RadixJournal - Depeche Mode： Violator

00:00:00.000 I'll see you next time.

00:00:30.000 Let me take you on a trip

00:00:35.680 Around the world and back

00:00:39.840 And you won't have to move, you just sit still

00:00:44.960 Now let your mind do a walk in

00:00:51.940 Let my body do a talking

00:00:55.320 Let me show you the world with my eyes

00:01:00.440 Well, Violator, where were you when you bought the album?

00:01:14.620 Were you alive?

00:01:16.800 I was not alive.

00:01:17.800 I was negative two.

00:01:20.920 Okay.

00:01:21.280 You weren't a glimmer in your father's eye when this was released.

00:01:26.400 Well, I remember being a young person purchasing it at a CD store in Dallas, Texas.

00:01:34.700 I've actually seen some local news coverage that's been reproduced on YouTube.

00:01:43.460 You know, we expected 5,000 people at this record store for a guest appearance and 17,000 showed up or something.

00:01:51.460 And that was in Los Angeles, the United States.

00:01:53.740 So, I mean, this, you know, after the album, the live album 101, after Music for the Masses,

00:02:01.380 Depeche Mode had broken into the United States.

00:02:05.780 And they had an avid, obsessed fan base.

00:02:12.740 And I think the 101 film is kind of limited as that is.

00:02:16.220 It does express that.

00:02:19.600 I would say that this is a classic album.

00:02:25.860 I'm probably a Depeche Mode connoisseur would say that Black Celebration is their favorite,

00:02:36.460 if only to be a bit of a contrarian or something.

00:02:40.360 Depeche Mode's at the top of their game with this album.

00:02:44.040 It's hard to really beat it.

00:02:47.240 And it's right at that point where the 80s are over.

00:02:53.520 We don't know what the 90s are going to be.

00:02:56.520 Depeche Mode band members are reaching their late 20s.

00:03:01.840 Reminds me a lot, actually, of Octoon Baby, where you two, you know, what are we going to do?

00:03:08.340 We're getting married.

00:03:09.460 We're getting divorced.

00:03:11.580 Should we continue to be a band?

00:03:13.660 Is it a joke that we're living the rock and roll lifestyle while we're in our early 30s, etc.?

00:03:18.860 And then they produce this amazing album in Hansa Studios.

00:03:25.040 I think this is similar as well.

00:03:28.960 There's confidence, willingness to go in new directions,

00:03:36.280 willingness to craft the ultimate pop song in Enjoy the Silence.

00:03:43.660 That's very Depeche Mode and very interesting.

00:03:48.140 We can talk about that.

00:03:49.860 Willingness to look to the blues, look to Elvis in particular,

00:03:55.420 something you saw in Music for the Masses,

00:03:57.280 but the nail is hammered home here with this album.

00:04:02.160 And also a kind of eagerness to get creepy and even vicious in a way.

00:04:15.280 And that's not new for Martin Gore, but if you really look into these songs,

00:04:22.860 World in My Eyes, Halo, Sweetest Perfection, even Waiting for the Night to Fall,

00:04:29.000 which could be about a number of things, but it might very well be about suicide.

00:04:34.680 They continue to have the black-on-black, nihilistic, hard, tough quality to their music,

00:04:46.220 and they've perfected it into an album that was highly successful.

00:04:53.200 Nothing, at least in the United States, nothing here went number one.

00:04:56.660 At the same time, Personal Jesus was one of these, you know, best-selling singles

00:05:02.220 that it was, you know, on the chart, was charting for over a year and so on.

00:05:07.320 It had that slow burn of a hardcore and expanding fan base.

00:05:13.860 I don't know, I don't have a whole lot to say about the album because I think it speaks for itself.

00:05:20.420 It is classic, probably considered the best by most,

00:05:25.580 has the two most famous Depeche Mode songs outside of Just Can't Get Enough,

00:05:33.180 which is almost like an 80s, you know, fun chestnut party song.

00:05:37.940 These are the real Depeche Mode songs.

00:05:39.900 I don't have anything to say until we start diving into the tracks on a more detailed level

00:05:47.060 because I don't think anything more could be said about this.

00:05:50.640 It's an amazing album.

00:05:52.040 It's a great album.

00:05:53.200 It's one of the classic rock albums of all time.

00:05:55.920 I think there's also a certain confidence expressed by the title itself, Violator.

00:06:01.760 You know, Fletch mentioned that he thought they were going for a kind of heavy metal album.

00:06:07.620 Violator, it sounds like rape.

00:06:10.640 It sounds like the title of a hardcore pornography movie or something.

00:06:16.480 I mean, or a horror film.

00:06:18.180 I mean, it can be all of those things.

00:06:21.120 It's also not a heavy metal album anyways.

00:06:23.740 But just the confidence to do something like that demonstrates that this really is peak Depeche Mode.

00:06:33.920 they're mature, they know what their sound is, they're branching out,

00:06:38.540 but they're really kind of refining a lot of tendencies that were going on before this album.

00:06:43.500 So I don't even want to talk more than that because, you know, it's just so obvious.

00:06:50.620 This is a great album.

00:06:52.320 It meant a lot to me when I was a teenager and, you know, means a lot to the band.

00:06:57.800 I think if you wanted to put one album in a time capsule to capture Depeche Mode,

00:07:03.520 it probably would be this one.

00:07:27.800 That's all there is nothing more than you can feel now.

00:07:50.440 That's all there is.

00:07:52.680 Yeah, when I listen to it, I just think, like, what a way to enter the 90s.

00:08:05.880 Now they've reached, like, basically Beatle status.

00:08:10.420 Well, at least you could say in America, but at least in Los Angeles.

00:08:14.820 I mean, like you were talking about that in-store that they did at this place called

00:08:21.220 The Warehouse in Los Angeles, like, with all these girls just, like, attacking them

00:08:26.440 and waiting outside for, like, a day and a half before just to possibly get an autograph.

00:08:32.360 Like, there was just something that they just finally blew up in America.

00:08:37.360 Hi, I'm Kurt Loder with MTV News.

00:08:40.320 British synth pop stars Depeche Mode have a new LP out this week called Violator.

00:08:45.020 To celebrate its release, the group turned up in Los Angeles for the first time in nearly

00:08:48.580 two years on Tuesday night to autograph some albums for fans at a local warehouse record

00:08:53.080 store.

00:08:53.880 Sounds like a pretty genteel event, but it turned out to be anything but.

00:08:57.260 Take a look.

00:08:58.080 It started out as a fairly standard promotional event.

00:09:00.820 Depeche Mode was in Los Angeles to autograph some albums for the group's fans, of which

00:09:04.660 L.A. boasts an extraordinarily large number.

00:09:08.180 Since we've been touring here since 82 or whatever, you know, we've gradually built up

00:09:12.780 this sort of quite hardcore following that just come and see us whenever, and particularly

00:09:18.640 in this area.

00:09:19.560 The band was launching a new album called Violator with an album signing session at a warehouse

00:09:24.040 record store on La Cienega Boulevard, and the group knew going in that there'd be a big

00:09:28.520 turnout.

00:09:29.260 Can you say, you know, it's a bit daunting, in fact, really, more than anything, you know,

00:09:33.880 and to sign so many autographs?

00:09:36.240 I mean, we've done some big installs in England before for the release of albums, but I think

00:09:40.680 this is going to be the biggest, yeah.

00:09:41.920 But no one realized quite how big.

00:09:43.940 By the time Depeche Mode arrived on the scene, more than 5,000 fans were on hand, surrounding

00:09:48.800 the store and forming a line that stretched for 15 blocks.

00:09:52.360 They spilled out into the street, jammed up against barriers, and crowded up onto the decks

00:09:56.380 of a nearby parking garage.

00:09:58.120 How long have you been here?

00:09:59.160 Since Sunday morning.

00:10:00.300 The signing session got underway at 9 p.m. and was due to last till midnight, but the

00:10:05.080 security on hand was inadequate to deal with the unexpectedly large crowd, and after one

00:10:09.580 hour and seven fan injuries, police cleared the area and asked the band to leave.

00:10:14.760 So very few people actually got to meet Depeche Mode on Tuesday night, but the group will

00:10:18.680 be back before long on a U.S. tour.

00:10:20.780 It's like, this is the album where all the stars align, you know, and where everything

00:10:27.000 gels.

00:10:27.940 Like, Martin's songs are almost, almost every single song on the album, even some B-sides

00:10:34.700 are worth a single.

00:10:37.120 And the production was just perfected with Alan and Flood together.

00:10:42.960 And I think, yeah, everything is just in perfect harmony.

00:10:47.980 Like, they're all getting along, and each person knows their role and just fits into it

00:10:53.520 perfectly.

00:10:54.560 And I think that this, I would put this album up there with the classics of Dark Side of

00:11:01.320 the Moon and Sgt. Pepper's Abbey Road, like all these classic albums that, when people

00:11:06.940 talk about music, the police's synchronicity, I mean, you name it, like, this is up there.

00:11:14.220 And it's kind of the beginning of the end.

00:11:17.160 I mean, there's a drug theme throughout this album, which is interesting.

00:11:24.720 Foreshadowing.

00:11:25.280 Yeah, in Stripped, the Chronicle of Depeche Mode, I reread the chapters, you know, around

00:11:33.000 this album.

00:11:34.340 And they reported that, you know, some say Dave was using heroin, but we weren't sure

00:11:40.000 or something.

00:11:41.060 That might be true, or that might be a little bit of euphemism.

00:11:46.940 I mean, a song like Clean, which is about overcoming, I mean, at least at first glance, like, it's

00:11:54.900 about overcoming drug use.

00:11:57.260 The Sweetest Perfection, as well.

00:11:59.820 They're expressing what's going to, you know, eventually almost lead to Dave Gahan's death,

00:12:08.880 or his death and resurrection, I guess you could say.

00:12:11.520 And so, and it really was this tour, he, what happened in this tour, he got divorced, he

00:12:20.920 abandoned his family, he'll get remarried later on in the 90s, but I don't, you know, I don't

00:12:27.740 think it should be sugar-coated.

00:12:32.340 This is Alan Wilder is talking.

00:12:35.240 There was a lot of ecstasy around, but I couldn't say that anybody was adversely affected by

00:12:41.860 that.

00:12:42.660 Apparently, Dave was using heroin, but this wasn't obvious in his performances, and there

00:12:48.300 was the usual amount of drinking and frivolity.

00:12:50.860 It was a long tour, and maybe there was a delayed reaction with the cracks appearing later.

00:12:56.680 Perhaps when it dawned on us that expectation had risen, we would have to try and follow Violator.

00:13:02.760 This is, fame evidently had its bonuses, but for the 29-year-old Gahan, a married father,

00:13:12.480 who was weighing heavily on his shoulders.

00:13:14.220 By the time the tour ended, he had changed from the home-loving individual, as he described

00:13:18.860 himself, to one who had walked away from his wife and child in search of a different life,

00:13:24.700 effectively mirroring his own father's destructive behavior some 25 painful years earlier.

00:13:30.120 Gahan, and this is, I should mention this, having positioned himself over 5,000 miles away

00:13:39.200 from his five-year-old son and heir, Dave cemented the move by taking up with the vivacious

00:13:45.500 Teresa Conroy, who, according to the Internet Movie Database, had appeared in several hardcore

00:13:51.620 pornographic films under the name Terry before accompanying the band across America as press

00:13:58.620 liaison officer on the 1988 and 1999 treks.

00:14:03.060 Looking back at his rash American move, Gahan admitted, I fell in love with a girl during

00:14:07.840 what was the Violator tour.

00:14:10.060 So there was that.

00:14:11.400 And I always wanted to live there.

00:14:13.440 I brought up the idea of moving to California and trying something different.

00:14:17.280 I was really bored and really safe, Gahan told Times, Paul Connolly, 2001.

00:14:22.500 I felt really safe in my life in England in a lot of ways, and I didn't like it.

00:14:27.960 There I was with a loving, caring wife, a new baby, a big house in the country, a couple

00:14:32.300 of cars in the drive, and it just didn't feel right.

00:14:34.980 I wanted to move to California, but Joanne didn't want to.

00:14:39.000 Gahan's anguish was further compounded by his estranged father's untimely death.

00:14:44.200 My dad died in 1990, and after that, I got a bit curious about him and asked my mom about

00:14:49.480 him.

00:14:50.180 I think he liked to drink.

00:14:51.980 She only had a couple of pictures of him, but one of them was him in a pub.

00:14:56.260 I thought, yeah, that's my old man, all right.

00:14:59.340 So you see a pretty conventional story, actually, of self-destruction that's happening throughout

00:15:08.300 this tour, and that is also expressed in the lyrics of the tracks.

00:15:13.640 All of these songs, including the B-sides, are written by Martin Gore, but they seem to

00:15:20.000 capture a milieu of what was going on.

00:15:23.620 I think one of the things about the album is that it's many things, but it's peak Depeche

00:15:33.440 mode because it's sexy and pervy and bold.

00:15:37.520 It's hard to review the album, like you said, because all you want to do is just listen to

00:15:42.840 it and not really analyze it.

00:15:44.060 When I was listening to it earlier today, I was just starting to bob my head and just get

00:15:49.780 into it, and I was like, oh, wait, I have to actually analyze these lyrics here and think

00:15:54.620 about it.

