.740 Alan wrote a bit

00:42:03.760 Of Construction Time

00:42:04.560 Again

00:42:04.880 It was just

00:42:06.920 Martin

00:42:07.380 Really

00:42:07.720 Martin wrote the songs

00:42:08.940 Dave sang most of them

00:42:10.580 And Martin sang some of them

00:42:11.840 And Martin sang backing vocals

00:42:13.760 And Alan sang a bit

00:42:15.000 Of backing vocals

00:42:15.880 But everything was played

00:42:17.480 By the machines

00:42:18.280 So it was more about

00:42:19.760 What atmosphere

00:42:20.620 We teased

00:42:21.480 Out of the machines

00:42:22.460 And Andy

00:42:23.680 Was a really

00:42:24.920 Important part of that

00:42:25.940 Because he was a really

00:42:26.860 Important part of the group

00:42:28.140 Dynamic

00:42:28.600 And he would also

00:42:29.840 Put his foot down

00:42:30.760 Sometimes

00:42:31.260 And say

00:42:31.660 It's not weird enough

00:42:32.980 That sounds a bit

00:42:34.300 Too normal

00:42:35.000 I know

00:42:36.880 I know

00:42:38.860 What you're saying

00:42:39.740 Andy was very concerned

00:42:41.320 That we should maximize

00:42:42.400 The potential

00:42:43.120 Of Martin's songs

00:42:44.220 Very concerned

00:42:45.000 That that should be the case

00:42:48.040 But not necessarily

00:42:49.240 In the most simple

00:42:50.260 Pop way

00:42:51.120 With that album

00:42:52.500 They were determined

00:42:53.340 To do something

00:42:54.160 That would earn 0.69

00:42:55.000 The respect

00:42:55.660 Of their peers

00:42:56.400 They were determined

00:42:57.120 Not to be dismissed

00:42:58.300 As synth pop

00:42:59.060 That was very important

00:43:00.660 To Andy as well

00:43:01.600 That the band

00:43:02.480 Should reinvent themselves

00:43:03.680 In some kind of

00:43:04.460 Successful

00:43:05.080 But moody

00:43:05.660 Dark 0.57

00:43:06.100 Edgy

00:43:06.560 Kind of way

00:43:07.240 This is actually

00:43:09.940 Gareth Jones

00:43:11.620 So

00:43:12.720 You know

00:43:13.700 You can tell that

00:43:14.780 Fletch is much

00:43:16.300 More interested

00:43:17.160 In commercial success

00:43:19.300 Although he

00:43:20.760 Also recognizes

00:43:22.380 The need

00:43:22.980 To go

00:43:23.580 Edgy and dark

00:43:24.580 Martin is the

00:43:26.680 You know

00:43:27.080 Obviously

00:43:27.500 Like fundamental

00:43:28.520 Songwriter

00:43:29.120 But it seems like

00:43:30.120 Alan Wilder

00:43:31.020 Is the one

00:43:32.760 Really dragging

00:43:34.680 Them away

00:43:35.740 From anything

00:43:36.580 That's going to

00:43:37.160 Resemble

00:43:37.620 Speak and Spell

00:43:38.360 I would agree

00:43:40.480 With that

00:43:40.980 I think that

00:43:42.560 Andy

00:43:44.080 Was their

00:43:45.340 Manager

00:43:45.800 Before

00:43:46.460 Their

00:43:46.840 Manager

00:43:47.700 He was

00:43:50.080 You know

00:43:50.520 I think

00:43:51.060 That's

00:43:51.300 And he's also

00:43:52.120 Martin's

00:43:52.780 Biggest

00:43:53.360 Fan

00:43:54.060 But to be fair

00:43:55.420 Also his biggest

