Comfort and Old Videos

It was a Thursday night; I had spent a stressful day at the good ole 9-5, then drove my niece to the airport, and finally headed to my mother’s house for a late dinner. When I finally reached my home, and I inched to the door, I immediately discovered something out of the ordinary – to make a long story short, to my chagrin I walked in on a burglary. Nothing quite prepares you for knowing that your home has just been “invaded” – “violated” even – and what followed was over a week of sleeplessness. I never thought that I would be terrified to walking into my own home. But the first night alone, realizing that my door (which literally leads to the outside world) was far from functional (the burglary entry) and that the back window (the exit) was also compromised, I sat at my dining room table staring at the canary yellow wall for quite sometime. After feeling sorry for myself, I threw on some music, and as I look back at just over a week ago, I realize that during those hours I totally forgot about everything other than the music playing.

I listened to a lot of the music that filled the hours of my youth and annoyed my downstairs neighbors to no end. And as I look back at it, there are two things I realized that I don’t think I ever mentioned in this blog. The first is that our favorite music is usually not the “best” (whatever that means) music or the most popular, but rather those artists, albums, and songs we have attached memories to – that takes us back to yesteryears as if they happened yesterday. The second is sometimes music can be comforting, a source of immense alleviation and solace, as it soothes away the anxiety and brings you to a new place.

I listened to music for many hours that first night, much of which is simply not officially available on YouTube or elsewhere: Alien Sex Fiend, Aztec Camera, Clan of Xymox, The Cult, Front 242, Psychic TV, and The Wild Swans to name a few. But I set out to share at least ten of the songs I listened to that evening, and was able to accomplish that goal. It is funny how, at a pretty bleak moment, I ran directly for some of the darkest music in my collection.

The last thing I would like to say is thank you. I would like to thank my friends and family who have really helped me through this situation (including putting in a new door!), and thank you to life in general for given me another lesson in humility – though I would never wish this kind of experience on anyone or want to go through it again, it has definitely toughened me up a bit more and really given me some much needed perspective.

On that note, enjoy the videos!

Lords of the New Church’s “Dance With Me” from the emimusic YouTube Channel.



Orchestral Manoeuvres in the Dark’s (OMD) “Electricity” from their MySpace Video Page.


Electricity

OMD | Myspace Video

The Cure’s “Fascination Street” from their MySpace Video page.


Fascination Street

The Cure | Myspace Video

The Jesus and Mary Chain’s “Head On” from the RhinoEntertainment YouTube Channel.



Nitzer Ebb’s “Lightning Man” from their MySpace Video page.


Nitzer Ebb - Lightning Man

Nitzer Ebb | Myspace Video

Siouxsie and the Banshee’s “Peek-a-Boo” from the bansheesofficial YouTube Channel.



The B-52’s “Private Idaho” from theofficialb52s YouTube Channel.



Kate Bush’s “Running Up That Hill” from the KateBushMusic YouTube Channel.



David Bowie’s “Space Oddity” from his MySpace Videos page.


Space Oddity

David Bowie | Myspace Video

Depeche Mode’s “Stripped” from their MySpace Videos page.


Stripped

Depeche Mode | Myspace Video Read more ...

First Round of Videos

Welcome to 2011 … I am back in form, so I know that over the next few weeks I have some severe catching up to do (including Alphafalls, Clara Engels, an Italian band, Femme Fatale, and a French band, Van Diamonds … not to mention a little post on darkwave and a few interviews.) And I am starting to feel giddy about the upcoming releases: Wire, White Lies, The Joy Formidable, Social Distortion, Esben and the Witches, Cut Copy, Mogwai, and PJ Harvey! And of course, I promised myself to get to more shows this year… perhaps I will be crazy enough to get out to Bestival (I wonder why?)!. Below are a few videos and clips to kick off the year – including some video catching up, White Lie’s latest single, a live version of “Personal Jesus,” and two covers (Hello Operator’s “Come Undone” and The Kooks’ “Head Over Heels” – more of a clip than a video). So, to quote Mr. Robert Smith, “ONWARD!” and Enjoy…

White Lies’ “Bigger Than Us” from the WhiteLiesVEVO YouTube Channel.



Hello Operator’s cover of Duran Duran’s “Come Undone” from their YouTube Channel: hellooperatortv.