00:15:55.480 But I think what makes it such a classic album, too, is that it's extremely listenable without

00:16:05.320 selling out without any compromise.

00:16:08.040 It's the album that I think every type of person, like a metalhead or a punk or new wave

00:16:13.520 or whoever, could like this album.

00:16:16.400 And that's basically been my experience, is that when I've shown this album to friends

00:16:21.500 who aren't even into synth pop, they're just run-of-the-mill rock and roll fans.

00:16:28.300 They really like this album.

00:16:30.240 There's something just accessible about it.

00:16:34.180 And yeah, I think one thing that they're doing, though, is they're getting a little bit

00:16:39.620 away from the industrial stuff.

00:16:41.200 It's not construction time again whatsoever.

00:16:46.200 There's not a lot of clanging ashtrays against the wall or whatever, but it is almost like

00:16:53.140 a hard dance and house-ish sounding.

00:16:57.300 But I think that, I mean, just the fact that this album has five songs that have their own

00:17:05.760 music video, which just says that those could be like singles, any one of those five.

00:17:12.020 One of the best things about it, too, is just that it's mixed.

00:17:15.460 I think this might be their best mixed album.

00:17:18.400 It's so crisp and perfect and to the point.

00:17:22.540 And that's where somebody like Francois Kaborkian could work with Kraftwerk before, where he

00:17:30.120 comes in and he has this reputation of being super meticulous.

00:17:34.880 And it's just painstakingly in the corner of the studio with the headphones perfecting

00:17:40.460 a hi-hat for days on end.

00:17:42.640 I mean, that kind of stuff.

00:17:43.920 I wish actually they would have got him back in for any of their subsequent albums, but

00:17:49.780 they didn't.

00:17:50.920 And I don't know, I just think that this album is probably their best mixed album.

00:17:57.340 It's just perfect.

00:17:58.540 And Flood.

00:17:59.080 I mean, Flood produced Joshua Tree for U2.

00:18:03.340 He produced a few albums for Erasure.

00:18:07.080 I mean, he's a kind of unknown person in many ways, but he obviously had a hand in what the

00:18:16.860 sound of the 80s would be.

00:18:20.920 And that's pretty remarkable.

00:18:23.340 I think this was the first time they used a producer who wasn't Daniel Miller as well.

00:18:29.000 Well, Dave Bascom technically would have been, I think, that first one.

00:18:34.540 I mean, Daniel Miller, rather, would show up, I guess, just on occasion just to see, just

00:18:40.340 to kind of monitor the whole thing and see what was going on.

00:18:43.780 But as far as I understand, it was Dave Bascom and then Flood.

00:18:48.900 Flood, and I think Flood, like you say, he just took it to another level as far as, from

00:18:55.200 what I understand, he would actually get the band to play live music together with Alan on

00:19:01.180 drums, Fletch on bass, Dave singing and Martin playing guitar, just to generate a new kind

00:19:07.460 of sound.

00:19:08.460 And he basically was kind of like their guru in a lot of ways and just said, all right,

00:19:13.760 Martin, we want the demos like as stripped down as possible, which is why you hear like

00:19:17.920 enjoy the silence with just his voice and harmonium.

00:19:21.000 And I think that was actually the best approach that they've had.

00:19:28.060 And maybe it doesn't work on every single album, but I think it really works here because it's

00:19:35.160 almost like Alan and Flood could interpret Martin's demos better than Martin could himself,

00:19:41.620 which is odd.

00:19:43.000 But I mean, sometimes it takes, you know, a couple few sets of ears to to hear something

00:19:50.160 in a song and get rid of the quote unquote demo it is.

00:19:54.520 I mean, from what I understand, world in my eyes sounds completely different, but I can't

00:19:59.740 find a demo for it and definitely enjoy the silence sounds completely different than the

00:20:04.040 demo.

00:20:05.020 So there's a lot of I mean, almost to the point where I you're kind of thinking to yourself,

00:20:10.980 do just flood or Alan or both deserve a little bit of writing credit because you I mean,

00:20:17.740 it's not for me to say for sure, but just because of how much the songs might have been

00:20:24.860 transformed the demos to the to the songs, you know.

00:20:29.980 Words like violence break the silence come crashing into my little world.

00:20:40.980 Painful to me, painful to me, pierced right through me, can't you understand, oh my little

00:20:50.340 girl, all I ever wanted, all I ever needed is here in my arms.

00:21:01.520 Words are very unnecessary, they can only do harm.

00:21:10.980 Words are spoken to be broken.

00:21:20.340 Feelings untest, words are trivial.

00:21:24.340 The demo of Enjoy the Silence, which is kind of amazing.

00:21:47.640 The way that it was transformed to this synth pop dance number from where it began.

00:21:57.500 Supposedly Blue Dress went through a number of variations as well.

00:22:01.420 Yes.

00:22:01.960 Yeah.

00:22:02.120 So, yeah, it would be interesting to hear this.

00:22:05.320 Yeah, I agree with everything you said about this.

00:22:11.320 It is interesting.

00:22:12.980 So there are drum samples and you can hear this on a song that I think is really underrated.

00:22:20.980 I think it's great, Halo.

00:22:22.280 And there's, they're sampling live drums.

00:22:28.540 And so in Songs of Faith and Devotion, they'll move to even like live, at least on tour, they'll

00:22:34.860 move to a live set, a drummer, Alan Wilder rolled a drum, which is pretty remarkable.

00:22:39.700 But you're getting, this is not an industrial album in the way that Construction Time, again,

00:22:48.800 clearly is, as is Some Great Reward and maybe even Music for the Masses, where there's a little

00:22:58.360 bit of that Noybauten sound of noise and, you know, craziness.

00:23:04.340 There's a little bit of sampling of, you know, or something like that, impersonal Jesus or things

00:23:12.900 like that.

00:23:13.460 But, but actually samplings reduced and industrial sounds are absent unless I'm missing something.

00:23:22.800 And they're now sampling the instrument itself.

00:23:26.560 So they're, they're also kind of moving towards rock.

00:23:30.300 It's like they had to, you know, go around the bend in order to get to where other bands

00:23:35.600 were already.

00:23:37.480 So I, I think that's also interesting in it, and it kind of shows the perfection of the

00:23:42.600 album where it's almost like all of those sounds are almost implied, you know, is it's

00:23:48.320 like, this is clearly an industrial band that's going for that sound.

00:23:52.800 But they don't need to bring in like, you know, the ashtray thrown or like the, you

00:23:58.920 know, what was like a rock going down a gutter or whatever.

00:24:01.660 They don't need to do that anymore because it's implied.

00:24:05.860 It's already done.

00:24:07.500 That's where they're coming from.

00:24:08.960 And now they can kind of leave that behind and produce a commercial album that implies

00:24:16.880 all of those things without actually including them.

00:24:22.800 Thank you.

00:24:33.020 I mean, we can start with world in my eyes.

00:25:03.020 I think we probably should just go through it all.

00:25:05.340 I would say this.

00:25:08.200 I usually play the opening track of the album for these podcasts because I think they kind of set the tone with the first song.

00:25:21.720 I find it a bit of a disappointing choice.

00:25:26.480 It reminds me a little bit too much of, I don't know, maybe a Michael Jackson song or something, at least the opening sound to begin with, or hip-hop.

00:25:44.600 I mean, I like the song, but it almost seems a little bit too much like pop numbers that were being produced at the time.

00:25:57.720 It's interesting to begin the album with, you know, let me take you on a trip around the world and back, and you won't have to move you to sit still.

00:26:06.000 It's kind of like bringing you in, announcing to you what this is all about, you know, Bill Coleman or something like that.

00:26:14.580 But it's one of the lesser songs on the album for me due to its, like, the instrumentation, like the sonic quality of it.

00:26:26.320 Oh, really?

00:26:26.860 Yeah.

00:26:28.040 Yeah.

00:26:56.860 Well, defend it, if you will.

00:27:13.640 No, I mean, yeah, I understand, but, like, you know, they're kind of going for that dark craftwork with this album.

00:27:21.980 So that, like, wouldn't that, that super quantized, rigid, yeah, I mean, I guess, like, I can understand it sounds maybe predictable or for that time.

00:27:40.540 Definitely, Michael Jackson.

00:27:42.260 It just sounds poppy, but, yeah, it's tough, though.

00:27:46.820 I think the track is pretty tough, and, yeah, it definitely seems, to me, I get big-time Never Let Me Down vibes because it sounds like a drug song.

00:27:58.560 That's All There Is, Nothing More Than You Can Touch gives off, like, a kind of sensual sex vibe.

00:28:04.220 It's like a sex or a drug song.

00:28:06.540 Definitely a party song.

00:28:08.160 Well, it's interesting because it's, like, from the other perspective from Never Let Me Down Again.

00:28:14.040 So where that one is, you know, I'm taking a ride with my best friend, and then it goes into hallucinogenic, like, chorus.

00:28:24.780 This is from the perspective of the drug dealer, I guess you could say.

00:28:28.580 You know, let me take you on a trip around the world and back.

00:28:31.420 This is the, this is one thing that I would suggest here.

00:28:37.220 Let me show you the world and my eyes.

00:28:39.700 So this is, you know, I'm, I am already intoxicated.

00:28:43.280 I'm going to show you what that feels like.

00:28:46.280 That's all there is.

00:28:47.720 Nothing more than you can feel now.

00:28:49.660 That's all there is.

00:28:50.960 Let me put you on the ship or on a long, long trip.

00:28:53.820 Your lips close to my lips.

00:28:55.840 Let me show you the world of my eyes.

00:28:57.620 That's all there is.

00:28:58.420 Nothing more than you can touch now.

00:29:00.060 That's all there is.

00:29:00.840 It, perhaps I'm just overdoing it here, but it's almost like he killed her or something.

00:29:12.560 You know, I kind of listen to this and I get question of time vibes from it too.

00:29:19.100 Like there's like something sinister about it too.

00:29:21.600 Yeah.

00:29:23.440 Like, it's, it's like, I will corrupt you or it's a question of time.

00:29:27.420 I can get my hands on you.

00:29:28.660 So, you know, there it's from the perspective of the criminal, you could say.

00:29:33.660 Right.

00:29:33.900 Yeah.

00:29:34.080 And, um, there's nothing you can feel now.

00:29:37.680 I mean, that, that's like putting someone into a coma or killing them.

00:29:41.180 I, I don't know.

00:29:41.980 I, I think it's not my favorite song from the album, but I do think it at least suggest

00:29:50.860 a certain kind of darkness.

00:29:53.140 That's all there is.

00:29:54.880 Yeah.

00:29:55.360 Maybe like an overdose or something like that too with the, let me take you on a trip and

00:29:59.800 yeah, which sounds a lot better than like comatose on, on, on exciter, which we just

00:30:08.600 reviewed, but yeah.

00:30:09.580 Right.

00:30:10.220 Definitely.

00:30:11.000 Yeah.

00:30:11.020 Anything's better than exciter.

00:30:12.660 Nothing more than you can touch now.

00:30:25.320 That's all there is.

00:30:27.340 Sweet as Perfection is great.

00:30:49.380 And I think it should have been the first song of the album or Halo or Personal Jesus.

00:30:56.760 Personal Jesus was the first song recorded.

00:30:59.200 It was recorded in Milan, um, it's a single.

00:31:02.620 And I think the album came out like nine months later or something.

00:31:05.320 So it, it, it's interesting.

00:31:08.120 Um, the sweetest perfection is another drug song.

00:31:13.560 Yeah.

00:31:14.120 I mean, it's, it's hard to get away from this reality of the album, the sweetest perfection

00:31:19.040 to call my own, the slightest correction couldn't finally hone the sweetest infection of body

00:31:26.040 and mind, sweetest injection of any kind also seems to be about heroin.

00:31:32.000 I stop and I stare too much, afraid that I care too much.

00:31:36.140 And I hardly dare to touch for fear that the spell may be broken.

00:31:40.800 When I need a drug in me, it brings out the thug in me, feel something tugging me.

00:31:46.100 Then I want the real thing, not tokens.

00:31:49.680 It very clearly, I mean, seems to be about heroin use.

00:31:55.660 Interesting.

00:31:56.240 Those written by Martin Gore, um, at least in the, you know, biographies that I've read,

00:32:02.120 it doesn't suggest that he was a heroin user.

00:32:05.080 It was Dave and Dave almost died due to it.

00:32:07.100 But, um, yeah, this sounds like hard drugs.

00:32:12.020 The other thing is that, that, you know, there, there's sections of it that they're,

00:32:17.480 they're sampling a drum, but a live drum.

00:32:19.600 And it, it gets that it actually does reach the state of like a heavy metal, you know, um,

00:32:26.740 not quite, I guess, but you know, that hard rock, you know, hard drumming quality to it.

00:32:33.580 But yeah, I think sweetest perfection is a great song.