00:43:56.200 Critic

00:43:56.680 Maybe

00:43:56.960 You know

00:43:57.860 I know he said

00:43:58.660 Before

00:43:59.080 Why do all the songs

00:44:00.140 Have to be about

00:44:00.920 Death

00:44:01.320 Basically saying

00:44:02.380 That okay

00:44:02.760 We don't want to

00:44:03.560 Turn this album

00:44:04.120 And make it

00:44:04.680 Too sad

00:44:05.760 But it's weird

00:44:07.480 To kind of

00:44:08.640 He's kind of

00:44:09.360 Like dictating

00:44:10.100 The way that

00:44:10.660 You read that

00:44:11.200 It made it sound

00:44:11.820 Like he was

00:44:12.160 Almost like

00:44:12.520 Dictating

00:44:13.200 You know

00:44:13.960 And he was

00:44:15.740 Important

00:44:16.340 In the direction

00:44:18.200 Of their sound

00:44:19.000 Is what

00:44:19.680 I can

00:44:20.380 You know

00:44:21.060 Conclude from that

00:44:21.960 Despite

00:44:23.340 My own

00:44:24.140 You know

00:44:24.460 Personal

00:44:24.940 Bias against him

00:44:26.680 For whatever

00:44:28.060 Tensions he had

00:44:28.880 With Alan

00:44:29.800 The Yoko Ono

00:44:31.280 Of Depeche Mode

00:44:32.380 A bit like that

00:44:36.700 Yeah

00:44:36.960 Yeah

00:44:37.860 I think that

00:44:39.040 Alan

00:44:39.640 Definitely

00:44:41.120 Wanted to

00:44:42.040 Get away

00:44:42.600 From

00:44:42.920 Speak and

00:44:43.780 Spell

00:44:44.200 And the

00:44:45.520 Poppiness

00:44:46.240 Of it

00:44:46.720 But he

00:44:47.940 Had said

00:44:48.600 In multiple

00:44:49.320 Interviews

00:44:49.940 That he was

00:44:50.700 Had to be

00:44:52.580 Diplomatic

00:44:53.160 He didn't

00:44:53.820 Want to

00:44:54.260 Come into

00:44:55.240 The band

00:44:55.700 And

00:44:56.240 Immediately

00:44:57.240 Start arguing

00:44:59.720 With Martin

00:45:00.560 Especially

00:45:01.280 Over the

00:45:01.880 Sound

00:45:02.280 Over the

00:45:03.040 Direction

00:45:03.520 Of the

00:45:04.020 Songs

00:45:04.700 And

00:45:05.160 Obviously

00:45:05.780 He had

00:45:07.580 As time

00:45:08.880 Went on

00:45:09.280 More and

00:45:09.820 More influence

00:45:10.660 In

00:45:11.580 Changing the

00:45:13.000 Direction of

00:45:13.700 The songs

00:45:14.140 But his

00:45:15.080 Songs I

00:45:15.520 Have to

00:45:15.840 Say

00:45:16.180 Alan's

00:45:17.300 Songs

00:45:17.500 I mean

00:45:17.920 They're

00:45:18.860 Alright

00:45:19.180 And lyrically

00:45:20.500 They're a

00:45:21.360 Little bit

00:45:21.700 Interesting

00:45:22.100 But

00:45:23.120 I mean

00:45:24.540 They're kind

00:45:25.080 Of fillers 0.99

00:45:25.900 At the end

00:45:26.620 Of the day

00:45:27.020 Maybe especially

00:45:28.280 The landscape

00:45:29.360 Is changing

00:45:30.140 And I

00:45:30.700 Think

00:45:31.080 You know

00:45:31.700 He would

00:45:32.000 Have better

00:45:32.620 Ones

00:45:32.940 On the

00:45:33.340 Next

00:45:33.820 Album

00:45:34.200 Yeah

00:45:34.820 Again 1.00

00:45:35.920 Fools 1.00

00:45:36.520 Is one 1.00

00:45:36.940 Of their

00:45:37.200 Better

00:45:37.680 B-sides