The Kooks cover Tears For Fears’ “Head Over Heels” from their YouTube Channel: thekooksofficial.



Scissor Sisters’ “Invisible Light” (featureing Sir Ian Murray McKellen) from the ScissorSistersVEVO YouTube Channel.



Depeche Mode’s “Personal Jesus” live from Barcelona, from their YouTube Channel: dmdotcom.



Hooverphonic’s “The Night Before” from the HooverphonicVEVO YouTube Channel.



Wilder’s “Skyful of Rainbows” from the RoughTradeRecordsUK YouTube Channel.



Bag Raiders’ “Sunlight” from the modularpeople YouTube Channel.



Smith Westerns’ “Weekend” from the elpossum Youtube Channel.

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Originals and Covers: Videos

I thought I would have a little fun…..

I was listening to “Gala” by Lush when “Hey Hey Helen” came on. What a great cover version to the song; it inspired me to start listening to some original versions against the covers, including “No More “I Love You’s” (The Lover Speaks / Annie Lennox), “Lullaby” (The Cure / Editors), “Smells Like Teen Spirit” (Nirvana / Tori Amos), and “Strawberry Fields Forever” (The Beatles / Candy Flip – slang for dropping LSD). So I started to think about why cover a song, and what makes a good cover. Not to get into this too much, but as for why: to bring something new out of a song, or to save it from obscurity, or both. As for what makes a good cover? There is no one set rule. Sometimes a complete departure, sometimes keeping a one or two or three elements, and sometimes keeping faithful to the original, I am usually more curious about why a band chooses to cover one band or song and not another. Though I hate to compare the “value” of one against the other, it is sometimes obvious that the cover outdoes the original, but most of the time pales in comparison. Here are five interesting originals and their covers. (I stuck to songs that were singles only, so I could post them with videos.) Enjoy!

“Blue Monday”

Original by New Order, from their MySpace Videos Page.


Blue Monday (1988) by New Order

new order | MySpace Music Videos

Cover by Orgy, from their MySpace Videos Page.


Blue Monday

Orgy | MySpace Music Videos

“Borderline”

Original by Madonna, from her MySpace Videos Page.


Borderline

Madonna | MySpace Music Videos

Cover by The Flaming Lips, from their MySpace Videos Channel.


Borderline

The Flaming Lips | MySpace Video

“Enjoy the Silence”

Original by Depeche Mode, from their MySpace Videos Page.


Enjoy The Silence

Depeche Mode | MySpace Music Videos

Cover by Lacuna Coil, from the CenturyMedia YouTube Channel.



“Take a Chance on Me”

Original by Abba, from the AbbaVEVO YouTube Channel.



Cover by Erasure, from their MySpace Video Page.


Take A Chance On Me (Video)

Erasure | MySpace Music Videos

“Who’s That Girl?”

Original by Eurythmics, from the EurythmicsVEVO YouTube Channel.



Cover by She Is Danger, from their YouTube Channel: sheisdangermusic.

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New Wave Videos

So… I was cleaning out some boxes the other day and came across a few mix-tapes that pushed me back twenty years in an instant. This one particular one, 120 minute TDK – my brand of choice back then – really brought back some funny memories. In a nutshell, I made the tape for a friend’s party, who when requesting that I bring music told me, “None of that depressing shit you listen to… bring some of your happy songs.” Well, I can’t say my friend got all those “happy songs,” but she did get an assortment of new wave. I wish I could get some of the other stuff that was on the tape, like Pekinska Patka, but I did manage to find most of the “popular” stuff of its day. Keeping true to my promise of coming on once in a while with some older videos, here are ten great songs: some are still breath-taking, others are even cheesier now than before, but you got to love them anyway. Enjoy!

Talk Talk’s “It’s My Life” from their MySpace Video page.


It's My Life (UK Version)

Talk Talk | MySpace Music Videos

Eurythmics’ “Love Is a Stranger” from the EurythmicsVEVO YouTube Channel.



Duran Duran’s “New Moon on Monday” from their MySpace Video page.


New Moon On Monday

DURAN DURAN | MySpace Music Videos

Men Without Hats’ “Pop Goes the World” from the MenWithoutHatsVEVO YouTube Channel.



Depeche Mode’s “A Question of Time” from their MySpace Video page.


A Question Of Time

Depeche Mode | MySpace Music Videos

Kajagoogoo’s “Too Shy” from their YouTube Channel: Kajagoogoomusic.