00:32:37.100 The sweetest perfection

00:32:39.380 To call my own

00:32:43.800 The slightest correction

00:32:47.060 Couldn't finally hone

00:32:51.720 The sweetest infection

00:32:54.680 Of body and mind

00:32:59.480 The sweetest injection

00:33:01.760 The sweetest injection

00:33:02.760 Of any kind

00:33:06.860 I stuff and I stare too much

00:33:10.680 Afraid that I care too much

00:33:14.280 And I hardly dare to touch

00:33:17.880 The fear that the spell may be broken

00:33:21.100 When I need a drug in me

00:33:24.680 And it brings out the thug in me

00:33:28.360 Feel something tugging me

00:33:32.000 Then I want the real thing

00:33:34.280 And it brings out the thug in me

00:33:35.280 The sweetest

00:33:36.560 The sweetest perfection

00:33:37.560 The sweetest perfection

00:33:38.560 To call my own

00:33:42.560 The slightest correction

00:33:44.240 Couldn't finally hone

00:33:46.240 Couldn't finally hone

00:33:47.240 Couldn't finally hone

00:33:48.240 Couldn't finally hone

00:33:49.240 Couldn't finally hone

00:33:50.240 The sweetest infection

00:33:51.240 The sweetest infection

00:33:53.240 Of body and mind

00:33:56.240 The sweetest injection

00:33:59.240 Of any kind

00:34:03.240 Of things you'd expect to be

00:34:07.240 Having effect on me

00:34:10.920 Lost undetectedly

00:34:14.240 But everyone knows

00:34:16.540 What has got me

00:34:18.020 Takes me completely

00:34:20.640 Touches so sweetly

00:34:24.240 Reaches so deeply

00:34:27.720 I know that nothing

00:34:30.780 Can stop me

00:34:32.240 Yeah, it is a really good song

00:34:41.440 It did take a while

00:34:42.280 For it to grow on me

00:34:43.320 But I agree

00:34:44.740 It's like a heavy ballad

00:34:46.220 That it's the better version

00:34:49.320 Or iteration of

00:34:50.520 Sweetest Condition

00:34:52.040 Or these kind of songs

00:34:54.240 That Martin does

00:34:55.320 With this kind of

00:34:57.140 Like shuffling

00:34:57.980 Almost sounds like

00:34:58.880 Six, eight time

00:34:59.820 This kind of

00:35:00.720 Shuffling rhythm

00:35:01.540 That you hear

00:35:01.820 In a lot of blues

00:35:02.480 It just opens

00:35:03.880 With that

00:35:04.480 Sampled drum loop

00:35:06.040 That sounds like

00:35:07.760 Jazz brushes

00:35:08.640 You know

00:35:09.220 That you hear

00:35:09.740 That kind of rhythm

00:35:11.860 Yeah

00:35:12.360 And that tremolo

00:35:13.260 Guitar

00:35:13.860 To sort of fill out

00:35:15.380 Some space

00:35:17.300 And then

00:35:18.580 Yeah, like you said

00:35:19.380 The live drums

00:35:20.220 And the song

00:35:21.020 Kind of builds

00:35:21.640 And builds

00:35:22.040 But I mean

00:35:23.780 Again though

00:35:24.720 With the mix

00:35:25.360 Like this is

00:35:26.020 This song

00:35:26.780 You hear every

00:35:27.620 Sound sort of

00:35:29.440 Panning across you

00:35:30.840 In stereo

00:35:31.460 And it just

00:35:32.040 Sounds like

00:35:33.640 So good

00:35:34.660 With

00:35:35.340 So I have to give

00:35:36.840 Credit again

00:35:37.520 To Francois

00:35:38.700 Kvorkian

00:35:39.320 See you soon

00:35:54.700 The sweetest perfection

00:36:13.680 To call my own

00:36:17.500 The slightest correction

00:36:21.000 Couldn't find me harder than it's not

00:36:25.880 The sweetest infection

00:36:27.840 To the beat of body and mind

00:36:31.600 The sweetest injection

00:36:34.900 Of any kind

00:36:38.460 The sweetest perfection

00:36:41.960 To call my own

00:36:45.520 The sweetest correction

00:36:49.020 Couldn't find me harder than it's not

00:36:53.900 The sweetest infection

00:36:56.100 To the beat of body and mind

00:36:59.580 The sweetest injection

00:37:03.180 The sweetest injection

00:37:04.900 Of any kind

00:37:06.740 But with the lyrics

00:37:08.740 You know, there's that

00:37:10.480 The sweetest injection

00:37:11.980 Which is about

00:37:12.980 I think, like you said, it's about heroin

00:37:15.200 But it's interesting to think of that heroin needle

00:37:17.480 As like a phallic symbol

00:37:18.840 And like, you know, the heroin itself

00:37:21.180 Being something like semen

00:37:22.800 Because there is that kind of

00:37:24.660 Drug and sex

00:37:26.720 Parallel there

00:37:29.320 But everyone knows

00:37:31.020 What has got me

00:37:31.920 As in, you know

00:37:32.980 Everyone knows that

00:37:33.820 I'm basically on heroin

00:37:35.180 So yeah, it's just a great

00:37:36.940 It's a great drug song

00:37:38.540 Personal Jesus

00:37:40.520 And I mentioned this before

00:37:42.640 It was

00:37:43.100 It was recorded in Milan

00:37:46.000 Interestingly

00:37:47.320 And it was recorded

00:37:49.280 As a single

00:37:50.220 Before the album

00:37:51.320 So I think it

00:37:52.360 It set the tone for the album

00:37:54.060 But I guess

00:37:54.700 It didn't quite set the tone musically

00:37:56.820 Because this is the one time

00:37:58.840 Where they will

00:38:00.840 Go back to

00:38:02.220 What they were doing

00:38:04.200 With Pleasure, Little Treasure

00:38:05.580 Or Route 66 cover

00:38:07.660 From Music for the Masses

00:38:10.060 And they'll go for that

00:38:12.180 Blues quality

00:38:14.220 And they don't really return to that

00:38:18.200 For the rest of the album

00:38:19.020 It's something they'll

00:38:20.240 They'll obviously return to

00:38:22.280 It's worth reading here

00:38:26.240 So this is from Stripped

00:38:28.220 Interestingly

00:38:29.300 Personal Jesus

00:38:30.260 Was one of the few

00:38:31.240 Depeche Mode songs

00:38:32.160 Where Gore actually agreed

00:38:33.600 To talk about its inspiration

00:38:35.160 That is its meaning

00:38:36.900 Elvis and Me

00:38:38.300 Priscilla

00:38:38.760 Beaulieu

00:38:41.480 Beaulieu

00:38:42.480 I don't know how to pronounce that

00:38:43.820 In the South

00:38:44.260 Beaulieu

00:38:45.400 Presley's

00:38:46.480 Candid autobiography

00:38:48.060 Of her time

00:38:48.780 With the king

00:38:49.660 It's a song about being

00:38:51.120 A Jesus

00:38:51.660 For somebody else

00:38:53.280 Someone to give you

00:38:54.320 Hope and care

00:38:55.120 Explained Martin Gore

00:38:56.040 It's about how Elvis

00:38:57.860 Was her man

00:38:59.500 And mentor

00:39:00.100 And how often

00:39:01.640 That happens

00:39:02.260 In love relationships

00:39:03.180 How everybody's heart

00:39:04.500 Is like a god

00:39:05.380 In some way

00:39:06.040 And that's not a very

00:39:07.600 Balanced view

00:39:08.400 Of someone

00:39:08.860 Is it?