00:45:38.660 True

00:45:39.900 True

00:45:40.320 And

00:45:40.780 I

00:45:43.000 Actually

00:45:43.760 Bought

00:45:44.620 Some

00:45:44.940 Vinyl

00:45:45.500 You know

00:45:46.160 Singles

00:45:46.600 And B-sides

00:45:47.340 From this

00:45:48.040 Album

00:45:48.360 And

00:45:48.980 It's very

00:45:50.700 Interesting 1.00

00:45:51.080 Fools 1.00

00:45:51.560 There's a lot 1.00

00:45:52.040 Of live

00:45:52.500 Tracks

00:45:53.080 And

00:45:53.940 Even

00:45:55.040 Even

00:45:55.140 Even

00:45:55.960 Like

00:45:56.180 Performing

00:45:57.280 Speak and

00:45:59.080 Spell

00:45:59.300 Songs

00:45:59.760 You can

00:46:00.240 Tell

00:46:00.560 There's

00:46:00.820 This

00:46:00.980 Difference

00:46:01.700 Like

00:46:03.460 Performing

00:46:04.700 The

00:46:05.000 The live

00:46:05.680 Version

00:46:06.160 Of

00:46:07.080 Photographic

00:46:08.460 That

00:46:09.800 You know

00:46:10.080 Was a

00:46:10.380 Speak and

00:46:10.720 Spell

00:46:10.900 Song

00:46:11.420 What are

00:46:13.580 The lyrics

00:46:13.940 To that

00:46:14.440 Like

00:46:14.820 I

00:46:16.260 Take

00:46:16.920 Pictures

00:46:17.880 Yeah

00:46:18.400 Photographic

00:46:19.540 But it's

00:46:20.940 A

00:46:21.120 White

00:46:21.320 House

00:46:23.200 A

00:46:23.500 White

00:46:23.880 Room

00:46:24.140 The

00:46:24.520 Program

00:46:25.000 Of

00:46:25.460 Today

00:46:25.720 It's

00:46:26.240 This

00:46:26.440 It's

00:46:27.160 Played

00:46:27.840 Like

00:46:28.080 At a

00:46:28.280 Much

00:46:28.760 Faster

00:46:29.320 Tempo

00:46:29.760 And

00:46:29.940 That

00:46:30.060 Was

00:46:30.180 A

00:46:30.300 Choice

00:46:30.560 I

00:46:30.720 Mean

00:46:30.800 Remember

00:46:31.000 There's

00:46:31.900 Not

00:46:32.160 An

00:46:32.460 Actual

00:46:32.740 Drummer

00:46:33.140 They're

00:46:33.940 Playing

00:46:34.400 A

00:46:35.600 Track

00:46:36.060 Tape

00:46:36.440 But

00:46:37.080 It's

00:46:37.460 Just

00:46:37.680 Played

00:46:38.140 Very

00:46:38.520 Hard

00:46:39.020 It's

00:46:40.180 Also

00:46:40.480 Kind

00:46:40.740 Of

00:46:40.840 Pushing

00:46:41.180 Towards

00:46:41.660 Almost

00:46:42.060 Like

00:46:42.400 Heavy

00:46:42.700 Metal

00:46:43.020 Sound

00:46:43.440 That

00:46:43.620 You'll

00:46:43.740 See

00:46:43.900 From

00:46:44.080 Them

00:46:44.340 This

00:46:45.240 Like

00:46:45.480 Kind

00:46:45.700 Of

00:46:45.820 Slamming 0.87

00:46:46.360 The

00:46:46.500 Like

00:46:47.900 Slamming 0.87

00:46:48.560 The

00:46:48.720 Keyboard

00:46:49.240 And

00:46:49.960 It's

00:46:51.320 Just

00:46:51.640 It

00:46:52.220 Again

00:46:53.180 It's

00:46:53.540 It's

00:46:53.760 It's

00:46:54.300 Recognizable

00:46:55.000 But

00:46:55.200 Almost

00:46:55.640 Unrecognizable

00:46:56.540 From

00:46:57.160 This

00:46:58.240 Speak

00:46:58.560 And

00:46:58.700 Spell

00:46:58.920 Album

00:46:59.320 Which

00:47:00.180 Could

00:47:00.880 Properly

00:47:01.540 Be

00:47:01.720 Described

00:47:02.100 As