‘Til Tuesday’s “Voices Carry” from the TilTuesdayVEVO YouTube Channel.



New Order’s “True Faith” from their MySpace Videos page.


True Faith by New Order

new order | MySpace Music Videos

The Vapor’s “Turning Japanese” from their MySpace Videos page.


Turning Japanese

THE VAPORS | MySpace Music Videos

Information Society’s “What’s On Your Mind” from their MySpace Video page.


What's On Your Mind

Information Society | MySpace Music Videos Read more ...

Twelve Old Videos

Blah blah blah... some old videos for fun... eclectic mix... be back in a few days... Enjoy!

Bjork’s “Big Time Sensuality” from her YouTube Channel: bjorkdotcom.



Erasure’s “Chains of Love” from their MySpace Video Page.


Chains Of Love (Video)

Erasure | MySpace Music Videos

Elastica’s “Connection” from the ElasticaVEVO YouTube Channel.



Lush’s “De-Lux” from the 4ADRecords YouTube Channel.



Blur’s “Girls and Boys” from their MySpace Video Page.


Girls And Boys

Blur | MySpace Music Videos

Modern English’s “I Melt With You” from the 4ADRecords YouTube Channel.



Placebo’s “Nancy Boy” from their MySpace Video Page.


Nancy Boy

Placebo | MySpace Music Videos

Siouxsie and the Banshee’s “The Passenger” form the SiouxsieBansheesVEVO channel.



Depeche Mode’s “Shake the Disease” from their MySpace Video Page.


Shake The Disease

Depeche Mode | MySpace Music Videos

Cyndi Lauper’s “She Bop” from the CyndiLauperVEVO YouTube Channel.



Cranes’ “Shining Road” from the CranesVEVO YouTube Channel.



Nine Inch Nails’ “Wish” from their MySpace Video Page. Here is the LINK, as though you can see the video on MySpace, embed is having technical difficulties. Read more ...

"Skins" Videos - Generation 1 (2 of 3)

First off, our apologies for being off line for the last week – some technical and some life issues prevented us from continuing with posting, but we have quite a bit of material to post over the next few days. First off, though, is our second installment of videos of music featured on “Skins” Generation 1. Enjoy!

Battle's "Atlas" from the WarpRecords YouTube Channel.



Animal Collective's "Fireworks" from the DominoRecords YouTube Channel.



Wolfman's "For Lovers" (featuring Peter Doherty) from the RoughTradeRecordsUK YouTube Channel.



Gravenhurst's "Hollow Men" from the WarpRecords YouTube Channel.



Depeche Mode's "I Feel You" from their MySpace Video Page.


I Feel You

Depeche Mode | MySpace Music Videos

Spektrum's "Kinda New" from the datarecordsuk YouTube Channel.



LCD Soundsystem's "North American Scum" from their MySpace Videos Page.


North American Scum

lcd soundsystem | MySpace Music Videos

A Hawk and a Hacksaw's "The Sparrow" from the theleaflabel YouTube Channel.



MGMT's "Time to Pretend" from the MGMTVEVO YouTube Channel.

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Videos from the 80s...

My brother and I, back in 1986 or so, were obsessed with a local video channel: U68. We would watch all night, over our mother’s screaming to go to bed. But it wasn’t just U68 we obsessed about – we would try to catch as many videos as possible: the early days of MTV, Friday Night Videos, various countdown shows… wherever, whenever we could, we had to consume. Albeit, we would always ultimately return to U68, because we loved the selection of music more than any other outlet for videos. I think we were both depressed the day it went off the air! But U68 really started our journey of discovering music and it was something that we did together. And though the years have passed, more years than I care to shake a finger at, it was one of those defining experiences that bonded my brother and I. Typically, we are day and night, oil and vinegar, though we share the same twisted sense of humor. So I decided to live a little bit of history (live up to my promise of looking back into the past more often than I have in recent months) and share some of these videos. Again, it is so difficult to find so many of these videos from official providers, but here are ten jewels from the 80s that should never be forgotten. (And I will continue to hunt down some more of them, and even try to reach out to bands that are still around to post their older material.) I know that for many, some of these songs and/or videos will be new – which is great. You get to see some of the veterans who laid down the trends that current artists take cues from, and you get to see some veterans during their nascent years. And for others, you may very well have forgotten some of these songs, but memories are going to come rushing back! But ultimately, though I want to share this with everyone, I dedicate this post to my brother, Daniel, and our shared memory of U68 and other early video outlets. We may not always see eye-to-eye, and you really need to upgrade your musical collection, but you have always, at the end of it all, always given me your support and have been a fervent supporter of SlowdiveMusic Blog. For all of that I thank you, and I hope you remember all the late nights watching these videos together.