00:39:12.360 Yeah

00:39:12.880 I mean

00:39:13.300 I also get

00:39:14.780 A sense

00:39:15.900 That does strike me

00:39:18.060 As a very

00:39:18.560 American

00:39:19.200 Early 90s

00:39:20.660 Of

00:39:21.700 You know

00:39:23.400 All alone

00:39:24.640 By the telephone

00:39:26.960 Pick up the receiver

00:39:28.800 I'll make you a believer

00:39:30.740 It strikes me

00:39:33.000 As

00:39:33.560 This

00:39:34.800 Religiosity

00:39:36.200 In America

00:39:36.940 Of the

00:39:38.380 Televangelist

00:39:39.520 Of you know

00:39:40.220 You gotta call

00:39:40.960 Right now

00:39:41.720 And you know

00:39:42.900 Make a seed

00:39:43.640 Donation

00:39:44.300 For our ministry

00:39:45.440 And all

00:39:46.480 Of this

00:39:46.840 Kind of

00:39:47.300 Creepy

00:39:47.960 Fraudulent

00:39:49.880 Stuff

00:39:51.040 But something

00:39:51.900 That

00:39:52.660 Also

00:39:54.180 Harkens back

00:39:55.300 In a

00:39:56.660 Atavistic

00:39:57.580 Type way

00:39:58.540 Of

00:39:59.340 You know

00:40:00.380 You're living

00:40:01.240 In some

00:40:02.100 Ranch house

00:40:03.600 40 miles

00:40:05.340 Outside of Dallas

00:40:06.460 But you're

00:40:07.780 Picking up

00:40:08.340 Your phone

00:40:08.960 And you're

00:40:09.420 Talking to god

00:40:10.420 And I

00:40:12.800 I like

00:40:13.600 That

00:40:14.320 Irony

00:40:15.440 Of it

00:40:16.020 Of

00:40:17.200 Picking up

00:40:17.980 The telephone

00:40:18.580 And talking

00:40:19.040 Whether it's

00:40:19.920 Priscilla Presley

00:40:20.600 Talking to Elvis

00:40:21.300 Or

00:40:21.600 Or

00:40:22.180 Some old lady

00:40:23.540 Talking

00:40:25.340 To

00:40:26.100 Robert

00:40:27.440 Tilton

00:40:28.000 Who I remember

00:40:29.700 As the most

00:40:31.280 Famous

00:40:31.740 Just you know

00:40:32.400 Con man

00:40:33.140 Minister

00:40:34.220 Of the 90s

00:40:35.660 In Dallas

00:40:36.280 That's a word

00:40:37.560 As surely

00:40:39.720 As I'm speaking

00:40:40.760 By the spirit

00:40:41.580 Of god

00:40:42.280 That is a word

00:40:43.160 For a person

00:40:43.820 Right now

00:40:44.460 That is god

00:40:45.380 Penetrating your heart

00:40:46.560 It's burning

00:40:47.300 On the inside

00:40:48.040 Of you

00:40:48.420 And you need

00:40:49.060 To make a vow

00:40:49.740 Of faith

00:40:50.180 Of a thousand

00:40:50.820 Dollars

00:40:51.340 Oh bob

00:40:51.980 Couldn't you

00:40:52.400 Say 25

00:40:52.980 No

00:40:53.540 You can't make

00:40:55.800 A thousand

00:40:56.540 Dollar vow

00:40:57.240 Of faith

00:40:57.820 I'm saying

00:40:58.340 In faith

00:40:59.100 So we got

00:41:00.560 People that don't

00:41:01.080 Have teenagers

00:41:01.860 That have

00:41:02.300 No

00:41:03.020 Hardly nothing

00:41:03.900 Going for them

00:41:04.480 Got enough

00:41:05.040 Faith to make

00:41:05.460 A thousand

00:41:05.820 Dollar vow

00:41:06.280 And send

00:41:06.740 Little five

00:41:07.080 Dollars here

00:41:07.580 And ten

00:41:07.880 Dollars there

00:41:08.440 As god

00:41:09.180 Begins to move

00:41:10.360 Like a whirlwind

00:41:11.340 In their lives

00:41:11.960 It's a very

00:41:13.240 Powerful image

00:41:14.260 And it's ironic

00:41:16.060 But also

00:41:17.640 You know

00:41:19.380 Atavistic

00:41:20.060 Kind of getting

00:41:20.740 At something

00:41:21.260 Older and deeper

00:41:22.640 And primal

00:41:24.400 You could even say

00:41:25.240 Primordial

00:41:27.620 And the fact

00:41:29.960 That Dave

00:41:31.780 Is singing

00:41:32.760 Like Elvis

00:41:33.600 I mean he's now

00:41:35.020 Almost 30

00:41:36.440 He's

00:41:37.300 Fully

00:41:38.900 Embraced

00:41:39.720 His baritone

00:41:40.760 Status

00:41:41.280 I think he did

00:41:43.080 That really

00:41:43.500 With music

00:41:43.900 For the masses

00:41:44.480 But there's

00:41:45.920 There are a lot

00:41:46.600 Of low notes

00:41:47.260 In this album

00:41:48.160 You know

00:41:49.860 In speak and spell

00:41:50.980 Was he a baritone

00:41:52.060 He was a young

00:41:52.800 Man

00:41:53.660 He was 19

00:41:54.960 Years old

00:41:55.620 Or something

00:41:56.160 Like that

00:41:56.740 And

00:41:57.900 He you know

00:41:59.760 Vince Clark

00:42:00.420 Complained about

00:42:01.180 His limited range

00:42:02.420 Well

00:42:02.920 That probably

00:42:04.260 Just meant

00:42:04.780 That he

00:42:05.300 Was a baritone

00:42:06.340 He has a baritone

00:42:07.100 Voice box

00:42:07.720 Now that he's older

00:42:08.940 He's embracing it

00:42:10.800 He's crooning

00:42:11.640 Sounds like Elvis

00:42:12.840 There's an evocation

00:42:13.860 Of American blues

00:42:15.060 And there's

00:42:16.560 This evocation

00:42:17.620 Of

00:42:18.000 Fundamentalist

00:42:19.720 God

00:42:20.860 And

00:42:22.260 Yeah

00:42:23.500 When essentially

00:42:24.880 Depeche Mode

00:42:25.760 Really amazing song

00:42:27.840 Reach out

00:42:31.200 Touch space

00:42:32.160 Your own

00:42:47.600 Personal

00:42:49.320 Jesus

00:42:51.060 Someone to be

00:42:55.560 Your friends

00:42:56.640 Someone who cares

00:42:58.560 Someone who cares

00:43:00.000 Someone who cares

00:43:00.940 You're a wrong

00:43:01.940 Personal

00:43:04.000 Jesus

00:43:05.880 Someone to be

00:43:10.040 Your friends

00:43:11.440 Someone who cares

00:43:13.000 Feeling unknown

00:43:25.000 And you're all alone

00:43:26.800 Fleshed off by the telephone

00:43:30.180 Blinked up the receiver

00:43:32.560 I'll make you a believer

00:43:34.580 Take some confess

00:43:39.740 Put me to the test

00:43:41.700 These are no choice

00:43:43.460 You need to confess

00:43:45.380 My will to live

00:43:47.360 You know I'm a forgiver

00:43:55.000 Reach out, touch faith

00:43:57.080 Reach out, touch faith

00:44:04.520 An amazing song

00:44:09.260 sonically as well

00:44:11.100 There was a lot of layering

00:44:12.780 that Flood would do

00:44:14.580 so like

00:44:15.280 effectively the kick drum

00:44:18.520 is some of the members

00:44:21.020 of the group stomping on the ground

00:44:22.780 while Martin was doing the guitar riff

00:44:25.240 to give it

00:44:26.200 it almost gives it that

00:44:26.980 marching kind of feel

00:44:28.240 and makes it also

00:44:30.700 kind of danceable

00:44:31.900 The bass for example

00:44:34.140 was like a clav

00:44:36.820 and a bass

00:44:37.880 and like a sub bass

00:44:38.900 it was layered like

00:44:39.660 three or four different

00:44:40.480 with three or four different

00:44:41.640 sounds

00:44:42.880 to give it

00:44:43.900 you know

00:44:44.400 an interesting

00:44:45.820 or a different

00:44:46.880 bass sound

00:44:47.840 The chord progression

00:44:49.080 is interesting too

00:44:50.540 with that

00:44:51.160 that F sharp minor riff

00:44:53.160 and then

00:44:53.900 going up to the

00:44:55.220 Reach out and touch faith

00:44:57.800 where it goes from

00:44:58.860 G sharp to G

00:45:00.800 back to F sharp minor

00:45:02.180 I mean these are

00:45:03.160 and that

00:45:05.280 the reverse reverb

00:45:07.100 that kind of

00:45:08.500 almost sounds like

00:45:09.500 and then it goes

00:45:11.920 Reach out and touch faith

00:45:13.820 and that is a

00:45:14.860 that would have been

00:45:15.700 in my opinion

00:45:16.260 a way better

00:45:17.180 introduction

00:45:18.160 to the

00:45:18.880 to the album

00:45:19.980 just to

00:45:20.480 have that

00:45:21.300 kind of

00:45:22.060 reverse reverb

00:45:23.700 just come in

00:45:24.720 and

00:45:24.980 come in with a

00:45:26.620 banger like that

00:45:27.520 and to introduce

00:45:28.580 the album that way

00:45:29.560 Yeah

00:45:30.400 No I think that

00:45:31.720 would have

00:45:31.980 it definitely

00:45:33.040 would have been

00:45:33.460 the best first track

00:45:34.480 It's interesting

00:45:35.360 because it's in

00:45:36.140 G minor

00:45:37.220 so to begin

00:45:39.020 Oh okay

00:45:39.560 Yeah

00:45:41.560 but you go

00:45:45.560 into

00:45:46.300 A flat

00:45:47.300 of course

00:45:48.380 so a

00:45:49.340 semitone above

00:45:50.300 the tonic

00:45:50.860 Reach out and touch

00:45:52.300 faith

00:45:52.600 even the

00:45:53.600 beginning of the

00:45:54.780 song is

00:45:55.880 your own

00:45:58.420 it's

00:45:58.780 it's kind of

00:45:59.560 I guess

00:46:00.440 kind of like

00:46:00.880 muddled or something

00:46:01.800 the way that he

00:46:02.360 sings it

00:46:02.880 but it's

00:46:03.620 D F G

00:46:04.920 so

00:46:05.340 it

00:46:06.440 it should be

00:46:07.120 the leading

00:46:07.560 tone

00:46:07.940 F sharp

00:46:08.480 if you're

00:46:08.740 going up

00:46:09.180 but it's

00:46:09.480 it's the

00:46:10.280 it's the F

00:46:11.100 the natural F

00:46:11.980 so it's a

00:46:12.380 whole tone

00:46:12.920 below G

00:46:13.400 your own

00:46:14.860 personal

00:46:15.900 Jesus

00:46:16.840 kind of

00:46:17.500 monotone

00:46:18.060 but he's

00:46:20.420 doing the

00:46:21.360 thing that

00:46:22.020 Martin Gore

00:46:22.560 will very

00:46:23.340 often do

00:46:23.960 he'll find

00:46:24.660 some

00:46:25.200 like

00:46:26.340 common

00:46:27.500 tone

00:46:28.040 between the

00:46:28.580 tonic

00:46:29.140 and a

00:46:30.220 totally

00:46:30.860 exotic

00:46:31.460 key

00:46:32.100 so

00:46:33.060 you know

00:46:34.020 he'll be

00:46:34.300 in C sharp

00:46:35.300 minor

00:46:35.720 and

00:46:36.880 he'll find

00:46:37.460 that

00:46:37.660 common

00:46:38.100 tone

00:46:38.420 with C

00:46:38.840 major

00:46:39.260 which is

00:46:39.720 couldn't

00:46:40.220 be more

00:46:40.660 different

00:46:41.040 and

00:46:42.260 he does

00:46:42.860 that

00:46:43.000 again

00:46:43.340 you know

00:46:43.900 there's

00:46:44.160 the

00:46:44.380 you know

00:46:44.980 A flat

00:46:45.640 five

00:46:46.340 reach out

00:46:47.180 and touch

00:46:47.780 faith

00:46:48.320 yeah

00:46:49.100 quintessentially

00:46:49.920 Martin Gore

00:46:50.560 in terms

00:46:51.140 of harmony

00:46:51.600 and I

00:46:52.600 think

00:46:52.840 the

00:46:53.120 the

00:46:53.440 the

00:46:53.900 lyrics

00:46:54.240 are

00:46:54.680 obviously

00:46:56.340 they're

00:46:56.620 interesting

00:46:57.060 but

00:46:57.380 it

00:46:58.060 kind of

00:46:58.400 makes

00:46:58.620 me

00:46:58.780 think

00:46:59.140 of

00:46:59.720 how

00:47:01.420 like

00:47:03.060 the

00:47:03.380 quote unquote

00:47:03.800 work

00:47:04.340 in the

00:47:05.240 religion

00:47:05.600 of

00:47:05.860 Christianity

00:47:06.420 or

00:47:06.820 contemporary

00:47:07.500 Christianity

00:47:08.220 it's

00:47:09.060 sort of

00:47:09.320 like

00:47:09.480 done

00:47:09.780 for

00:47:10.020 you

00:47:10.140 all

00:47:10.380 you

00:47:10.560 need

00:47:10.720 to

00:47:10.840 do

00:47:11.000 is

00:47:11.120 just

00:47:11.300 follow

00:47:11.600 orders

00:47:12.040 and

00:47:12.380 you

00:47:12.700 and

00:47:13.040 you

00:47:13.320 know

00:47:13.480 you

00:47:14.220 shall

00:47:14.420 be

00:47:14.620 saved

00:47:15.080 that's

00:47:15.700 at

00:47:15.820 least

00:47:16.080 I

00:47:16.360 think

00:47:16.540 what

00:47:16.740 he's

00:47:17.140 sort

00:47:17.300 of

00:47:17.420 getting

00:47:17.740 at

00:47:18.000 or

00:47:18.160 part

00:47:18.440 of

00:47:18.540 what

00:47:18.660 he's

00:47:18.840 getting

00:47:19.080 at

00:47:19.340 in

00:47:19.540 the

00:47:19.760 in

00:47:19.960 the

00:47:20.100 song

00:47:20.500 but

00:47:22.020 yeah

00:47:22.180 obviously

00:47:22.640 there's

00:47:23.120 a huge

00:47:23.880 televangelist

00:47:24.860 vibe

00:47:25.640 and I

00:47:26.660 want to

00:47:26.860 read a

00:47:27.180 quick quote

00:47:27.740 from

00:47:28.080 Johnny Cash

00:47:29.300 actually

00:47:29.600 about

00:47:29.880 this

00:47:30.260 and he

00:47:31.620 said

00:47:31.860 covered

00:47:36.420 evangelical

00:47:36.860 song

00:47:37.320 probably

00:47:37.720 the

00:47:37.940 most

00:47:38.120 evangelical

00:47:38.640 gospel

00:47:39.080 song

00:47:39.440 I

00:47:39.620 ever

00:47:39.800 recorded

00:47:40.240 although

00:47:40.860 I

00:47:41.040 don't

00:47:41.200 know

00:47:41.420 if

00:47:41.600 the

00:47:41.740 writer

00:47:41.920 meant

00:47:42.200 it

00:47:42.300 to

00:47:42.420 be

00:47:42.560 that

00:47:42.820 but

00:47:43.160 that's

00:47:43.500 what

00:47:43.800 it is

00:47:44.300 it's

00:47:44.800 where

00:47:44.940 you

00:47:45.100 find

00:47:45.340 your

00:47:45.500 comfort

00:47:45.880 your

00:47:46.140 counsel

00:47:46.580 your

00:47:47.120 shoulder

00:47:47.720 to lean

00:47:48.080 on

00:47:48.380 your

00:47:48.680 hand

00:47:48.960 to hold

00:47:49.360 on

00:47:49.780 to

00:47:50.020 your

00:47:50.220 personal

00:47:50.660 Jesus

00:47:51.240 someone

00:48:04.820 to hear

00:48:05.560 your

00:48:06.020 prayers

00:48:06.860 someone

00:48:07.700 who

00:48:08.100 cares

00:48:08.920 your

00:48:12.080 own

00:48:12.760 personal

00:48:14.740 Jesus

00:48:16.580 someone

00:48:20.380 to hear

00:48:21.180 your

00:48:21.660 prayers

00:48:22.500 someone

00:48:23.320 who's

00:48:23.800 there

00:48:24.400 I

00:48:31.240 don't

00:48:31.620 think he

00:48:31.920 was getting

00:48:32.280 the

00:48:32.980 irony

00:48:33.580 of it

00:48:34.020 you know

00:48:34.500 but

00:48:34.760 well

00:48:36.140 I mean

00:48:36.500 but

00:48:37.100 there

00:48:37.560 is an

00:48:38.280 irony

00:48:38.560 but then

00:48:38.920 there also

00:48:39.340 isn't an

00:48:40.040 irony

00:48:40.320 like that

00:48:40.860 I think

00:48:41.340 that's

00:48:41.800 that's

00:48:42.360 the kind

00:48:42.700 of

00:48:43.280 abstractness

00:48:44.560 that I

00:48:45.600 was talking

00:48:46.120 about

00:48:46.420 when we

00:48:47.100 went into

00:48:48.160 black

00:48:48.420 celebration

00:48:48.960 and

00:48:49.680 music

00:48:51.380 for the

00:48:51.640 masses

00:48:51.900 like

00:48:52.180 singing

00:48:52.600 about

00:48:52.940 sacred

00:48:53.560 or a

00:48:54.460 black

00:48:54.880 celebration

00:48:55.660 what is

00:48:57.200 it

00:48:57.520 exactly

00:48:58.180 it's

00:48:58.700 this

00:48:59.000 there's

00:49:00.460 a certain

00:49:00.880 abstract

00:49:02.180 quality

00:49:03.360 to what

00:49:03.780 is sacred

00:49:04.360 is it

00:49:04.640 love

00:49:05.100 I mean

00:49:05.500 that seems

00:49:06.000 to be

00:49:06.240 the answer

00:49:06.660 but

00:49:06.940 it's

00:49:08.040 creating

00:49:08.820 these

00:49:09.500 anthems

00:49:10.940 for

00:49:11.840 the

00:49:13.220 modern

00:49:13.560 age

00:49:13.980 or people

00:49:14.440 living in

00:49:14.960 totalitarian

00:49:15.660 societies

00:49:16.380 which

00:49:17.580 is

00:49:18.140 what

00:49:20.400 seemed

00:49:20.720 to

00:49:20.900 resonate

00:49:21.220 for

00:49:21.880 Martin

00:49:22.740 Gore

00:49:23.060 but I

00:49:23.460 think

00:49:23.640 that's

00:49:24.060 the same

00:49:24.500 thing

00:49:24.660 with

00:49:24.800 personal

00:49:25.080 Jesus

00:49:25.480 like

00:49:26.280 this

00:49:26.700 is

00:49:26.880 their

00:49:27.260 version

00:49:27.800 of

00:49:28.580 getting

00:49:29.340 in

00:49:29.580 connection

00:49:29.960 with

00:49:30.700 God

00:49:31.040 so in

00:49:31.420 many

00:49:31.580 ways

00:49:31.780 it's

00:49:32.000 not

00:49:32.300 ironic

00:49:32.800 lord

00:49:54.180 kabal

00:49:54.700 Reach out and touch, babe.