00:47:02.280 Cute

00:47:02.700 This

00:47:04.340 Is 0.88

00:47:04.520 Photographic

00:47:05.360 The

00:47:15.480 White

00:47:16.100 White

00:47:16.120 House

00:47:16.760 The

00:47:17.260 White

00:47:17.800 Program

00:47:19.260 Of

00:47:19.940 Today

00:47:20.540 Light

00:47:22.320 Up

00:47:22.960 Switch

00:47:23.840 On

00:47:24.400 Your

00:47:24.840 Eyes

00:47:25.420 Are

00:47:25.740 Far

00:47:26.240 Away

00:47:26.780 The

00:47:27.960 Man

00:47:28.520 Represents

00:47:29.800 You

00:47:30.400 And

00:47:30.800 Take

00:47:31.500 Is 0.88

00:47:32.200 Your

00:47:32.440 Voice

00:47:33.080 Follow

00:47:34.600 All

00:47:35.460 And

00:47:35.680 Love

00:47:36.020 You

00:47:36.340 Till

00:47:36.940 You

00:47:37.340 Recognize

00:47:38.500 The

00:47:38.740 Choice

00:47:39.280 I

00:47:43.920 Take

00:47:44.640 Pictures

00:47:46.140 Photographic

00:47:51.060 Pictures

00:47:52.280 Bright

00:47:53.160 Night

00:47:53.680 Dark 0.57

00:47:56.400 Bright

00:47:59.360 Night

00:47:59.900 Dark 0.57

00:48:02.580 I

00:48:03.100 Said

00:48:08.580 And

00:48:09.640 I

00:48:10.200 Think

00:48:10.660 So

00:48:10.900 Even

00:48:11.340 In

00:48:11.560 Like

00:48:11.800 Even

00:48:12.340 In

00:48:12.500 Their

00:48:12.700 You

00:48:13.460 Know

00:48:13.600 Rehearsing

00:48:14.580 Of

00:48:14.720 Older 0.87

00:48:14.980 Music

00:48:15.280 They're

00:48:15.620 Already

00:48:16.180 Turning

00:48:16.720 It

00:48:17.000 Into

00:48:17.260 This

00:48:17.520 New

00:48:17.900 Style

00:48:18.980 Right

00:48:19.240 Before

00:48:19.460 Our

00:48:19.700 Eyes

00:48:19.960 So

00:48:20.600 You

00:48:20.840 Went

00:48:21.080 To

00:48:21.280 The

00:48:21.500 Concert

00:48:22.100 One

00:48:22.420 Week

00:48:22.640 Ago

00:48:22.980 In

00:48:23.560 Detroit

00:48:23.940 I

00:48:25.580 Did

00:48:25.800 How

00:48:26.640 Was

00:48:26.880 It

00:48:27.080 It

00:48:28.940 Was

00:48:29.120 The

00:48:29.280 Best

00:48:29.500 Concert

00:48:29.880 I've

00:48:30.080 Ever

00:48:30.240 Been

00:48:30.480 To

00:48:30.740 Oh

00:48:31.560 Really

00:48:31.820 They

00:48:32.240 They

00:48:33.340 Did

00:48:34.060 About

00:48:34.580 The

00:48:34.820 Same

00:48:35.020 Songs

00:48:35.420 That

00:48:35.620 They

00:48:35.740 Did

00:48:35.940 In

00:48:36.060 Chicago

00:48:36.540 But

00:48:38.060 The

00:48:39.420 There

00:48:39.640 Were

00:48:39.780 A

00:48:39.900 Few

00:48:40.020 Changes

00:48:40.460 And

00:48:40.640 I'm

00:48:40.760 Trying

00:48:41.120 To

00:48:41.560 Remember

00:48:42.220 Them

00:48:42.460 Off

00:48:42.640 The

00:48:42.760 Top

00:48:42.880 Of

00:48:42.980 My

00:48:43.060 Head

00:48:43.300 The

00:48:43.780 One

00:48:44.300 That

00:48:44.620 They

00:48:44.800 Did

00:48:45.280 Which

00:48:46.300 Was

00:48:46.500 A

00:48:46.980 Two

00:48:48.260 Person

00:48:48.700 Deal

00:48:50.380 With

00:48:50.700 Martin

00:48:51.220 And

00:48:51.400 Peter

00:48:51.580 Vordino

00:48:52.080 Was

00:48:53.420 Dressed

00:48:53.860 In

00:48:54.000 Black 0.64