David Bowie’s “China Girl” from his MySpace Video page.


China Girl

David Bowie | MySpace Music Videos

The Human League’s “Don’t You Want Me Baby” from their MySpace Videos page.


Don't You Want Me

The Human League | MySpace Music Videos

King’s “Love and Pride” from the KingVEVO YouTube Channel.



Tears for Fears’ “Mad World” from the Curt Smith / Tears for Fears MySpace Videos page.


Mad World

Curt Smith / Tears For Fears | MySpace Music Videos

Madness’ “Our House” from their YouTube Channel: MadTubeMTV



Depeche Mode’s “People Are People” from their MySpace Videos page.


People Are People

Depeche Mode | MySpace Music Videos

The Clash’s “Rock the Casbar” from theclashVEVO YouTube Channel.



Erasure’s “Sometimes” from their MySpace Videos page.


Sometimes (Video)

Erasure | MySpace Music Videos

Kajagoogoo’s “Too Shy” from their YouTube Channel: Kajagoogoomusic.



Howard Jone’s “What Is Love?” from his MySpace Videos page.


What Is Love?

Howard Jones | MySpace Music Videos Read more ...

Videos During a Blizzard

Okay, if you are in the greater New York City area, you are covered by snow by now. So here I was, at home, canceled plans and bored, when SDM gets online, whom I have not talked to in weeks. We quickly started catching up and one thing led to another and we were beaming back and forth YouTube and MySpace Videos links. That is when Juju got online, screamed at both of us, told SDM to get back to writing, and I decided to collect some of the videos we shared back and forth for a post. These are the newer videos we shared, as I plan to sneak back online in the next day or two to post the older videos.

So here are videos to watch during a blizzard. Hope you enjoy them.

Vampire Weekend’s “Cousins” from the XLRecordings YouTube Channel.



Joan of Arc’s “Flowers” from the PolyvinylRecords YouTube Channel.



Depeche Mode’s “Fragile Tension” from their MySpace Videos page.


Depeche Mode - Fragile Tension (music video)

Depeche Mode | MySpace Music Videos

Wolf Gang’s “The King and All His Men” from their YouTube Channel: wolfgangvideos.



Chromeo’s “Night By Night” from the OfficialGLS YouTube Channel.



Chew Lips’ “Trapcode Form” from their YouTube Channel: chewlipstheband.

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Tour of the Universe - Depeche Mode Live

Longevity is something that is difficult to achieve in the music industry, especially under just one moniker. It is rare that bands survive the seven-year-hitch, let alone continue to produce relevant music after twenty-eight years, but Depeche Mode has done just that. Though I have been critical of their recent music, the reality is that they continue to run circles around most of the industry, and in the live realm there is no exception to this rule. What did I expect before the show? Extended songs, an amazing front man, and a visual show that would wow me away. So I made my way to Madison Square Garden, for the Tour of the Universe, and up the escalators to the nose bleed section (never will I allow a certain someone to get my tickets again), and braced myself for the show.



Peter, Bjorn and John opened the show. Out of Stockholm, I was pleasantly surprised that they were the opening act; five albums into their career, the reality is that they have not broken into the American market in any serious way – which is a pity! As their moniker was projected on the side screens, they comfortably came on the stage; they delivered their own brand of indie rock, with a set highlighted by their 2006 single “Young Folks.” And though they had some audio problem with feedback, they never lost their composure and continued to perform as the techs handled the problem. Overall a solid set and a smart move by the band to tour with Depeche Mode and get the exposure they deserve.

Peter Bjorn and John performing "Young Folks"

Then Depeche Mode hit the stage to the roar of the crowd, going right into three new songs, including the lead single of “Sounds of the Universe,” “Wrong.” As to be expected, the first half of the set would be heavy with new music (five songs from “Sounds of the Universe”), leaving the classics and the unexpected (yes the unexpected for DM) for the end of the set and encores. David Gahan (vocalist) was in full form. He easily dismissed any rumor that he was not in full form after emergency surgery. Not only was he in full form, Gahan proves he is by far the best front man out there at the moment – dare I say the heir apparent of Freddie Mercury.



