Tag Archives: flood

Ten reasons to celebrate Violator

We share¬†ten reasons why the Violator period is worth celebrating ūüôā

1) The songs

Whilst Martin Gore had written¬†many fantastic¬†songs up until this point, many would agree that even the two previous albums –¬†Black Celebration and Music For The Masses¬†– had contained a few weaker tracks.¬†Violator was arguably the first long player to have a full complement of wonderful songs, illustrating¬†a maturing in¬†his writing which probably helped¬†inspire¬†the later studio production on the demos.

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2) Production dream team

The appointment of Mark “Flood” Ellis to produce the album is now considered an inspired¬†move, not least because he was personally keen to marry the electronic background¬†of Depeche with more natural instruments. But he was not instrumental in pushing this change and creating the Violator (and Songs of Faith and Devotion)¬†sound – his ideas,¬†coupled with working closely alongside Alan Wilder,¬†gave Violator a depth and texture which both surprised and excited the critics but¬†captured¬†a legion of new fans.

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3) Vocal performance(s)

Dave Gahan turned in¬†a string of brilliant lead vocals, especially on the low-key Waiting For The Night and the powerful¬†closer,¬†Clean.¬†But elsewhere the harmonies and backing vocals were more intricate than ever before, such as Gore’s on the¬†WFTN and¬†the chorus for Halo (listen closely!).

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4) Inspired bravery

Depeche had always taken risks with their music (the heavy sampling on¬†Construction Time Again and Some Great Reward), but with Violator they were pushed creatively by a combination of Flood’s enthusiasm and because Gore’s demos were deliberately stripped down to the¬†bare bones. This gave Flood and Wilder the opportunity¬†to shape¬†the songs¬†in different ways¬†and push the boundaries of the¬†Depeche sound.¬†Turning Enjoy The Silence from what was already a great ballad on the demo into a dance track is a prime¬†example.

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5) Anton Corbijn’s handiwork

A look and feel which the band had wanted for years¬†finally came together across all the output associated with¬†Violator.¬†Spearheaded by Dutch photographer Anton Cobijn, Violator‘s famous rose encapsulates the entire period, but it is just one of many symbolic visual moments. Take your pick – the cheeky video for Personal Jesus; monarch-like¬†Gahan’s trudge across various landscapes with a deckchair for Enjoy The Silence; and countless black and white, grainy photos.

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6) Francois Kevorkian’s magic

Wilder’s urging that the record be remixed by one¬†of world’s premier dance DJs and producers added yet another layer to the overall sound of Violator. ¬†Francois Kevorkian’s approach may have frustrated some of the band members (“pedantic”), but his work on all but one of the songs (Enjoy The Silence was mixed by Daniel Miller) cleverly managed to retain the electronic heartbeat of the band but without losing the newly introduced rockier elements (Personal Jesus‘s guitar, Halo‘s beat).¬†Listen carefully (perhaps loudly, if you can) to the percussion on World In My Eyes to get a sense of his¬†intricate work.

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7) Singles selection

Many have argued that at Halo, Waiting For The Night and Clean could easily have been granted single status on Violator, but the eventual four that were released illustrates a deft understanding by the band and MUTE boss Daniel Miller for what would work at the time. Personal Jesus was an obvious first single, announcing to the world that Depeche was back Рand with a bang. Releasing Enjoy The Silence just six weeks ahead of the album served to further heighten expectations. Policy Of Truth is simply a great and catchy song and World In My Eyes (the latter with a concert-filmed video) came just at the right time, half way through the tour.

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8) Global domination via World Violation

The tour that followed the release of Violator, like the Devotional Tour of 1993, has achieved a certain hallowed¬†status over the years – but for different reasons. Whilst Devotional was debauched and chaotic, World Violation was both a glorious celebration of a decade for the band but also the chance to air the tracks from Violator, many of which were reworked from the album versions to great effect (the extended version¬†Enjoy The Silence¬†in particular). But the main reason the tour has become somewhat legendary with fans is because of “I was there” factor, triggered in part because no full concert video was ever released.

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9) Marketing muscle

The release of Violator came with a series of events that can only have helped to attract wider attention to the band. To some degree¬†was the activity around the release of¬†Personal Jesus in September 1989¬†(“pick up the receiver”,¬†dial a number to hear¬†the song), but the now legendary in-store signing in Los Angeles on the eve of the album’s release, which triggered a “riot”¬†outside amongst fans, could not have been engineered any better. Or maybe it was part of the strategy¬†all along ūüėČ

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10) Positively uplifting

Flood later said the mood around the Depeche camp can be felt throughout Violator, in the same way that the problems that materialised within the band during the making of Songs of Faith and Devotion created a dark, brooding, downbeat record. The uplifting opener of World In My Eyes sets the scene for the rest of the record. Violator has a wonderfully optimistic feel about it Рsonically showcasing a band who probably realised very early on in the process of making Violator that they were creating something special and unique.