00:49:58.920 Oh, yeah.

00:50:03.700 Reach out and touch, babe.

00:50:06.860 Oh, yeah.

00:50:11.120 Reach out and touch, babe.

00:50:18.460 Reach out and touch, babe.

00:50:22.180 Come on now.

00:50:24.700 Reach out and touch, babe.

00:50:33.260 Reach out and touch, babe.

00:50:36.720 Come on, let's hear you now.

00:50:40.700 Reach out and touch, babe.

00:50:43.400 Everybody.

00:50:45.480 Halo.

00:50:47.640 I think this is some of the most evocative writing.

00:50:50.500 You wear guilt, like shackles on your feet,

00:50:53.260 like a halo in reverse.

00:50:56.860 I mean, it's incredible, actually,

00:51:01.060 just the imagery that he's going for.

00:51:05.240 But it's also interesting to think about the perspective of the song.

00:51:12.760 Again, I can feel the discomfort in your seat and in your head it's worse.

00:51:18.680 There's a pain, a famine in your heart and aching to be free.

00:51:22.980 Can't you see?

00:51:24.540 All love's luxuries are here for you and me.

00:51:28.820 I get the impression, again, that it's from the perspective of the devil seducing someone.

00:51:38.500 And then it becomes very different because it's a temptation to personal destruction.

00:51:44.960 And when our worlds, they fall apart, when the walls come tumbling in, though we may deserve it, it will be worth it.

00:51:53.200 And it will be worth it kind of in both ways.

00:51:56.480 Like, is it worth it in the sense that you've given in to the ultimate luxury or pleasure?

00:52:01.120 Or is it worth it in the sense that you're suffering and you overcome?

00:52:09.080 I mean, I think it's a little bit of both.

00:52:11.760 But what I find interesting is the perspective.

00:52:14.440 It's the perspective of the person doing the crime.

00:52:31.120 You were guilt, like shackles on your feet, like a halo in reverse.

00:52:49.480 I can feel the discomfort in your seat and in your head it's worse.

00:53:19.480 I read the lyrics.

00:53:27.120 I was thinking that like a halo in reverse really stuck out to me.

00:53:31.820 And then I was thinking that perhaps it was meaning not an actual angel, but about one who's playing the angel.

00:53:41.260 Someone who wants to be seen as being good.

00:53:43.920 And I think that's a theme that obviously he's touched upon.

00:53:48.160 You wear guilt, like shackles on your feet.

00:53:51.280 It's like a halo in reverse.

00:53:53.320 I see.

00:53:54.000 And then there's this other aspect that Martin has where it's like you wear guilt, like shackles on your feet.

00:54:00.780 Like you're your lips of tragedy as well.

00:54:03.420 That kind of that, you know, supports your interpretation of it.

00:54:07.680 But you're only good if you're like suffering or you have this guilt that's bringing you down.

00:54:12.700 Like that shows that you're good, you know, is that you have this.

00:54:18.160 Whatever, your lips of tragedy, whatever baggage or, you know.

00:54:22.060 And then there's this kind of sense in which and when our worlds fall apart, when the walls come tumbling in, though we may deserve it, it will be worth it.

00:54:30.900 I get like, again, Armageddon humanity may deserve the end of the world because we're such flawed sinners or whatever.

00:54:39.260 And it's that classic Martin Gore, like where this meaning could be about the Lord or religion or or a lady, you know, though our worlds may fall apart.

00:54:50.080 You could see that also as a romantic song, our separate worlds that collided or whatever.

00:54:56.120 But, yeah, it's classic Martin Gore.

00:55:01.000 And it is it's got the same guitar samples also that are in Policy of Truth with the brown and brown and brown and brown and brown and brown and brown and brown.

00:55:14.920 And that was a thing that Flood had sort of given them permission to do was he said, like, look, you guys can use the same sound twice.

00:55:22.500 It's OK. You know, you can't it's so difficult to fill a song up with at least, you know, a dozen plus sounds each song that's, you know, it's going to be difficult to do.

00:55:32.420 So we'll just basically reuse some of these songs.

00:56:02.420 Waiting for the night.

00:56:32.420 I think it is also equally evocative.

00:56:35.780 I mean, I think what's great about his writing is that it's it's abstract.

00:56:41.620 It's layered.

00:56:42.840 You there are multiple things going on at the same time, but then it also communicates itself to you.

00:56:51.320 It's not stream of consciousness or data or something.

00:56:55.840 It is something, but it you can kind of interpret it in three ways.

00:57:00.500 So I'm I'm waiting for the night to fall.

00:57:04.140 And, you know, this is also interesting.

00:57:06.920 Just this.

00:57:09.180 The quality of this sound, there's this band.

00:57:12.820 It's a longtime band.

00:57:14.560 It's lasted longer than Depeche Mode, even.

00:57:17.420 But Tangerine Dream.

00:57:18.940 And I definitely think they were going for some of their sound.

00:57:27.600 There's actually this movie called Legend directed directed by Ridley Scott, starring Tom Cruise, believe it or not.

00:57:33.400 But it's not terribly well known.

00:57:37.520 Some of the images of it are.

00:57:38.940 But Tangerine Dream did the soundtrack for the U.S. version of Legend.

00:57:47.460 And you can hear a lot of Tangerine Dream sound in this work.

00:57:57.400 You know, they've been influenced by Croft, Beric, Neubauten, obviously.

00:58:01.160 But they're they're kind of looking at some other bands, again, looking at more alternative bands.

00:58:06.660 And and kind of drawing from them and bringing their sounds into commercial music.

00:58:14.420 I'm waiting for the night to fall.

00:58:34.320 I know that it will save us all.

00:58:37.180 When everything's dark, keeps us from the stark reality.

00:58:41.500 I'm waiting for the night to fall when everything is bearable.

00:58:45.960 And there in the still, all that you feel is tranquility.

00:58:51.320 So there's this idea of the night falling and kind of taking away reality or taking away pain and suffering.

00:59:00.180 And I think in that way, you could associate like the night to fall with drunkenness or intoxication of drugs or something like that.

00:59:12.960 But also death.

00:59:17.740 And he says, you know, there is a star in the sky.

00:59:20.700 This is when the music gets kind of wider guiding my way with its light.

00:59:24.620 And so there's something out there.

00:59:28.060 There's some kind of point of centeredness that he's looking at.

00:59:33.700 And in the glow of the moon, know that my deliverance will come soon.

00:59:38.000 I'm waiting for the night to fall.

00:59:39.500 So when he evokes deliverance, I do think that this is not just about drug use, but also about death.

00:59:45.760 I'm waiting for the night to fall.

00:59:48.240 There's a sound in the calm.

00:59:49.760 Someone is, and then this is where it gets really creepy.

00:59:53.260 I'm waiting for the night to fall.

00:59:54.400 There's a sound in the calm.

00:59:56.080 Someone, someone is coming to harm.

00:59:59.160 I press my hands to my ears.

01:00:01.240 He's blocking it out.

01:00:02.500 It's easier here just to forget fear.

01:00:05.000 Is there a crime that he's almost, you know, the crime is kind of being covered over by night or drunkenness or something.

01:00:16.780 To go along with the suicide theme, is the crime his own death?

01:00:21.780 Someone's coming to harm.

01:00:22.900 He's like disembodied.

01:00:23.840 I think all of these are like plausible ways of reading it because it is creepy and it is very touching, if that's the right word.

01:00:35.400 It really grabs you.

01:00:38.820 It's easier here just to forget fear.

01:00:41.000 And when I squinted, the world seemed rose-tented.

01:00:44.020 The angels appeared to descend.

01:00:46.420 So he's talking about an almost like fantasy of deliverance that's occurring when the night's falling.

01:00:53.840 Yeah, with half-closed eyes, things look even better than when they were opened, than waiting for the night to fall.

01:01:00.380 That's why I, I mean, I think that's what's great about Martin Gore.

01:01:04.720 I mean, it's rude, I guess, to compare him to Taylor Swift.

01:01:10.160 We did that in an earlier podcast.

01:01:12.000 But these lyrics that are just, there's no interpretation necessary or even possible, in fact.

01:01:20.240 It's, you wear short shorts, I wear t-shirts.

01:01:23.540 That's not a metaphor for anything.

01:01:25.360 You're a cheer captain and I'm in the bleachers.

01:01:27.780 There's no way of interpreting that.

01:01:30.740 But I think what's interesting about waiting for the night to fall, it kind of invites you.

01:01:36.020 It offers this mood, but then it has also powerfully religious evocations or tonalities, like deliverance and so on, or angels.

01:01:49.880 And so it, it can kind of just be a mood song.

01:01:54.200 Like you're literally waiting for the night to fall out in a field, but then that becomes a metaphor for drug use.

01:01:59.880 And that even becomes a metaphor for death of, you know, leaving suffering, leaving reality, leaving the pain, leaving the crime perhaps you committed and kind of entering somewhere else.

01:02:11.660 So I think it's a really just strikingly beautiful song.

01:02:18.820 It's one of my favorite Depeche Mode songs of all time, actually.

01:02:21.980 I'm waiting for the night to fall.

01:02:33.300 I know that it will save us all.

01:02:38.860 When everything's dark, keeps us from the stark.

01:02:43.940 Reality

01:02:46.780 I'm waiting for the night to fall

01:02:53.240 When everything is bearable

01:02:58.580 And there in the still

01:03:02.260 All that you feel

01:03:04.920 Is tranquility

01:03:07.860 There is a star in the sky

01:03:18.640 There is a star in the sky

01:03:18.660 Guiding my way with its eyes

01:03:29.320 And in the glow of the moon

01:03:40.100 And in the glow of the moon

01:03:40.120 No my deliverance will come soon

01:03:51.180 I'm waiting for the night to fall

01:03:56.500 I know that it will save us all

01:04:01.780 When everything's dark

01:04:05.100 Yeah, me too.

01:04:06.240 It's a beautiful chord structure in the verse

01:04:10.460 going from the C minor to E flat minor, which they do on Enjoy the Silence, but then going from E flat minor to A flat minor to B flat.

01:04:20.240 So there's this kind of lift at the end and it kind of begs like the question, what key is this in?

01:04:26.280 It's just a beautiful, very melodic song

01:04:31.620 I really enjoy the harmonies with Dave and Martin

01:04:36.440 I think those are incredible

01:04:38.020 And then on the live version, you have Alan singing back up in the third verse

01:04:42.160 I think that song is a total achievement

01:04:45.940 But yeah, as far as the lyrics are concerned

01:04:48.420 I definitely think it's about escapism, about death

01:04:51.260 And I almost get soul with me off of Memento Mori

01:04:54.760 Almost get those kind of vibes

01:04:56.320 Like just looking forward to this kind of escape

01:05:00.320 And kind of like death as a liberation

01:05:02.420 That was what I was getting from it

01:05:05.000 Definitely

01:05:07.920 I've heard them perform this quasi-acapella, actually

01:05:14.600 I forgot which tour this was

01:05:16.500 I think this might have been Sounds of the Universe tour, actually

01:05:21.820 And it was an encore

01:05:24.260 And Dave and Martin performed it acapella

01:05:29.260 I mean, there probably was a little bit of accompaniment going on

01:05:33.900 But yeah, it was incredible

01:05:36.520 Usually Peter, and actually when I was in Detroit

01:05:40.580 Peter and Christian Eigner were both playing electric piano

01:05:45.180 While Dave and Martin sang it

01:05:47.320 And that is, I think that's appropriate as an encore

01:05:51.000 Just to have this kind of stripped-down version of the song

01:05:54.440 Because there's not very much to it

01:05:56.240 I mean, there is this rhythmic kind of bass part

01:06:00.100 And this very subtle drumming part

01:06:03.980 That kind of seems like it's rolling or pushing forward

01:06:06.360 But yeah, the stripped-down live version is really good

01:06:09.680 And again, wish they would do more

01:06:13.840 Wish they would have done

01:06:14.820 And wish they would continue to do more of that vocal harmonizing

01:06:18.140 Because I think it's a great juxtaposition

01:06:21.440 Between Dave's baritone and Martin's tenor

01:06:26.760 And real quick, though, on Dave's voice, actually

01:06:29.560 If you listen to the World Violation Tour

01:06:33.180 Or anything that's out there around this time

01:06:35.140 His voice live does start to get raspier

01:06:39.680 And not songs of faith and devotion, Raspi

01:06:42.180 Where it's a different voice

01:06:43.480 But I think this album

01:06:44.900 At least for the studio versions of these songs

01:06:48.560 This is like the end of his quintessential Dave God

01:06:52.600 1982, 3 to 1990

01:06:55.840 You know, Speak and Spell, like you had said before

01:06:58.740 Is kind of like a tenor-ish, very youthful sounding

01:07:02.540 And then he's kind of falling into his own

01:07:06.040 And I think after this album

01:07:09.780 The songs of faith and devotion

01:07:11.580 Dave is like, it's just a different beast

01:07:14.500 Been waiting for the night to start

01:07:21.100 I knew that it would save the stars

01:07:26.600 Now everything's dark

01:07:30.060 Keeps us from the start

01:07:32.640 Reality

01:07:35.500 Been waiting for the night to start

01:07:42.500 Now everything is bearable

01:07:47.380 And here in the still

01:07:50.940 All that you feel

01:07:53.820 Is tranquility

01:07:56.500 Tranquility

01:07:58.500 Co opposition

01:08:03.200 And now everything is

01:08:07.000 We motivation

01:08:07.840 We hope to find out

01:08:09.200 Just friends

01:08:10.920 You see

01:08:11.280 How we overall

01:08:11.520 What we are

01:08:13.100 As we wrepoon

01:08:13.380 are

01:08:15.100 Friends

01:08:15.420 Children

01:08:17.380 Children

01:08:18.380 eds

01:08:19.500 Trombone

01:08:19.800 Children

01:08:20.700 Children

01:08:21.480 Children

01:08:21.980 Children

01:08:22.560 Children

01:08:22.680 Children

01:08:26.800 Okay, we finally reached it.

