Depeche Mode Week - Day 2: Peroxide and Bondage

I've heard it said in the past that while the UK is focused on singles, the US market is more concerned with the full studio album. I have no idea why there should be a difference in mentality, but it seems true. The US will measure success over time on album sales, with singles as a pleasant addition. Perhaps us Brits just have a short attention span and can only focus on ooo, cool, new Wolverine Trailer! Brilliant.

So, where was I? Yup, The US market, which also gives a lot of oomph to the tours as well. Think of the big British groups that have had big US success. They normally are the ones that disappeared across the Atlantic for weeks on end and slogged it out. They don't appreciate people wandering over there and forcing a single down their throats without working for it, something you can get away with in the UK and only just in Europe. It's this thinking that explains Mode breaking the US a good seven years after Just Can't Get Enough.

OK, let's backtrack. It was all going fairly well in Blighty for Depeche. They survived after Vince Clarke's departure, roping in Alan Wilder to tour with them and eventually record as well. Martin Gore's songwriting improved over the next three albums, and the Top 10 got a few more hits. In addition, there was much experimental jiggery pokery with the advancing electonica thanks to a German industrial fetish, and a sudden cascade of Socialist jabber. A few examples while we're here:

See You, (A Broken Frame, 1982)

Aaaa, doesn't ickle Dave look cute in his little bow tie? Come back, leather bondage look, all is forgiven! Incidentally, It may be worth noting that wandering round Selfridges singing this doesn't result in the cashier drones spontaneously finding cool Moog sounds out their tills, and will more than likely result in your sharp upending through the front doors by a large man named Biff.

Everything Counts, (Construction Time Again, 1983)

In which Dave's voice breaks and they go to the beach via a really, really, really long flyover.

People are People, (Some Great Reward, 1984)

In stark contrast to the British Leyland factory, the sounds of machinery and drilling are backed up by people talking about how we should be nice and all that. Can't argue with the sentiment, but a bit too obvious even for me. Perhaps we should go for something more subtle from that album, like Master and Servant?

Ok, maybe not.

So that takes us to 1986, just after a quick "Best of" and a small break. It all culminated into the album "Black Celebration", or as it was cheekily referred to in the album's recent documentary, "The songs aren't good enough, there aren't any singles and it'll never get played on the radio".



Grossly unfair, but not surprising. Even considering Depeche's more quirky use of electronica than their peers, it still needed work on the listener's part. While the title track nodded towards the period's movie soundtracks from the likes of Tangerine Dream, the likes of It Doesn't Matter Two and Dressed in Black were stark, drum-less offerings of neoveau cabaret. As well as the magnificent Stripped (see later this week), we got A Question of Time, the boys first video with Anton Corbijn. More on him later:

Overall though, it felt like an album as a piece of art, as opposed to collections of songs like previous albums. It just all clicked, and remains a fantastic piece of work. Even with their fanbase, UK sales merely regarded it as a new Depeche album. On the continent and the US, though, it went further. Depeche's more punchy electro and lack of yacht-sinking stood them apart from their British new wave peers, and the alternative radio stations started to take notice. A lengthy US tour followed, and phase 2 started big style.

Depeche Mode Week - Day 1

This is a bit of an experiment, I'll be honest. Not so much writing about the mighty Mode, but managing to do it every day for a week. Still, worth a go.

Yes, Depeche Mode, a band who, depite their longetivity, still seem to exist outside of the mainstream. The biggest cult band ever? Possibly, depending on your viewpoint of the word "cult". The fact remains, despite 28 years of pulsing dark electronic pop, iconic videos and a herculian drug intake from vocalist Dave Gahan, they are still just an 80s Pop group to most of the general public, at least to those who have heard of them. Just can't get Enough, their first big hit from 1981, and just before they'd hit their twenties, is still the only track most people could hum, a fact exacerbated by idiot DJs at horrific 80s chain clubs like "Reflex" who remain oblivious to the fact that they had plenty of other Top 10 hits in that decade, let alone after. As a result, I wouldn't be surprised if some folk think of them as "One Hit Wonders".

To be fair, though, this is probably due to the quality of the song. In pop terms, it is a classic, and probably songwriter Vince Clarke's best. A hook, a chorus, a simple catchy melody, all done in a Casio-friendly format that fitted right into it's time. You can't really hold anything against it. However, you can say whatever you like about the ickle leather Village People look. Be my guest.

Depeche Mode - Just can't get enough
Uploaded by bebepanda

It's because of the song's inherent POP-ness that I welcomed the news that new chart fitties The Saturdays would cover it for Comic Relief. Ok, I couldn't slag the news off as it's for charriteeee, but I could have been left unhappy by the end result. In the end, I'm not, mainly because it would be quite the achievement for any chart act to cock it up. I've heard better versions, certainly, but this is a respectable turn, as are the ladies in the video, homina homina. It keeps the original vibe, sounds good, fun and helps a few needy folk at the same time. Ok, I'll raise my hands - I like The Saturdays anyway, but I still would not want them touching any of Mode's later material. Not without a full vamp-out anyway.