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11) … and one extra, final thought, 25 years on

What is remarkable about Violator is how fresh it sounds, even a quarter of a century later. Classic albums are lauded for numerous reasons, but often the music has not stood the test of time Рmany records just happened to be important at a particular period in the evolution of music. Violator is different because it can played now, in 2015, and still feel like it was recorded yesterday. The songs are wonderfully timeless and the quality of the arrangements and production unsurpassed.

Let’s face it – very few bands, both then and now, have managed to create something that sounds as relevant and brimming with quality¬†as Violator.

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Before anyone asks…¬†In an ideal world, the Halo book would’ve been published in Violator‘s 25th year.

But,¬†unfortunately, a thing called “real life” – health and the day job – conspired against me.

The former, courtesy of an operation and the subsequent recovery period over the course of the first few months of 2016, meant that its release was pushed back again.

I am extremely sorry about that.

Apologies again x

NB: All pictures are from the official Depeche Mode wallpaper page.

On this day – Enjoy The Silence, 25 years on

Personal Jesus grabbed the attention of fans and many others in the summer of 1989.

But it was the release of Enjoy The Silence on February 5th 1990 that REALLY made people sit up and listen.

Enjoy The Silence, arguably more than any other track on Violator, was the personification of the new, fresh-sounding Depeche Mode, with Flood and an increasingly influential Alan Wilder behind the scenes (the latter turning the track from a simple ballad into the signature dance track it is now).

The song – the second single from Violator – had been widely trailed for a few months (including at this appearance of Peter’s Pop Show in December 1989), but the official release saw it capture levels of¬†radio play that arguably the band hadn’t manage to achieve for years.

Plenty more to come in the HALO book – we just think it’s worth highlighting the release of Enjoy The Silence¬†today ūüôā

Long forgotten B-side My Joy is the sound of an era

Here is something to ponder, over a tea/coffee/beer.

Depeche, everyone will agree, had for many years been cultivating¬†a certain “sound”, long before Violator.

Darker, more atmospheric.

But when producer Flood entered the fray for the Violator recording sessions in 1989, in tandem with Alan Wilder, something started to happen.

There was also an obvious move away from sampling everything (or anything) that moved to get a different tone for a melody or soundscape (Pipeline on Construction Time Again in 1983 is perhaps the best example).

Flood challenged the band to do away with their old rules, such as never using the same sound twice.

As Andy Fletcher famously¬†remarked later on: “We were running out of sounds… big time!”

If there was a certain Depeche “style¬†” before, the Flood-Wilder axis of creativity led to a distinctive “sound” heard first on¬†Violator and again on Songs of¬†Faith and Devotion.

There¬†are clearly¬†more¬†“natural” sounds (guitar, percussion, etc) and orchestral arrangements¬†added¬†to Martin Gore’s¬†songs.

Still, I got into a discussion about this during one of the recent series of interviews for HALO.

Someone¬†suggested that perhaps a now long forgotten track from 1993 actually encapsulates that Flood-Wilder “sound” perfectly.

My Joy was the b-side from Walking In My Shoes, the second single from Songs of Faith and Devotion, released in April of that year.

Elements such as the soaring strings, guitar riff, percussion, backing vocal arrangement from Martin – each could easily have been borrowed in from parts of¬†World In My Eyes, Halo, Policy Of Truth, Walking In My Shoes, In Your Room, Get Right With Me, Nitzer Ebb’s Come Alive (which Wilder remixed)… and all¬†pulled into one track.

The sound of an era, all fused into one?

What do you think?

It remains, personally, one Depeche’s best b-sides and we can only lament that it never saw the light of day at a gig.

NB: Mountains via Pixelbay.

Coming alive to a Depeche-esque Nitzer Ebb

Coming almost immediately after the¬†end of the Violator¬†phase,¬†Alan Wilder flexed his producer muscles (alongside Flood) when he produced Ebbhead, Nizter Ebb’s fourth album.

A few months ahead of its release in September 1991, Nitzer Ebb released the As Is¬†teaser EP, a quartet of tracks with the third –¬†Come¬†Alive –¬†mixed by Wilder (only a re-jigged¬†Family Man¬†eventually featured on the actual Ebbhead album.).

Come Alive¬†is classic Wilder orchestration and pretty much captures the “sound” Depeche had at the time.

(Pretty intense video, too)