01:08:51.880 So, this really is perhaps the most incredible transformation of a song from a demo album or a demo tape to the album song.

01:09:09.140 I don't, there's probably some other example of someone transforming a song to this degree, you know, in studio.

01:09:18.160 And it's rather jarring, in fact, to listen to it, to listen to the demos, which are available there.

01:09:26.340 Yeah, it's a harmonium is what you said.

01:09:30.400 It sounds like an organ and it is very soft and dark and so on.

01:09:39.940 And so, Alan Wilder deserves a whole lot of credit for the song.

01:09:47.580 I mean, he saw something in the lyrics, in the harmonic aspect of this, which is very interesting.

01:09:58.760 And he brought it to just a totally new place.

01:10:06.540 And then that inspired Martin to offer this, you know,

01:10:10.400 which on the guitar.

01:10:15.040 So, that came afterward.

01:10:16.900 That came after Alan had actually transformed it.

01:10:19.760 Words like violence break the silence

01:10:27.200 Come crashing in into my little world

01:10:32.600 Painful to me

01:10:35.200 Pierced right through me

01:10:38.100 Can't you understand?

01:10:41.180 Oh, my little girl

01:10:43.240 All I ever wanted

01:10:45.400 All I ever needed

01:10:47.980 Is here

01:10:49.480 In my arms

01:10:53.560 Words are very

01:10:56.060 Unnecessary

01:10:58.460 They can only do harm

01:11:03.960 Wounds are spoken

01:11:24.120 To be broken

01:11:26.240 Feelings untaste

01:11:28.760 Words are trivial

01:11:30.440 Pleasures remain

01:11:32.440 Pleasures remain

01:11:33.020 So does the pain

01:11:35.180 Words are meaningless

01:11:36.780 Unforgettable

01:11:38.440 All I ever wanted

01:11:40.440 All I ever wanted

01:11:41.440 All I ever needed

01:11:42.440 Is here

01:11:43.440 In my arms

01:11:46.440 Words are very

01:11:48.440 Unnecessary

01:11:49.440 They can only do harm

01:11:51.440 Words are very

01:11:52.440 Unnecessary

01:11:53.440 They can only do harm

01:11:55.440 Words are very

01:11:57.440 Unnecessary

01:11:59.440 Amazing

01:12:04.320 Martin has this love

01:12:06.360 Of C-sharp minor

01:12:07.340 For this album

01:12:08.200 I have no idea why

01:12:09.760 It seems like an odd key

01:12:11.060 To write it

01:12:11.760 But he

01:12:12.460 He does

01:12:13.600 And

01:12:14.940 The beginning of the song

01:12:17.560 Vamps between

01:12:18.840 C-sharp minor

01:12:19.840 And

01:12:20.640 The

01:12:21.200 Three chord

01:12:23.200 Which is a

01:12:23.800 Major E

01:12:24.860 And

01:12:26.060 Then

01:12:26.640 When

01:12:27.180 The

01:12:27.920 Verse

01:12:29.420 Comes in

01:12:30.140 It takes that

01:12:31.100 To a whole new level

01:12:31.820 So you start out

01:12:32.540 With C-sharp

01:12:33.300 Words like

01:12:34.520 Violence

01:12:35.360 Break the

01:12:36.820 Silence

01:12:37.620 So

01:12:38.260 You have this

01:12:38.980 Sinking feeling

01:12:40.100 That you see in

01:12:40.740 Like shake the disease

01:12:41.680 Or something

01:12:42.200 You

01:12:42.440 You're starting

01:12:43.560 Somewhere that's

01:12:44.200 Harmonic

01:12:44.860 You're on

01:12:45.680 G-sharp

01:12:46.640 So it's the

01:12:47.100 Five of the

01:12:47.760 Chord

01:12:48.020 Words like

01:12:49.020 Violence

01:12:49.760 Break the

01:12:51.260 Silence

01:12:51.900 Then you

01:12:52.500 Sink down

01:12:53.520 A semitone

01:12:54.100 It's almost

01:12:54.440 Flat

01:12:55.080 Or something

01:12:56.560 And

01:12:57.700 So you go to

01:12:58.580 An E minor

01:12:59.520 Which doesn't

01:13:00.720 Exist in

01:13:01.400 C-sharp minor

01:13:02.120 But they just

01:13:03.400 Do it

01:13:03.920 And it has

01:13:04.380 This creepy

01:13:04.920 Quality

01:13:05.420 And then

01:13:06.260 They come

01:13:06.900 Crashing in

01:13:07.860 And you go

01:13:08.580 Back to the

01:13:08.980 G-sharp

01:13:09.320 They come

01:13:09.800 Crashing in

01:13:10.720 Into my

01:13:11.560 Little world

01:13:12.480 So you're

01:13:13.060 Back in

01:13:13.400 A major

01:13:14.080 Which is a

01:13:14.600 Major chord

01:13:15.360 In C-sharp minor

01:13:16.560 And then you

01:13:17.640 Return to that

01:13:18.540 So it's this

01:13:19.540 They're playing

01:13:21.220 With tonalities

01:13:22.440 And then

01:13:23.080 To take it

01:13:24.280 Over the top

01:13:25.080 Or to

01:13:25.420 To add insult

01:13:26.400 To injury

01:13:26.880 But in

01:13:27.640 Reverse

01:13:28.180 They can

01:13:29.420 Only do

01:13:30.700 Harm

01:13:31.800 That's

01:13:32.660 Then so you

01:13:33.620 Find that

01:13:34.640 One note

01:13:35.800 In common

01:13:36.500 Between C-sharp minor

01:13:37.760 And C-major

01:13:38.880 Which is

01:13:39.280 E-natural

01:13:40.140 And so he

01:13:41.640 Sings the

01:13:42.280 E-natural

01:13:42.880 And then the

01:13:44.000 The harmony

01:13:44.900 Below it

01:13:45.560 Sinks to

01:13:46.440 C-natural

01:13:47.340 They can

01:13:48.260 Only do

01:13:49.300 Harm

01:13:49.880 So you have

01:13:50.380 This bright

01:13:51.080 C-major

01:13:52.100 And then you

01:13:53.480 Immediately go

01:13:54.480 Back to C-sharp

01:13:55.180 Minor

01:13:55.360 So he's

01:13:58.800 Playing with

01:13:59.520 Minor and

01:14:00.140 Major tonalities

01:14:02.260 All the way

01:14:03.780 Through

01:14:04.140 Both within the

01:14:05.540 Key of C-sharp

01:14:06.140 Minor and then

01:14:06.840 Between C-sharp

01:14:07.820 Minor and C-major

01:14:08.960 Now

01:14:09.900 This is great

01:14:12.280 It

01:14:13.780 You don't know

01:14:15.260 What key it's in

01:14:16.160 You don't know

01:14:16.720 Whether it's

01:14:17.200 Major or minor

01:14:17.880 It it's

01:14:18.700 I mean dare

01:14:19.720 I compare it

01:14:20.420 To Wagner

01:14:21.260 But it

01:14:22.360 Reminds me

01:14:23.140 Of the

01:14:23.420 Tristan

01:14:24.060 Chord

01:14:24.720 So called

01:14:25.920 Now it's

01:14:42.680 Obviously not

01:14:43.580 That complicated

01:14:45.020 And not that

01:14:46.020 Brand

01:14:46.820 Etc

01:14:47.980 But it

01:14:49.600 Is very

01:14:50.480 Smart

01:14:51.240 For a

01:14:52.280 Song that

01:14:52.980 Is a

01:14:53.500 Hugely popular

01:14:54.640 Pop song

01:14:55.260 That everyone

01:14:55.880 Loves

01:14:56.400 And he's

01:14:57.960 Playing with

01:14:58.920 Music theory

01:15:00.020 And creating

01:15:00.960 Ambiguity

01:15:02.280 In your mind

01:15:03.320 Of you don't

01:15:03.940 Know if this

01:15:04.720 Song is minor

01:15:05.360 Or major

01:15:05.800 You don't

01:15:06.480 Quite know

01:15:07.120 What key it's

01:15:07.900 In

01:15:08.120 And that's

01:15:09.280 Actually pretty

01:15:09.920 Brilliant

01:15:10.420 For a pop

01:15:12.200 Song

01:15:12.640 And it's

01:15:13.820 You know

01:15:14.040 He's done it

01:15:14.580 Before you can

01:15:15.240 See examples

01:15:16.020 Of this

01:15:16.380 And like

01:15:16.700 Everything

01:15:17.320 Counts

01:15:17.880 But it's

01:15:19.760 Done almost

01:15:21.040 Perfectly

01:15:22.140 Here

01:15:22.660 And it's

01:15:23.860 Yeah it's

01:15:24.560 Something

01:15:24.840 It's quite

01:15:25.280 An achievement

01:15:25.720 But it's

01:15:39.200 And that's

01:15:40.780 Words like violence break the silence

01:16:01.720 Come crashing into my little world

01:16:05.920 Painful to me, fierce right through me

01:16:10.100 Can't you understand, oh my little girl

01:16:14.380 All I ever wanted, all I ever needed is here

01:16:19.580 In my arms

01:16:22.080 Words are very unnecessary

01:16:26.200 Pain and only too hard

01:16:40.100 Yeah, and he doesn't have to use, you know, these big, ginormous E minor 11, you know, or whatever, like a E7 sharp 5 flat 9 kind of like big jazz chords and stuff like that.

01:17:01.080 He doesn't need to use that. It's simple and bold and, you know, causes you to do a double take.

01:17:09.640 When you hear that, would you say C sharp minor to E minor?

01:17:16.100 Yeah, like you hear that. It's like, wait, what's that? That's different. Those two chords don't necessarily go together, you know, like that. But then when it goes to the A major, it kind of resolves. But yeah, I agree. Textbook, Martin Gore songwriting.

01:17:32.620 And then that's what I was trying to say earlier, giving my introductory take. It's just like, that's what makes this album and this song, especially a great pop song is that it's, it's not basic. It's not, you know, he could have made that basic.

01:17:51.440 If he just went from C sharp minor to E major, you know, that relative major and minor and could have just done that for the whole song or, and then gone to a, and then, you know, G sharp minor or something like that all fitting neatly into the key, but he didn't.

01:18:05.880 And, and, and it's got that over these drums that are, you know, just like disco E four on the floor, just powerful, this snare that sounds like really distorted, but, you know, super nineties, but in, but in a, the best way possible, like, yeah, it's just a complete achievement. And I will never get tired of the song. I don't think I ever could get tired of the song.

01:18:33.160 Because you still don't know which key it's in, in a way, you know, it's kind of an E major actually, because if you play it for someone, I think they would probably, if you, if you just ask someone, is that a major, is that a bright sound or is that a dark sound?

01:18:48.200 They'd say it's a bright sound. So it's almost like this song is an E major in some weird way. But anyway, it's great. It's great stuff.

01:18:57.200 Yeah. And it's like, like I said, it's like the anti jazz or whatever. There's no, it's so simple. Like the chords I'm saying, there's no extensions on any of these chords. It's just straight to the point. And it's, it's powerful and it's unforgettable.

01:19:11.940 And yeah. And I mean, there's even like that tritone, they can only, yeah, they can only do harm. So in your case, from C to F sharp minor, and that kind of tritone difference that you hear as well.

01:19:31.820 I mean, yeah, it's just, it's funny, because like, sometimes I'll think that he's really studied music, but then he'll always in interviews, play it off as though he hasn't, or I don't really know anything about chords or structures. But he's got to know something, because a lot of the stuff is unusual, and signature.

01:19:51.180 Yeah, he clearly knows what he's doing. He's consciously playing with this. I mean, there's no other way to describe it. You don't just randomly do something like this. So yeah, that's remarkable. So it's pretty interesting. So there are two music videos for this.

01:20:09.600 One of which, I don't know if you even know this one, but it's a performance on the World Trade Center.

01:20:19.760 I was going to mention that, actually. Yes, I do know that one. Yeah, yeah.

01:20:22.940 Which takes on a whole new, you know, connotation. Yeah. Enjoy the silence words like violence. Yeah. So, yeah, there's that. And then there's the more famous one, which was filmed by Corbin.

01:20:38.240 And they, was this filmed like in Denmark when they were doing the recording for most of the album? I don't know.

01:20:48.240 I'm wrong, but I thought it was Switzerland or something. No, I'm right back.

01:20:51.320 It was Switzerland. Okay. Yeah. I know it's somewhere in Europe, Germanic Europe.