00:48:54.400 And

00:48:55.260 They

00:48:55.580 Kind

00:48:55.880 Of

00:48:56.000 Sang

00:48:56.220 Back

00:48:56.520 And

00:48:56.720 For

00:48:57.040 With

00:48:58.600 The

00:48:58.940 With

00:48:59.320 The

00:48:59.640 What

00:49:00.420 Are

00:49:00.520 The

00:49:00.660 Lyrics

00:49:01.020 There's

00:49:02.120 A

00:49:02.220 Picture

00:49:02.500 Of

00:49:02.880 Black 0.64

00:49:03.280 Again

00:49:03.620 Yeah

00:49:03.980 Yeah

00:49:04.700 That

00:49:04.980 Part

00:49:05.240 Oh

00:49:06.040 Dressed

00:49:07.100 In

00:49:07.260 Black 0.64

00:49:07.500 Again

00:49:08.040 But

00:49:08.920 I

00:49:09.080 Had

00:49:09.300 I

00:49:09.860 I

00:49:10.180 Mean

00:49:10.300 I

00:49:10.420 Wasn't

00:49:10.620 On

00:49:10.780 The

00:49:10.920 Floor

00:49:11.180 But

00:49:11.400 I

00:49:11.540 Had

00:49:11.840 I

00:49:12.020 Was

00:49:12.160 Two

00:49:12.400 Seats

00:49:12.700 Away

00:49:13.060 From

00:49:14.340 The

00:49:14.500 Floor

00:49:14.920 I

00:49:15.940 You

00:49:16.200 Know

00:49:16.320 I

00:49:16.660 Was

00:49:16.860 About

00:49:18.200 A

00:49:18.420 Hundred

00:49:18.900 Feet

00:49:19.340 From

00:49:19.840 Dave

00:49:20.740 And

00:49:20.980 Martin

00:49:21.460 And

00:49:21.620 It

00:49:21.700 Was

00:49:21.840 Awesome

00:49:22.260 It

00:49:22.700 Was

00:49:23.020 Yeah

00:49:23.680 Best

00:49:23.960 Concert

00:49:24.280 I've

00:49:24.480 Ever

00:49:24.640 Been

00:49:24.880 To

00:49:25.120 Full

00:49:26.280 Of

00:49:26.440 Energy

00:49:26.800 And

00:49:27.260 I

00:49:27.640 Have

00:49:28.440 To

00:49:28.560 Say

00:49:28.780 That

00:49:28.980 The

00:49:29.160 Crowd

00:49:29.560 Was

00:49:30.020 You

00:49:31.500 Know

00:49:31.660 Extremely

00:49:32.180 Responsive

00:49:32.900 And

00:49:33.540 Extremely

00:49:34.720 Present

00:49:35.900 Whereas

00:49:36.260 In

00:49:36.520 Chicago

00:49:36.940 I

00:49:38.280 Don't

00:49:38.400 Know

00:49:38.520 If

00:49:38.640 It's

00:49:38.780 Because

00:49:38.900 I

00:49:39.000 Was

00:49:39.100 Sitting

00:49:39.220 A

00:49:39.380 Little

00:49:39.460 Bit

00:49:39.600 Further

00:49:39.780 Back

00:49:40.120 But

00:49:40.280 They

00:49:40.440 Weren't

00:49:40.900 As

00:49:41.520 You

00:49:41.960 Could

00:49:42.120 Tell

00:49:42.360 There

00:49:42.580 Were

00:49:42.700 A

00:49:43.040 Few

00:49:43.180 People

00:49:43.580 Who

00:49:44.460 Weren't

00:49:44.820 As

00:49:45.100 Interested

00:49:45.660 In

00:49:46.040 The

00:49:46.180 Music

00:49:46.700 And

00:49:48.040 For

00:49:49.300 Some

00:49:49.620 I

00:49:49.800 Think

00:49:50.040 A

00:49:50.640 Lot

00:49:50.800 Of

00:49:50.900 Those

00:49:51.100 Fans

00:49:51.400 Perhaps

00:49:51.820 Were

00:49:52.020 Just

00:49:52.240 Like

00:49:52.580 Oh

00:49:52.900 I'm

00:49:53.220 Kind

00:49:53.420 Of

00:49:53.520 A

00:49:53.620 Nostalgic

00:49:54.040 80s

00:49:54.460 Guy

00:49:54.700 I'll

00:49:54.860 Go

00:49:54.980 See

00:49:55.280 Depeche

00:49:56.360 Mode

00:49:56.520 This

00:49:56.880 You