Along side of David Gahan was by Martin L. Gore (guitar, vocals, keyboards), as Andy Fletcher (keyboards) straddled his keyboards on right side of the stage. Also on the stage were Christian Eigner (drums) and Peter Gordeno (keyboards), while Kerry Hopwood (computers and programming) sat to the side of the stage. I remember the days of Depeche Mode being on a stage with keyboards and the occasional guitar – no drums and pure sequencing. Post “Songs of Faith and Devotion” (when Alan Wilder played some drums live), DM has favored a more “authentic” presence on the stage. “Authentic” in quotation marks because the show is still heavily sequenced – DM is an electronic band! (Here is the million-dollar question: if the show is sequenced, and computers cannot “hear” the drummer, who is really keeping time, Eigner or the computer?)



As many other major bands in this economic downturn, Depeche Mode’s stage was downsized much as it was during the Exciter Tour, but the level of quality was incredible. The stage’s backside was a LED Screen, which had an LED sphere on the top center, peering out like an eye. From typing to distorted images of the band performing, to beautiful scenes to disturbing narratives, the images flashed from beginning to end. (Anton Corbijn filmed some of the images that were projected.) Combine incredible sound quality with breath taking visual elements, while Gahan keeps drawing you into the performance, DM always delivers a show that is memorable.



Some great highlights include “Walking in My Shoes” and “It’s No Good” back to back. The standards “A Question of Time” and “Never Let Me Down Again” made the set list again. Predictably the show was heavy on the “Violator” album, while “Songs of Faith and Devotion” offered up a few songs to the set.



Of course I have my set of criticisms, namely that there was not one song from the first three albums. But what made up for this were three big surprises in the two encores. The first encore included “Master and Servant,” a song that I never thought that Depeche Mode would perform again (and they kept the mid-section of “It’s a lot, it’s a lot” in the falsetto and baritone) and “Strangelove.” It may not have been as big as a surprise as “Master and Servant,” but it was definitely one of those moments when you thought it’s about time you played this jewel again. DM, though, has always concentrated on singles live, so when the final song rolled around, “Waiting for the Night,” the floor fell out from under me. Like their last tour, which ended with “Goodnight Lovers,” DM opted to end with a slow song. It was a disarming moment. You might have expected, even demanded, a ripping, fast-paced, in your face ending to a show, but what you got was a moment that felt personal, as both David Gahan and Martin L. Gore went up the catwalk together, and sung as if directly to the you.



I would not have minded a few more songs, even if it sacrificed some of the extended versions, but if that were to happen, it would not be Depeche Mode on the stage. As always, they delivered a top quality show – I cannot remember ever being disappointed by a DM show, and I have seen them quite a few times. If the tour is about to roll into your town and you have not decided on going or not, try to get tickets immediately. And if they are about to go on sale, log onto your ticket vendor and get those tickets. Of all the “large” bands touring at the moment, DM is the only one that has done things their way all of the time. DM is the only one that has had the integrity not to try to write the “greatest” album of all time – they have never sold out musicianship to commercialism. Instead they continue to concern themselves with craftsmanship and artistry. And after twenty-eight years, Depeche Mode proved to me once again why they are one of the world’s largest bands, why they have survived the test of time, and why you will find it difficult to find another band that can deliver as consistently as they do.

Set List:
1. In Chains
2. Wrong
3. Hole to Feed
4. Walking in My Shoes
5. It’s No Good
6. A Question of Time
7. Precious
8. Fly on the Windscreen
9. Little Soul
10. Home
11. Come Back
12. Policy of Truth
13. In Your Room
14. I Feel You
15. Enjoy the Silence
16. Never Let Me Down Again

17. Stripped
18. Master and Servant
19. Strangelove

20. Personal Jesus
21. Waiting for the Night

Here are some video clips from the show: “Wrong,” “Walking in My Shoes,” “Precious,” “Never Let Me Down Again,” “Personal Jesus,” and “Waiting for the Night.”






Read more ...

What Exactly Do Videos Sell?