Next: Why Depeche Mode are better than U2. No, really.

Incidentally, if you're reading this on my Facebook note stream, go to the original Blogspot as videos don't transfer over, it appears. Rubbish.

These boots were made for grooving.

If more folk did this instead of going to the Nuremberg rallies...sorry, X-Factor auditions...the country would be in a better state. And I do genuinely do believe that.



Oh, Victoria....

29 years young...

That's right. Another year bites the dust. Still, as I'm feeling less than creative right now and the need to rant is pretty minimal, I thought I'd just big up some top tracks that have collectively got my metaphorical musical mojo aflame. Ahem.

The Pipettes - Pull Shapes (We are the Pipettes. 2006)

Wonderfully delicious and delightful surf-pop girly harmonies coupled with the kind of pop-nous that makes you realise that Pop music, when done properly, can trump everything else in attaining the perfect high.

The Pipettes - Pull Shapes

Ladytron - International Dateline (Witching Hour, 2006)

A stripped back synth-bassline throbs underneath a starightforward drum loop and slowly creeps into the consiousness with menacing aplomb. Oh, dear, it's in your head already isn't it?

Ladytron - International Dateline

The Charlatans - Weirdo (Between 10th and 11th, 1992)

If you want to suvive Madchester and keep up the shindig well into Britpop then just play with the formula a bit. The heaviest Hammond Organ riff ever as an intro? Ok then.

The Charlatans - Weirdo

Municipal Waste - Lunch Hall Food Brawl (The Art of Partying, 2007)

The possible result of youthful 80s Thrashers being placed in stasis with a steady support of Thrash, weed, Thrash, zombie films and a bit of Thrash and being let loose in the new millenium with some updated music tech. Possibly.

Municipal Waste - Lunch Hall Food Brawl


The Saints - Know Your Product (Eternally Yours, 1978)

Not-quote-Punk Aussie Punksters with added doses of horns and groove. Never that big so you can big up these lost treasures and be all elitist-like.

The Saints - Know Your Product

'Bye Tony

Tony Hart dies at 83

For British folk of my generation, Tony Hart was probably the first person we came across who made you want to draw and be arty. He was enthusiastic for his craft and he never spoke down to the younger folk who watched him with glee.

Morph was his plasticine creation, and this image I came up with seemed to be the most appropriate tribute.

Antacid Images

d'oh!

Further proof that I am a complete numbskull - I finally get round to building my website and putting it up and I don't even take the opportunity to promote it wherever possible. Never mind the revolution being televised - I haven't even put my trainers on yet!

So here's a taster:



and here I am:

ANTACID IMAGES

The site gives an idea but it's a start.

And yes, I know I haven't done the "contact" bit yet. Bear with me.

Top Ten Albums of 2008

Sod the turkey, mince pies and unoriginal dramatic plotline on Eastenders - Christmas is all about top 10 lists, and this is the only one I bother doing. Enjoy.


10) FREEZEPOP - Future Future Future Perfect (Rykodisc)



When a band announce on their sleeve that "no real instruments were used in the making of this recording", you probably know what to expect. Synths clash with more synths clash with some very pleasant nonchalant vocals from Liz Enthusiasm(!). The likes of Erasure and Dubstar are obvious reference points as the more lively likes of Ninja of Love and Brainpower sit alongside the sublime likes of Swimming Pool. It's a bit too whimsical at times, but you won't ever get a headache.

Check out: Less Talk More Rokk

9) CULT OF LUNA - Eternal Kingdom (Earache)



Concept album warning! Still here? Well, as this album is based lyrically and sonically on a diary written by some murdering loon, then the tag applies. Although between you and me, this album is nothing new for CoL. Their enveloping and sprawling dischordant wall of noise is executed as finely as ever and is not for the faint of heart. Eternal Kingdom also seems them creeping back into ther darker territory they had moved away from on the last two albums, whilst retaining that sense of restraint they had began to take charge of. The result: something that may well create a loon out of the listener if caution is not ensued.

Check out: Eternal Kingdom

8) ALPHABEAT - This is Alphabeat (Copenhagen)



Proof positive that "Pop " is not a dirty word, Alphabeat offer up the kind of classic sunshine pop that seems to have been missing from our charts for some time. Quintessentially Scandinavian, the Danish sextet offer up one infectious harmony after another. If its not the disco-rock of Fantastic Six or Boyfriend, its the throbbing synths on Touch Me Touching You and Rubber Boots. Like all sugar-infected pop music, this is not to be overdone at any one time, but to be consumed regularly as part of a balanced music diet.