00:49:57.300 Know

00:49:57.440 Felt

00:49:57.740 Like

00:49:57.980 These

00:49:58.180 Were

00:49:58.340 Actual

00:49:58.960 Depeche

00:50:00.020 Mode

00:50:00.180 Fans

00:50:00.400 I

00:50:00.520 Mean

00:50:00.620 People

00:50:00.920 Were

00:50:01.100 Singing

00:50:01.440 Like

00:50:01.880 The

00:50:02.080 Lyrics

00:50:02.380 To

00:50:02.640 Some

00:50:02.920 Of

00:50:03.020 Their

00:50:03.160 More

00:50:03.660 Unknown

00:50:03.940 Songs

00:50:04.300 Like

00:50:04.680 Dressed

00:50:05.200 In

00:50:05.360 Black 0.64

00:50:05.760 And

00:50:06.520 Knowing

00:50:07.080 Knowing

00:50:07.800 The

00:50:08.000 Lyric

00:50:08.380 Which

00:50:08.620 Was

00:50:08.880 Which

00:50:09.920 Was

00:50:10.060 Good

00:50:10.320 She's

00:50:12.360 A

00:50:12.480 Victorious

00:50:12.880 World

00:50:14.220 Reflection

00:50:16.940 Of

00:50:17.500 You

00:50:17.920 Reflection

00:50:18.980 Of

00:50:19.600 Me

00:50:20.040 It's

00:50:20.620 All

00:50:21.060 There

00:50:21.340 To

00:50:21.560 See

00:50:22.060 If

00:50:22.380 You

00:50:22.740 Will

00:50:23.100 Be

00:50:23.400 Given

00:50:23.820 To

00:50:24.380 The

00:50:24.680 Fire

00:50:25.320 Within

00:50:26.060 So

00:50:40.940 Where

00:50:41.480 Would

00:50:41.660 You

00:50:41.940 Rank

00:50:42.760 This

00:50:43.000 Album

00:50:43.380 It's

00:50:45.740 In

00:50:46.720 The

00:50:46.860 Middle 0.95

00:50:47.140 It's

00:50:48.080 You

00:50:48.660 Know

00:50:48.780 Just

00:50:49.100 Due

00:50:49.300 To

00:50:49.460 The

00:50:49.740 Things

00:50:50.580 That

00:50:50.760 Are

00:50:50.840 Holding

00:50:51.080 It

00:50:51.240 Back

00:50:51.620 Are

00:50:52.500 The

00:50:52.800 Lack

00:50:54.120 Of

00:50:54.320 Weird

00:50:54.760 Martin

00:50:55.120 Gore

00:50:55.440 Chords

00:50:56.200 And

00:50:56.760 The

00:50:57.660 Lack

00:50:58.120 Of

00:50:58.300 The

00:50:58.600 You

00:51:00.360 Know

00:51:00.500 Navel

00:51:00.920 Gazing

00:51:01.280 So

00:51:02.160 I

00:51:02.660 Think

00:51:03.380 I

00:51:03.540 Have

00:51:03.780 This

00:51:04.000 One

00:51:04.220 At

00:51:04.680 Nine

00:51:07.260 Yeah

00:51:09.520 Okay

00:51:09.880 I

00:51:11.280 I

00:51:11.600 Agree

00:51:12.100 And

00:51:12.900 But

00:51:13.860 All I

00:51:14.280 Would

00:51:14.440 Say

00:51:14.900 Is 0.88

00:51:15.300 That

00:51:15.760 This

00:51:16.380 Is 0.88

00:51:16.740 Increased

00:51:17.860 Quite

00:51:18.400 A

00:51:18.580 Bit

00:51:18.780 In

00:51:18.960 My

00:51:19.200 Estimation

00:51:20.000 And

00:51:22.200 I

00:51:24.500 I

00:51:24.840 Might

00:51:25.260 I

00:51:25.640 Might

00:51:25.880 Put

00:51:26.200 It

00:51:26.360 Higher

00:51:26.760 Just

00:51:27.120 Because

00:51:27.460 I

00:51:27.760 I

00:51:28.140 Do

00:51:28.300 Think

00:51:28.620 This

00:51:28.840 Is 0.88

00:51:29.140 Essential

00:51:29.960 An

00:51:30.300 Essential

00:51:30.780 Album

00:51:31.300 Also

00:51:32.580 Just

00:51:32.920 In

00:51:33.100 Terms

00:51:33.540 Of

00:51:33.840 Historical

00:51:34.680 Importance