01:20:57.240 Yeah. And it's this kind of oversaturated or like overexposed camera.

01:21:03.480 But it became an iconic idea of them, of Dave Gahan is this king, but he's a kind of king in a nutshell or something.

01:21:16.720 He's alone. He's finding his space. Yeah.

01:21:19.940 And I think that it was a perfect imagery of the song. But, you know, words like violence break the silence. So it's someone who's enjoying his alone time, say.

01:21:33.500 And then words come in, come crashing in into my little world, painful to me, pierced right through me. Can't you understand? Oh, my little girl.

01:21:41.080 Yeah. So it's this words being coming in and being, you know, daggers pointed at him, but it's without any purpose. All I ever wanted, all I ever needed is here in my arms. But it's also, you know, it's like you, you and your, my little girls in my arms or something.

01:22:02.280 I think that's probably there. But there's also this profound sense of being alone. Words are very unnecessary. They can only do harm. Vows are spoken to be broken.

01:22:15.760 Feeling. I mean, all of these, these rhymes are great. Rhyming violence and silence. Vows are spoken to be broken. Feelings are intense. Words are trivial. Pleasures remain. So does the pain. Words are meaningless and forgettable.

01:22:31.840 So words themselves have no meaning in comparison to, you know, I don't know, to evoke the Exciter album. I can't believe I'm doing that. But let the body speak. It's like there's something more powerful than language. And, you know, words can only do harm. Words are like daggers, you know, attacking you. The words are vowels that you'll break anyway.

01:22:58.920 They're trivial. They're meaningless in comparison to emotion. And I think particularly with the music video, with just the self, the notion of silence, atomistic, getting away from it all, actually understanding who you are.

01:23:21.060 I think it's a very interesting sentiment. I mean, it's the fact that this type of sentiment is enveloped in this, you know, highly danceable song is kind of hilarious in a way. But yeah, it's just great stuff.

01:23:40.220 Yeah, there's that aspect of the king in the deck chair. And it's, I don't know, it's like the king being jealous of like, the peasants or something like that, not because they can just get away from it all. They don't have the fame.

01:23:54.780 And I wonder if that was like, a thought in Martin's head, or maybe that was just totally Anton's contribution, just the getting away from it all kind of aspect. But yeah, I mean, I don't think they were ever at a point maybe in Los Angeles at that warehouse incident when with the release of this, but I don't think they've ever been like at a point where they've been like, really like bum rushed with people save a few times.

01:24:23.240 Because, you know, like, I think they could walk around and basically go unnoticed today, which is probably a good thing. But yeah, yeah.

01:24:53.240 All I've ever wanted, all I've ever wanted, all I've ever needed is here, in my arms.

01:25:01.540 Words are very unnecessary, they can only do come.

01:25:23.240 A policy of truth.

01:25:38.840 What do you think this is about?

01:25:42.140 I'll let you go first on this one.

01:25:44.620 I mean, I think it's a bit straightforward, in that it's not straightforward, if that makes sense.

01:25:50.820 It's like a song about, like the moral quandary of lying to protect someone because the lie might be better, might have better consequences than telling the truth.

01:26:01.720 To me, it sounds like a relationship song, for sure.

01:26:05.640 I get...

01:26:06.620 Lie to me.

01:26:07.860 Yeah, yes.

01:26:09.260 And sort of, well, maybe not things you said, but I don't know, there's something about this that made me think of things you said.

01:26:16.540 At least insofar as there's that kind of relational aspect between perhaps a woman and a man.

01:26:24.000 But yeah, maybe by telling your significant other the truth that you would hurt them.

01:26:31.500 And it's best to just let sleeping dogs lie.

01:26:34.460 You had something to hide

01:26:58.900 You should have hidden it, shouldn't you?

01:27:02.600 Now you're not satisfied

01:27:06.500 With what you've been put through

01:27:11.000 It's just time to pay the price

01:27:16.640 Not listening to advice

01:27:20.720 Deciding in your view

01:27:23.760 On the policy of truth

01:27:27.060 Things could be so different now

01:27:44.960 Yeah, don't look into the fact that I cheated on you even, maybe.

01:27:49.720 I mean, I think that's definitely the sentiment with why to me.

01:27:52.280 Yeah.

01:27:52.500 Like they do it in the factory.

01:27:55.260 You had something to hide

01:27:56.800 Should have hidden it, shouldn't you?

01:27:58.540 Now you're not satisfied with what you've been

01:28:00.760 What you're being put through.

01:28:02.700 It's just time to pay the price for not listening to

01:28:05.240 To advice and deciding in your youth on the policy of truth.

01:28:08.700 Yeah, it is

01:28:10.320 I think it might even

01:28:12.660 It might even have a quality of

01:28:16.800 The artist

01:28:18.340 Himself

01:28:19.680 Or

01:28:20.360 It's better to

01:28:22.720 Why

01:28:23.560 It's better to

01:28:25.420 You know

01:28:26.600 What are the lyrics to get the balance right?

01:28:29.900 Let me just look these up real quick

01:28:31.100 Be responsible, respectable, stable, but gullible

01:28:34.300 I think there's also a sort of quality to that of

01:28:38.940 You know, art is the lie that tells the truth

01:28:41.900 Then, you know, I have attributed as Picasso or something

01:28:44.860 I mean, it's

01:28:45.640 I think there's a lot of truth to that

01:28:47.560 And there's

01:28:47.920 You can kind of read it in both ways

01:28:49.620 You can read it as a noble lie

01:28:51.080 Of don't tell me that you cheated on me

01:28:53.160 Or

01:28:53.840 Don't look too hard into this matter

01:28:56.460 Because it's only going to bring pain

01:28:58.440 Right

01:28:59.380 But there's also

01:29:01.500 I guess I get this feeling

01:29:03.860 Maybe

01:29:04.480 Just due to the fact that

01:29:06.520 Alan wrote Get the Balance Right

01:29:08.320 Or no, excuse me

01:29:09.200 Martin wrote that

01:29:10.060 Yes

01:29:10.440 I thought Alan wrote that

01:29:11.980 Okay

01:29:12.200 No, Alan

01:29:12.920 That was like the first song he was on

01:29:14.980 Oh, I see

01:29:16.660 I see

01:29:17.000 Helping to produce

01:29:17.660 Helping to produce

01:29:19.320 Okay, but

01:29:19.820 This notion of

01:29:22.100 Just live your life in Basildon

01:29:24.780 You know

01:29:25.340 Go get a job

01:29:27.560 You know

01:29:29.600 Maybe in the factory

01:29:30.720 But you'll be in middle management in no time

01:29:33.260 And just be respectable

01:29:35.320 And responsible

01:29:36.980 And pay your mortgage

01:29:37.980 And be ultimately selfish

01:29:40.000 But

01:29:40.580 Getting the Balance Right

01:29:42.480 Is much better

01:29:43.920 Than

01:29:44.840 Singing songs

01:29:48.080 That

01:29:49.140 Tempt us to think about

01:29:52.260 Death and oblivion

01:29:53.560 Yeah, that's an incredible song too

01:29:56.720 In itself

01:29:57.080 I don't care what the band says about that song

01:29:58.980 They don't really like it

01:30:00.040 But

01:30:00.260 We can talk about that later

01:30:02.000 But

01:30:02.280 Yeah, that's a

01:30:03.140 That's a great song in itself

01:30:04.700 There's more besides

01:30:21.460 The joyrides

01:30:23.340 The little house in the countryside

01:30:26.580 Understand

01:30:28.400 Lots of divide

01:30:30.700 Compromise

01:30:32.700 Let the balance rise

01:30:37.700 Get the balance rise

01:30:42.000 Get the balance rise

01:30:46.320 Irresponsible, respectable, stable, but gullible

01:31:00.100 Sons you carry, help the helpless

01:31:04.140 But always remain ultimately selfish

01:31:08.020 It's like a critique of just bourgeois life.

01:31:13.860 Well, we could talk about it now

01:31:17.340 It's interesting because this was in Stripped

01:31:21.740 So by the time that the 90s came around

01:31:27.080 There is a notion of techno

01:31:31.560 This is largely coming from Detroit

01:31:35.140 And actually there's this man, African American Derek May

01:31:38.440 And he claimed that Get the Balance Right was the first techno song

01:31:44.320 Yeah, and whatever that might mean

01:31:46.800 He said that no one knew

01:31:50.020 So this is like what, 83, right?

01:31:52.560 Yeah, so no one knew who Depeche Mode was really in Detroit

01:31:55.440 They just, I don't know, somehow, some way

01:31:58.120 In a record store got the record

01:32:03.100 And then they started to loop the instrumental part

01:32:06.080 And just kind of turned it into this, you know

01:32:09.460 Danceable, four-on-the-floor thing

01:32:12.460 It just like became its own kind of remix dance song or whatever

01:32:17.140 And yeah, they, I mean

01:32:19.500 I guess they loved it

01:32:22.040 Which seems really weird

01:32:23.180 Because it's not like a funky song

01:32:26.160 Like it's pretty white, you know

01:32:29.420 Yeah, well this is Alan Wilder

01:32:32.060 We all went to May's flat

01:32:33.580 So this is between the 101 live album and Violator

01:32:38.360 We all went to May's flat

01:32:39.500 And pretended we were part of this techno scene

01:32:42.060 Derek May was horrible

01:32:43.660 I hated him

01:32:44.560 He was the most arrogant fucker I've ever met

01:32:47.860 He took us into his back room

01:32:49.920 Where he had a studio and played us his track

01:32:52.260 And it was fucking horrible

01:32:53.360 That's funny

01:32:55.740 And then Fletcher

01:32:56.340 He was a really nice bloke

01:32:57.940 Wait, really?

01:32:59.860 Wait, so Alan hated him and Fletch liked him?

01:33:03.120 Yes

01:33:03.560 Oh, that's funny

01:33:04.380 But it was a bit

01:33:05.160 Yeah, but he goes on

01:33:06.580 But it was a bit of an odd situation

01:33:08.340 In those days, that scene was all orange juice and no drugs

01:33:13.460 We went to the Music Institute

01:33:15.640 And they were all on orange juice

01:33:18.180 We just wanted a beer

01:33:19.500 It was frustrating at that point

01:33:20.960 So, anyway

01:33:22.880 Just kind of fun tidbits from the script

01:33:25.180 Wait, so they visited him in Detroit?

01:33:27.280 Is that what you did?

01:33:28.160 Yeah, I don't know the context

01:33:30.040 They were in America

01:33:31.220 And Derek May

01:33:32.240 He almost like wanted to meet his idols

01:33:34.880 But he almost wanted them to meet their idols

01:33:38.120 In the hymn

01:33:40.560 And the byr uit anchored

01:33:43.560 To know about it

01:33:45.760 So, let's get started

01:33:46.440 Why do we find it?

01:33:47.000 Where do we find it?

01:33:47.880 To learn and feel

01:33:48.920 That's the fact

01:33:49.240 You can name it

01:33:53.420 To learn

01:33:54.340 Let's just listen

01:33:56.760 Thanks again

01:33:58.380 Of course

01:33:59.420 This is a nation

01:34:01.400 How do we find it?

01:34:01.680 Poor

01:34:02.660 How do we find it?

01:34:03.700 In the hymn

01:34:05.380 How do we find it?

01:34:06.080 This is a family

01:34:07.280 How do you find it?

01:34:07.600 What do you find

01:34:08.240 Or do you find it?