Reality: at the end of it all, you can produce the most amazing video ever, but if the music is subpar, it will not catch on. Ultimately, bands try to sell their music through videos, and in our sound byte, broadband world videos have become more and more important. But it is not just the actual song that videos are selling, they also sell the band as product: image, attitude, etc… Most fashion is emulation of famous people, and most teens get their idea of rebellion and counterculture (or at least what will piss off their parents) from musicians and celebrities. The image of the band, who they are, is the most important thing to sell other than the music; it helps identify them, set them apart, and is a sort of visual signature that cannot be confused. But what happens when a band decides that they do not want to be the focal part of their own videos? What if they do not want to even appear in their own video? This is where things get really tricky.

Take Bjork for instance. Her video for “All Is Full of Love” has her animated as a robot that is being constructed. (Video from the bjorkotcom YouTube Channel.)



Always one to juxtapose fantasy and reality, the carnal from the synthetic, Bjork’s video is the story of a robot that feels love, or as she sings, “full of love,” from another robot. Symbolism? Well, we as humans work as robots, in a daily grind, but it is not often that our labors are appreciated. Actually, those that we pore ourselves over quite often take us for granted. She sings, “You’ll be given love, you have to trust it, maybe not from the sources you have poured yours.” Comfort and love is not often found in the object that you pour your devotion over, but rather in those that pour themselves as you do. Love is found in the familiar, the similar, not in opposites or where you do not have the right to demand it. Most work is thankless, comfort is found in the least expected places.

Then you have Metallic’s harrowing “All Nightmare Long.” (from their MySpace Videos page.)

Metallica - All Nightmare Long


Depicted in the video is an alternate history of a battle between the USA and the USSR, in which the USA loses. The narrative in brief: the USSR discovers this alien sore that can reanimate dead bodies (as it uses it as a host). This spore (analogous to a bio weapon) devastates the American population – as a new flag, a hybrid of the American and Soviet flags, is planted. Perhaps the song itself was not originally written for political reasons (“Cause we hunt you down without mercy! Hunt you down! All nightmare long!”), the song works well with the idea of terrorists trying to gain a biological weapon that other nations are not ready to combat. In one quick attack, history as we know it could take another turn, supplanting the USA as a world power to another nation. This is perhaps Metallica’s most ambitious video to date.

But it does not all have to be death and gloom; sometimes bands just want to create a fun video. For instance, Bloc Party’s “Flux” (from blocpartyofficial YouTube Channel.)



No statement, just a fun video. An ode to Godzilla and Mazinger (Tranzor Z in the USA) type monster film, this video offers an alternative to boring videos with bands standing there in performance or some heady narrative. Though lyrically and visually the video has no common ground (other than the line “I’d kill for an adventure”), the storyline is cute, infectious, and as fast paced as the song. It works.

And not all statements have to be as apocalyptic as Metallica’s. Erasure, using some fan footage, makes a powerful, practical statement with “I Could Fall in Love with You.” (From the MuteUSA YouTube Channel.)



A love fest for sure. Boy kissing girl, girl kissing boy, boy kissing boy, girl kissing girl – cast to a typical Erasure single (somewhere between pop-ditty and ballad in tempo, with perfect melodies but awkward rhymes at times), the video just pushes forth the notion that love is love, no matter in what format it comes in. (I am curious though, which video – Metallica’s or Erasure’s – would piss off the conservative right the most?)

Though the boys of Muse appear in their video “Knights of Cydonia” (from the muse YouTube Channel), they are supplanted as the focal point by the narrative of the video.



Combining elements of spaghetti westerns, kung fu movies, and science fiction, the storyline revolves around The Man With No Name saving his love, Princess Shame Kuriyami. Sure, the video dismisses the real lyrical theme of the song, which is political (“How can we win, when fools can be kings; don’t waste your time, or time will waste you…”) and a calling to arms to stand for justice. But the video works, and though the band is in the video as holograms, it is the actors that command your attention.

Placebo took a stab at this kind of video with their cover of Kate Bush’s “Running up That Hill” (from their MySpace Videos page.)

Running Up That Hill


First off, I think that this was the most daring song that Placebo has ever covered. This is one of those songs that are sacrosanct, untouchable. Yet Placebo is able to pull it off to perfection. A montage of fan footage, mouthing the lyrics of the song, the video is as slow and gut wrenching as their cover of the song. And why not take this approach? The song is a cover, and, in essence, the montage is covering them covering a song. Considering that they have the money to produce a flashier video than this, they get bonus points for not doing it! Instead, the video gains emotional power because of their fans – it is so obvious that these non-professional actors feel what the band is putting out there.