00:51:35.580 I

00:51:35.800 Would

00:51:35.980 Definitely

00:51:36.340 Put

00:51:36.660 It

00:51:36.840 Higher

00:51:37.500 If

00:51:38.640 Not

00:51:39.040 Even

00:51:39.640 Perhaps

00:51:40.180 Number

00:51:40.480 One

00:51:40.940 Really

00:51:42.080 In

00:51:43.740 In

00:51:43.760 Terms

00:51:44.400 Of

00:51:44.700 This

00:51:45.440 Is 0.88

00:51:45.620 When

00:51:45.840 They

00:51:46.080 Became

00:51:47.040 Who

00:51:47.340 They

00:51:47.560 Are

00:51:47.960 I

00:51:48.160 Mean

00:51:48.300 This

00:51:48.840 Is 0.88

00:51:49.060 It

00:51:49.360 They

00:51:50.540 Found

00:51:51.040 Their

00:51:51.520 Unique

00:51:52.180 Sound

00:51:52.740 Here

00:51:53.480 And

00:51:53.980 No

00:51:54.240 It's

00:51:54.480 Not

00:51:54.640 Perfect

00:51:55.020 Lots

00:51:55.500 Of

00:51:55.620 Things

00:51:55.800 Missed

00:51:56.200 The

00:51:56.300 Mark

00:51:56.560 Yes

00:51:57.300 But

00:51:57.680 They

00:51:58.600 Found

00:51:59.540 Those

00:51:59.760 Essential

00:52:00.400 Qualities

00:52:01.860 Of

00:52:02.480 Depeche

00:52:03.320 Mode

00:52:03.640 And

00:52:04.720 I

00:52:04.980 Think

00:52:05.180 That

00:52:06.260 Brings

00:52:08.620 It

00:52:08.880 To

00:52:09.220 A

00:52:09.480 To

00:52:09.760 A

00:52:09.880 Higher

00:52:10.100 State

00:52:10.460 Than

00:52:10.620 It

00:52:10.780 Otherwise

00:52:11.180 Would

00:52:11.400 Be

00:52:11.640 But

00:52:12.880 We'll

00:52:13.040 Have

00:52:13.160 To

00:52:13.240 Go

00:52:13.360 To

00:52:13.480 This

00:52:13.620 After

00:52:13.920 We

00:52:14.100 Finish

00:52:14.500 The

00:52:14.840 The

00:52:15.200 The

00:52:15.400 Tour

00:52:15.920 Of

00:52:16.080 The

00:52:16.180 Albums

00:52:16.600 I'll

00:52:16.960 Sit

00:52:17.160 Down

00:52:17.380 With

00:52:17.560 15

00:52:18.000 And

00:52:18.320 Like

00:52:18.540 Force

00:52:19.220 Myself

00:52:19.660 To

00:52:19.980 Rank

00:52:20.380 Them

00:52:20.620 And

00:52:21.220 Maybe

00:52:21.440 I'll

00:52:21.620 Put

00:52:21.780 It

00:52:21.860 Lower

00:52:22.060 Than

00:52:22.240 That

00:52:22.420 But

00:52:22.600 I

00:52:22.800 Think

00:52:23.160 I've

00:52:23.340 Gotten

00:52:23.580 My

00:52:23.780 My

00:52:24.480 Message

00:52:24.820 Across

00:52:25.220 So

00:52:26.980 Quick

00:52:27.580 Question

00:52:27.920 Did

00:52:28.200 You

00:52:28.440 See

00:52:28.840 Have

00:52:29.160 You

00:52:29.280 Seen

00:52:29.500 Them

00:52:29.720 This

00:52:30.260 Year

00:52:30.460 On

00:52:30.660 This

00:52:30.880 Memento

00:52:31.440 Mori

00:52:31.740 Tour

00:52:31.940 No

00:52:33.360 And

00:52:35.260 Yeah

00:52:36.020 I

00:52:37.540 Might

00:52:37.760 Have

00:52:37.980 To

00:52:41.640 That's

00:52:41.920 Where

00:52:42.020 They're

00:52:42.100 Going

00:52:42.200 To

00:52:42.240 Be

00:52:42.380 Next

00:52:42.700 Yeah

00:52:43.360 They're

00:52:44.020 They're

00:52:44.240 Not

00:52:44.440 Doing

00:52:44.800 That

00:52:45.100 New

00:52:45.680 Sphere

00:52:49.860 Thing

00:52:50.420 In