Check out: Boyfriend

7) HADOUKEN! - Music for an Accelerated Culture (Atlantic)



Whilst we should discourage any attempt to stick "nu" before an established genre tag in order to regard any new sound, "nu-rave" is pretty darn appropriate for these young Brits. Energy? Pah, these guys belch it out in their sleep. Rave beats clash with casio bleeps, grimy raps and buzzing guitars to concoct a record so utterly now that it should be first into any time capsule. What's most pleasing is not just the ability to throw everything and the kitchen sink in to good effect, it's that pretty much all tracks are classic pop songs with a defining hook and chorus. Which means we get the catchy likes of Declaration of War and Driving to Nowhere as well as the more pulsating likes of Liquid Lives. Ah yes, there's also THAT Atari siren that kicks off That Boy That Girl.

Check out: Game Over

6) BLEEDING THROUGH - Declaration (Trustkill)



Reigning in producer-supremo Devin Townsend was an inspired idea that the Orange County bruticians should have come to earlier. Previous album The Truth wasn't bad, but it was too raw most of the time. Declaration makes up some ground and serves to honour the wondrous marriage of gothic keyboards and straightforward hardcore metal.
It also proves that they're not one-trick ponies as the full-on likes of the title track and Seller's Market stand nicely alongside the romantic grandeur of There was a Flood and Sister Charlatan.

Check out: Seller's Market

5) METALLICA - Death Magentic (Vertigo)



Honestly, even if it had just one impressive solo, Death Magnetic would have been held in higher regard than the much-maligned St Anger. The more cynical may suggest that the abundance of "classic" 'tallica, solos and thrashy riffs on DM is both an attempt to regain lost fans and take advantage of metal's current resurgance. Whatever. The more devoted Metallifan knows classic 'tallica when they hear it, and this is it. They've done it before, so this won't make any "all-time" list, but this is the boys doing what they love because they can. You can bang that head again now.

4) OPETH - Watershed (Roadrunner)



Let's face it, it's highly unlikely that Opeth could ever put a foot wrong. They've made a steady career of melding prog and folk with the most extreme of metal, and it would be foolhardy to suggest that anyone else comes close to touching them. The Swedes pick up where last album Ghost Reveries finishes but decide to ramp up the heavyness when applicable. This is the heaviest they have sounded for a few albums, but in contrast, their acoustic and prog moments are moreso too. It's hard work, but like anything that requires effort, it reaps its required rewards.

Check out: Heir Apparent

3) CANCER BATS - Hail Destroyer (Hassle)



If debut effort Birthing The Giant was the unpredicted bomb dropped square in the middle of rock's conciousness, then Hail Destroyer is surely the delayed explosion. The Canadians' vicious blend of Black Flag-inspired harcore and the kind of southern sludge metal that Down are renowned for doesn't just slay on Hail..., it tears apart, mutilates and then fucks the corpse for good measure. If the title track and Harem of Scorpions are perfect examples of savage melody mixed with rock violence, then Sorceress and Pray for Darkness are examples of what the pit was made for. The bonus here is that The Bats know how to balance things out. Bastard's Waltz and Lucifer's Rocking Chair buck and groove in a tight spot and just reinforce the rage that surrounds it. Epic Hail.

Check out: Regret

2) LADYHAWKE - Ladyhawke (Modular)



Is great music a result of experiencing life to the full or can it be a result of being a complete fanboy/girl? Whilst we can't accuse her of forfeiting the former, Ladyhawke's Myspace page proves that she could well knock those numpties on "Eggheads" into touch in any pop music round and still have five minutes to write two great songs. The reference points from the last 30 years are frequently obvious but when the songs are this great, who cares? New Zealander Hawke, real name Pip, has conjured up forty-odd minutes of the best kind of Pop music - saccharine-free tracks that stick in your head that you have no desire to get rid of. No instrument sounds over-used or over-produced at any time and Pip's dreamy vocals are utterly heartmelting. This is proof that only great pop music, and not the lure of fame and fortune, can inspire more great pop music. Best debut of the year, no question.

Check out: Magic

1) LADYTRON - Velocifero (Nettwerk)



For those Mods who know that a Velocifero is a type of scooter and are wondering if Ladytron have ditched the Moogs and Korgs and gone all Quadraphenia on us, it should also be noted that it can mean "bringer of speed". Not a reference to the local dealer, but appropriate nonetheless as Velocifero is one enormous high. Ladytron have somehow created an album so astounding that you may think they've plugged in their synths to the astral plane itself. Velocifero sounds more massive than any synth-based album has any right to. Black Cat and Burning Up throb and thrust, Ghosts and The Lovers completely reanimate the corpse of Glam Rock, Kletva and Versus remind you that there are no limits to using any music from around the world while Deep Blue is, quite simply, perfection.

With Velocifero, Ladytron haven't so much raised the bar for themselves and their peers, they've shot it into the stratosphere and out of sight to pick up some offworld elements on the way. They may as welll invest in some scooters and naff off to Brighton for a while because it's unlikely to see them surpassing this any time soon.

Check out: Deep Blue