Well, it came as a surprise to me when Depeche Mode took this approach with the video off of “Sounds of the Universe”: “Wrong.” (From their MySpace Videos page.)

Depeche Mode - "Wrong" (official music video)


Definitely wrong in everyway! The video is a harrowing narrative of a man tied in a car, moving backwards out of his control, as it smashes into everything until eventually he gets smashed at the end, as the song ends on it’s final word, “Wrong.” The band only appears for a few seconds, as bystanders looking at this car spin out of control. My first impression of the video: fucking amazing! Like Muse, I am not sure that the video does justice to the lyrical content of the song, but this video demonstrated that this band of veterans could try something new, something different, and could still disturb the shit out of me. Hands down, this is my favorite of video of the year so far.

Then the band released “Peace.” For some odd reason the single will not be released in the USA. (From their MySpace Videos page.)

Depeche Mode - "Peace"


So why was does the video not include Depeche Mode at all? The official line is that David Gahan was ill (he did have surgery) and was not available for the video. But videos are not produced overnight; they are planned out, permits have to be obtained, directors and producers have to make time in their schedule, etc… So forgive me if I do not buy the party line. This is a well-conceived and filmed video. So other than the promotional poster on the building towards the end of the video, why is the band not in it? Why not wait till Gahan was out of the hospital and able to film? Personally, I think that this was the concept for the video from the beginning. Which leads me to think – and this can be dangerous.

If videos sell more than just the song, has Depeche Mode hit on something that other bands have not? Videos also sell image, attitude, and, yes, culture. “Peace” is so intertwined with war in this video. (It sort of reminds me of a bumper sticker I saw a while ago: “Fighting for peace is like fucking for virginity.”) Is DM capitalizing on the current world crisis with wars and threats of it everywhere? It is impossible to think that anyone in this world is not conscious of all of the war occurring. Or is DM hiding behind their videos? Let’s admit it, videos are made for teens and twenty-somethings, who get to watch one or two videos a day between reality shows on MTV. Is the image of three Brits pushing fifty the sellable image that they want, or a haunting video that will stay with their audience?

Perhaps I am wrong, and that may make me a bit of a schmuck for dissing Depeche Mode this way. Perhaps the video was filmed this way because of circumstances, but I find it hard to believe. The better question to ask, though, is are these two videos going to garnish the attention and airplay that DM is hoping for? Will these veterans be able to add to their fanbase? Considering that they peaked at #3 on the Billboard 200 album charts, #2 in the UK, and #1 on the World Album charts (not to mention #1 in at least 20 countries, already scoring a platinum albums in Germany and Italy), perhaps they are doing something right. Read more ...

Depeche Mode: "Sounds of the Universe"

Went out to my yearly excursion to the Penn Relays in Philly (and came back to resolve Internet connectivity issues), I had the chance to listen to Depeche Mode’s latest album repeatedly. I realized something about myself as I listened to this album: I hold the veterans to a much higher standard than younger musicians. I guess my reasons are obvious: they have the experience to deliver solid music; they have the years of experience to know what works and what does not, and the hindsight to make the right kinds of decisions. I had the highest expectations for “Sounds of the Universe” from the moment I heard about its future release. And upon first listening, my reaction was, “This would be a great album, if it were not Depeche Mode.” After more listens, I hold fast to my opinion.

“Sounds of the Universe” (20 April 2009 in Europe, 21 April 2009 North America) falls short of what Depeche Mode is capable of. First off, I am not one of these people who are praying for the magical return of Alan Wilder (who brought with him an extensive ability to arrange music and was the only band member who was a talented pianist); I think that the three remaining members of Depeche Mode have the ability and ingenuity to compose and record amazing music, as the single “Wrong” proves (not to mention “Home,” “I Feel Loved,” and “Precious” – all written post-Alan Wilder). Secondly, I am not one of those who want my favorite bands to reproduce my favorite albums. Depeche Mode will never record another “Black Celebration” (17 March 1986) “Music for the Masses” (18 September 1987), “Violator” (19 March 1990) or “Songs of Faith and Devotion” (22 March 1993). I recognize that part of what I feel about those albums was where I was in life at that moment, where the band was on their journey creatively, and what was happening musically at the time. No, I had no preconceptions of what “Sounds of the Universe” was supposed to sound like – but I did expect the high caliber music I have come to expect of Depeche Mode.