00:52:50.600 Vegas

00:52:50.920 But

00:52:51.300 They're

00:52:51.840 They're

00:52:52.480 Doing

00:52:52.660 Like

00:52:52.840 The

00:52:52.980 Basketball

00:52:53.500 Arena

00:52:53.800 Or

00:52:54.020 Something

00:52:54.280 And

00:52:55.680 Yeah

00:52:57.240 It's

00:52:59.340 A hop

00:53:00.080 Skip

00:53:00.360 And

00:53:00.460 A jump

00:53:00.840 Actually

00:53:01.380 Well

00:53:03.720 But

00:53:04.340 I mean

00:53:04.680 You have

00:53:05.060 To

00:53:05.200 See

00:53:05.440 Them

00:53:05.640 By

00:53:05.820 The

00:53:05.980 Time

00:53:06.280 This

00:53:06.560 Is 0.88

00:53:06.860 I

00:53:08.280 Could

00:53:08.460 Do

00:53:08.580 A

00:53:08.720 Review

00:53:09.040 Of

00:53:10.380 That

00:53:10.660 In

00:53:10.880 Itself

00:53:11.420 You have

00:53:11.900 To

00:53:12.040 See

00:53:12.200 Them

00:53:12.420 Before

00:53:12.820 Their

00:53:13.060 Tour

00:53:13.420 End

00:53:13.680 Because

00:53:13.980 I'm

00:53:15.440 Also

00:53:15.740 Afraid

00:53:16.140 I

00:53:16.380 Don't

00:53:17.000 Know

00:53:17.160 If

00:53:17.300 This

00:53:17.440 Will

00:53:17.540 Be

00:53:17.640 Their

00:53:17.780 Last

00:53:18.200 I

00:53:20.340 Hope

00:53:20.620 Not

00:53:20.840 But

00:53:21.080 You

00:53:21.260 Know

00:53:21.420 62

00:53:22.300 3

00:53:22.900 Yeah

00:53:24.280 I

00:53:27.320 Feel

00:53:27.440 Like

00:53:27.560 I'm

00:53:27.700 Shaming

00:53:28.040 You

00:53:28.240 Right

00:53:28.420 Now

00:53:28.640 I've

00:53:29.800 Seen

00:53:30.220 Them

00:53:30.420 In

00:53:30.740 Concert

00:53:31.200 Quite

00:53:31.460 A

00:53:31.580 Bit

00:53:31.760 So

00:53:32.140 And

00:53:32.840 I

00:53:32.920 Still

00:53:33.140 Have

00:53:33.340 Some

00:53:33.540 Opportunities

00:53:34.240 Just

00:53:35.900 Making

00:53:36.140 Up

00:53:36.320 For

00:53:36.400 Lost

00:53:36.700 Time

00:53:37.040 So

00:53:37.260 Yeah

00:53:37.780 Yeah

00:53:42.820 Yeah

00:53:46.560 Yeah

00:53:46.960 Yeah

00:53:47.100 Yeah

00:53:47.760 Yeah

00:53:59.840 Yeah

00:54:00.400 Yeah

00:54:00.860 Yeah

00:54:02.340 He

00:54:03.280 Yeah

00:54:04.000 Yeah

00:54:04.180 Hey

00:54:04.340 toy

00:54:05.260 Yeah

00:54:06.240 Yeah

00:54:06.540 Yeah!

00:54:36.540 There's no turning back

00:54:38.540 The turning point

00:54:40.540 Of a career

00:54:42.540 In the real

00:54:44.540 In the city

00:54:49.540 The only day

00:54:51.540 Spons by

00:54:53.540 The contract

00:54:55.540 Illusion 0.99

00:54:57.540 Flying ass 0.99

00:55:00.540 Traveling head 0.99

00:55:02.540 All of themselves

00:55:04.540 After all 1.00

00:55:06.540 Driving ass 0.99

00:55:08.540 Traveling head 1.00

00:55:10.540 All of themselves

00:55:12.540 After all

00:55:14.540 It's a competitive world

00:55:18.540 Everything counts

00:55:20.540 In the heart of us

00:55:34.540 To drive

00:55:36.540 To our

00:55:40.540 The one

00:55:42.540 Top PR

00:55:44.540 To our

00:55:46.540 We will

RadixJournal - December 20, 2023

Depeche Mode： Construction Time Again

Episode Stats

Summary

Transcript