01:34:09.500 It's a放心

01:34:09.680 all i was gonna say is that i guess he's gotten in some serious trouble as of uh

01:34:21.640 the past few years i don't know i'm not much into techno oh i don't know but uh he's gotten into

01:34:27.860 like uh trouble as far as like some me too kind of territory that he's been in uh but yeah uh a

01:34:35.640 lot of people not terribly surprising it's yeah as far as i understand a lot of people don't really

01:34:40.680 uh care for for him who are like i have a cousin who's pretty into techno and they're like man that

01:34:45.880 stole everything he ever released or i i can't say that's interesting yeah when i hear the word

01:34:53.120 techno i think of myself in like senior year of high school like late 90s and this really

01:35:02.740 hard throbbing endless like rave culture where everyone's on ecstasy or high or something

01:35:10.300 when i listened to derrick may it was a little bit different his songs were odd in the sense that

01:35:16.420 they at least to my ear were literally out of tune i'll have to uh give him a serious listen but uh

01:35:28.040 yeah i i just i can't really do you can only do so much four on the floor

01:35:32.520 before uh it just becomes irritating yeah what is four on the floor is a four by four yeah four um

01:35:44.020 bass drum or kick drum uh one two three four one two three four like that over and over so it's not

01:35:51.900 like a syncopated syncopated like right so like enjoy the silence is four on the floor in the sense

01:35:56.620 that it's one two three four one three four but like you're still hearing that kick drum one two it's

01:36:03.060 going on even on the two and the four where the snares are as well so that i mean that's just a

01:36:08.080 standard beat but it's highly danceable uh but which is yeah it's just simple

01:36:15.520 never again is what you swore the time before never again is what you swore the time before

01:36:21.680 what do you think that means it just sounds like relationship stuff to me like don't you think so

01:36:29.960 it used to be so different now it used to be so civilized

01:36:37.960 you will always wonder how it could have been if you'd only lie

01:36:46.120 it's too late to change events it's time to face the consequence for delivering the proof

01:36:58.960 in the policy of truth

01:37:02.360 so i i like blue dress

01:37:32.160 i think it's a great song i i mentioned it the other night i guess last week when we were

01:37:42.200 talking about exciter and how much better this song was because it was so simple and evocative

01:37:49.460 but you know put it on and don't say a word put it on the one that i prefer so it's this blue dress

01:37:58.840 that evokes something and and then there's an almost kind of cynical lyric to it can't you

01:38:08.980 understand say you believe just how easy it is to please me because when you learn you'll know what

01:38:14.540 makes the world turn i i just remind reminded when i was at summer camp when i was a teenager and this

01:38:22.420 camp counselor named pistol love the remarkable name he said you know men um what makes the world go round

01:38:32.360 some say it's money others say power but i'll tell you what really makes it all work pussy

01:38:41.620 and uh it's not wrong of course um his name was pistol love though his name was in fact pistol love

01:38:52.140 yes last name was love first name pistol i don't know pistol was a bit of a nickname but yes

01:38:56.240 he was one of these like he was like the matthew mcconaughey character from

01:39:01.220 days of confused he was like 30 years old hanging out with teenagers yeah he was that guy he was really

01:39:08.460 that guy i don't even i don't even know if that guy still exists he might have been ansel long ago

01:39:14.580 but yeah he was that character um yeah i i i like how stripped down this is and how simple and evocative

01:39:27.460 in the sense it's not telling you too much you don't know really what it's about and it's from the

01:39:32.700 perspective not of the criminal but kind of the perspective of the victim i guess you could say

01:39:37.060 you can imagine him sitting there and you know maybe it's that porn star that dave gone was dating

01:39:45.240 just some woman putting on something that has an uncanny quality to it it's not the dress itself

01:39:54.820 it's what is embodied in the dress and what it all means and it's evoking something and this is what

01:40:02.580 the world turns around i yeah i yeah i love it very sexy a little bit creepy a little bit of s&m

01:40:10.800 also kind of slow kind of it reminds me a little bit of like princess dies wearing a new dress and

01:40:16.480 that kind of i i don't quite know how to describe it slow the melody is kind of disjointed and so on

01:40:25.760 and um yeah it's a great song yeah so it's a textbook like martin ballad you know it it's a good like

01:40:33.860 six six eight kind of you know the same thing that uh sweetest perfection has

01:40:41.040 happen

01:40:50.560 and

01:40:52.840 i'm

01:40:59.620 and

01:41:01.040 Don't say a word

01:41:04.400 Put it on

01:41:06.920 The one that I prefer

01:41:11.000 Put it on

01:41:15.540 And stand before my eyes

01:41:19.960 Put it on

01:41:22.260 Please don't question why

01:41:27.040 Can you believe

01:41:30.360 Something so simple

01:41:34.720 Something so trivial

01:41:38.600 Makes me a happy man

01:41:43.360 Can't you understand

01:41:46.920 Save me

01:41:50.040 Just how easy

01:41:53.800 It is to please me

01:41:58.920 Because when you learn

01:42:04.160 You know what makes the world turn

01:42:08.160 It's got that vocal sample of a

01:42:20.440 You know, way up there, which at first, I'll be honest, it did kind of annoy me.

01:42:28.300 But now I just like can't picture the record without it, you know, and I think that scream is there on purpose, you know, to sort of mimic like a female's moans or something like that.

01:42:40.060 The tremolo guitar on it gives it gives it an edge to it gives it a different kind of atmosphere.

01:42:47.300 Atmosphere. But I guess as far as I understand the band didn't really know like how to approach it. It was almost like a throwaway Alan calls the pen.

01:42:58.620 It's the penultimate track on the LP the filler position. I would put it in the same bag as get right with me from so fad in that we never really quite knew which way to go with it.

01:43:09.420 Again, I'm a bit vague about the demo, but I remember the approach when we recorded it was based around using washy sounding drone guitars, which formed the backbone of the track.

01:43:18.160 It was deliberately quite wet sounding to give it some atmosphere. But yeah, it's a it's amazing. And that is a song that I wish they would they have played live, but it's usually just been Martin with the guitar and the same thing with Sweetest Perfection.

01:43:30.560 I wish they would have played that live and besides just Martin.

01:43:39.420 I wish they would have played that live and they would have played that live and they would have played that live.

01:44:09.400 I've changed my routine. Now I'm clean.

01:44:21.740 I don't understand what destiny is planned. I'm starting to grasp what is in my own hands.

01:44:31.380 I don't claim to know where my holiness goes.

01:44:35.700 I just know that I like what is starting to show sometimes.

01:44:53.040 So the final, the ultimate track of the album, Clean,

01:44:57.860 which I think is ironic.

01:45:02.640 If this had been on the Ultra album or something,

01:45:05.880 it would have made more sense in the sense of Dave overcame drug addiction.

01:45:11.500 But now here, it's ironic in the sense that he's about to fall off a cliff.

01:45:21.260 But that's also indicated in here with that sometimes.

01:45:25.540 Do you know the chords for this?

01:45:30.660 Okay, yeah.

01:45:31.400 So it's B minor throughout the, from Clean all the way down to,

01:45:36.960 and the in-between years and the troubles.

01:45:39.660 When it goes to the, and the troubles I've seen.

01:45:42.800 The I've is E minor.

01:45:45.180 And then after seeing is D.

01:45:47.120 Now that I'm clean.

01:45:48.960 And when he goes clean, it goes back to B minor.

01:45:52.280 And then, so there's not really.

01:45:54.460 What is sometimes?

01:45:56.140 C.

01:45:56.720 So that is.

01:45:58.560 C, he does it again.

01:46:00.380 Yep.

01:46:00.820 Semi-tone up sometimes.

01:46:03.440 So that's, yeah, I knew it was something like that.

01:46:07.760 So it's like a rising tone.

01:46:10.920 But yeah, it's not.

01:46:14.900 I mean, I think this is also a pretty on the nose drug song.

01:46:18.400 I mean, he's, he's, or overcoming addiction song, I guess.

01:46:23.500 But it's done really well.

01:46:24.920 I've broken my fall, put an end to it all.

01:46:27.080 I've changed my routine.

01:46:28.240 Now I'm clean.

01:46:29.700 I don't understand what's, what destiny's planned.

01:46:32.980 I'm starting to grasp what is in my own hands.

01:46:36.640 So he doesn't know what's happening.

01:46:38.260 What is starting to show sometimes clean.

01:46:40.740 So it's, yeah, it's kind of self-deprecating, I guess you could say, in that sense.

01:46:49.800 But yeah, I think both of these, both of these songs like clean and blue dress, they're not trying to be singles.

01:46:57.280 They're not trying to be danceable anyway.

01:47:00.940 And they're just much more complete and listenable to some of the, I guess you could call them deep cuts or you can call them like filler tracks, I guess, from construction time again, where they're kind of experimenting with percussion and so on.

01:47:15.860 These are like that in the sense that this is not a single, it's meant to listen, you know, it's meant for the connoisseur to listen to, but it's really great and really memorable.

01:47:28.480 I mean, I think these are two of my favorite songs on the album.

01:47:32.520 Definitely.

01:47:33.860 And there is a-

01:47:34.840 Halo being another one.

01:47:35.860 Yeah.

01:47:36.480 And there is a version of this that you can't get.

01:47:39.980 They don't have like a live recording of it that's any good, but you can get just listening on YouTube.

01:47:45.860 Where they sort of rework it on the Exotic Tour in 1994, where Alan's playing like live drums and kind of really going for it at the end.

01:47:55.440 And it just sounds, you know, even like heavier and a bit rockier.

01:47:59.860 And it's, yeah, it's a great track.

01:48:15.860 And it's a great track.

01:48:29.380 Which is a good night.

01:48:35.180 Who?

01:48:36.020 So, to sum up, what are your thoughts?

01:49:00.920 Is this the peak?

01:49:03.880 Yeah, I mean, it's not...

01:49:05.480 Do you like it more or less, like, listening to it again?

01:49:09.720 I don't know if I can like it anymore.

01:49:11.940 Well, I guess if I thought it was better than Songs of Faith and Devotion, I would say yes.

01:49:16.720 But, I mean, it's a close second, I'll say that.

01:49:20.200 It has gone up in my estimation, just because there are so many good songs.

01:49:25.300 Even if they were just, like, you know, demos.

01:49:28.940 Like, Martin's songs by themselves, him and an acoustic guitar.

01:49:31.740 Every one of these would be interesting to listen to.

01:49:33.780 Yeah, but then the production is just taken up, like, to another level.

01:49:38.740 And I, you know, I credit the personnel, whether that's Francois Kevorkian or Flood or this guy, this engineer, Steve Lyon, who had worked with YouTube before and had become a friend of Alan's.

01:49:51.400 Like, yeah, I mean, this is all...

01:49:54.820 I mean, even songs on here, like, Happiest Girl or Sea of Sin...

01:50:00.080 Oh, the B-sides, yeah.

01:50:01.160 Yeah, or Dangerous.

01:50:02.260 Like, why...

01:50:02.940 Dangerous is a great song.

01:50:04.180 Dangerous should have been included on this album.

01:50:06.200 That's, like, what frustrates me.

01:50:07.640 It's like, you could have had...

01:50:09.400 Maybe you couldn't have had room.

01:50:10.440 I don't know.

01:50:11.160 Like, you could have put that on there as the last song.

01:50:14.060 I mean, it's so...

01:50:16.000 Like, yeah, all these songs are incredible.

01:50:19.240 Like, I feel like, yeah, we've reached, you know, peak.

01:50:22.500 Like, yeah, all these songs are incredible.

01:50:52.480 You long, you clear the things you do aren't good for my health.

01:50:55.540 The moves you make, you make for yourself.

01:51:00.280 It means you use aren't meant to confuse.

01:51:04.920 Although they do, they're the ones that I would choose.

01:51:10.900 And I wouldn't want it any other way.

01:51:15.560 You wouldn't let me anyway.

01:51:18.460 Yeah, and it definitely follows from Music for the Masses.

01:51:38.660 I think there's a lot of similarities.

01:51:41.460 And I think they needed to go in a different direction, which they will.

01:51:47.340 Oh, yeah.

01:51:48.180 Yeah.

01:51:48.460 And so I think this was a culmination of the 80s.

01:51:55.720 And to return to some things that I observed earlier on, it's not an industrial album.

01:52:06.820 Just objectively, it's not.

01:52:08.140 But it's almost like all of that experimentation and work that they did five, seven years ago, it's almost now implied.

01:52:17.220 Or they've imbibed it and it's there.

01:52:20.780 And so I do think this and Music for the Masses are kind of like just culminating their sound.

01:52:27.100 They've totally found themselves.

01:52:29.180 And, you know, again, in their next album, they're going to have to go in a new direction.

01:52:32.180 And you wake it, like shackles on your feet.

01:52:51.440 And you wake it, like a halo in rivers.

01:52:56.000 I can feel the discomfort in your seat.

01:53:08.620 Oh, yeah.

01:53:11.320 Hit it once

01:53:37.320 There's a pain

01:53:39.320 The famine

01:53:41.320 In your hearts

01:53:43.320 Aching

01:53:45.320 To be free

01:53:53.320 Country

01:53:55.320 See

01:53:57.320 All lost luxuries

01:53:59.320 Are here

01:54:01.320 For you

01:54:03.320 And me

01:54:05.320 Oh

01:54:13.320 When our Lord

01:54:15.320 Say fall apart

01:54:17.320 When the

01:54:19.320 Walls come toughly near

01:54:21.320 Loneliness

01:54:23.320 appears

01:54:25.320 It

01:54:27.320 Is really worth it

01:54:37.320 Bring your chains

01:54:39.320 Your lips of tragedy

01:54:43.320 To fall into

01:54:45.320 My heart

01:54:47.320 Fall into

01:54:49.320 My heart

01:54:55.320 When our Lord

01:54:57.320 Say fall apart

01:54:59.320 When the

01:55:01.320 Walls come toughly

01:55:03.320 Loneliness

01:55:05.320 Is really

01:55:07.320 It

01:55:09.320 Is really

01:55:11.320 Worth it

01:55:13.320 When our Lord

01:55:23.320 Say fall apart

01:55:25.320 When the

01:55:27.320 Walls come toughly

01:55:29.320 Will

01:55:31.320 Slowly

01:55:33.320 Is really

01:55:35.320 It

01:55:36.320 Will be

01:55:37.320 Worth it

01:55:39.320 To be

01:55:41.320 With

01:55:42.320 When

01:55:43.320 To be

01:55:44.320 In

01:55:45.320 One

01:55:46.320 Two

01:55:47.320 Three

01:55:49.320 Two

01:55:50.320 Two

01:55:51.320 Three

01:55:52.320 Two

01:55:53.320 Two

01:55:54.320 Two

01:55:55.320 Three

01:55:56.320 Two

01:55:57.320 Two

01:55:58.320 Eight

01:55:59.320 Two

01:56:00.320 Seven

01:56:01.320 One

01:56:02.320 Three

01:56:03.320 Three

01:56:04.320 Two

01:56:05.320 Three

RadixJournal - March 13, 2024

Depeche Mode： Violator

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