My first critique of the album is the sound quality. There is no doubt that this album was not recorded in a multimillion dollar studio that Depeche Mode could afford; this album has all the markings of home studio. Not that that is a bad thing, but when your goal was to have the sounds of the universe, to make this album the biggest and best album ever, then the quality better be there. When veterans get too comfortable (and too loaded) that they decide to record at home, under long schedules, or in any which way or shape they want, what they destroy is the chemistry, the pressures, and the urgency that forced them to be creative in their earlier days. What they loose is the sense of spontaneity, the rawness, and that edgy music that has made them survive and remain relevant ten, twenty, nearly thirty years into their career. A band’s name is not enough to remain relevant and important to the music scene, artists must continue to strive to be creative and strong songwriters. My second critique is Depcehe Mode’s return to a solid 80s sound with so many of their songs. For instance, “Fragile Tension” has a synthpop feel that Depeche Mode has not sported out in years. I think it is amazing that their sound has been so influential that a dozen bands a month are releasing albums with the classic Depeche Mode sound, but when they themselves go back to reproduce their own classic sound it is a bit disingenuous. It is almost as if they are trying to ride the coattails of current artists (Metric, Royksopp, Cut Copy) who have modernized the DM sound, instead of pushing the envelope sonically, which is something they have done better than any other modern artist.

What does this album have going for it? David Gahan. Gahan is perhaps one of the best vocalists in music (and arguably one of the five best front persons in live performance in the industry at the moment). Gahan may not have the range of other male vocalists, like Morrissey or Matt Bellamy, but what he has is conviction and artistry. His ability to sing and make you believe what he is saying (when traditionally the lyrics are written by Martin Gore) is awe-inspiring. He can vary the texture of his voice for different sonic effects, switching back and forth with ease. From rock style to gospel-esque vocals, from sexy and sultry to angry, Gahan can deliver vocally as very few vocalists can. This is much more than just carrying a tune; it is the dramatic interpretation of words, the manipulation of emotions, and the ability to sell fiction as truth. And if that does not impress you on the album, imagine live when he must jump decades from “Just Can’t Get Enough” or “Photographic” to “Precious” or “Wrong.” He never skips a beat.

Gahan has released two solo albums (“Paper Monsters” (2003) and “Hourglass” (2007)), writing his first track for Depeche Mode on their last album. On this album, he brings three strong originals: the bare “Hole to Feed,” the insidious “Come Back,” and the anxious “Miles Away/The Truth Is.” But Gore still has it in him to compose some of the most interesting lyrics and music. Take the lead single, “Wrong,” as the perfect example: “There’s something wrong with me chemically, something wrong with me inherently, the wrong mix in the wrong genes, I reach the wrong ends by the wrong means.” Gore is a poet at heart: “On another world, by another star, at another place and time, in another state of consciousness, in another state of mind, everything was almost perfect, fell into place, the jury reached another verdict, before the judge dismissed the case” (“Perfect”). In “Peace,” Gore shows the ability once again to manage multiple layers of sounds, intricate noises, while in the closing track, “Corrupt,” hits the perfect balance between the sarcasm in the lyrics (“You’ll be calling out my name when you need someone to blame”) and the arrangements and layers of sounds.

Though I think there will be many who will hail this as the greatest of Depeche Mode albums, especially younger listeners who did not live through the twenty-four year journey I have been with them, I feel that “Sounds of the Universe” did not meet the expectations of a “DM” album, though, as I said before, it would be a great album released by anyone else. Do I think you should skip it and move on? Absolutely not! Depeche Mode can still put out music that makes most artists look amateurish and hackneyed. Do I think that they will make up for the lack-luster live? Absolutely. Do I think it may be time for them, like the Cure, to recreate the tension in a real studio? Absolutely.



Track Listing:
1. In Chains
2. Hole to Feed
3. Wrong
4. Fragile Tension
5. Little Soul
6. In Sympathy
7. Peace
8. Come Back
9. Spacewalker
10. Perfect
11. Miles Away/The Truth Is
12. Jezebel
13. Corrupt

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