BIOGRAPHY1983
Overview: Released this year were the singles Get The Balance Right / The Great Outdoors! and Everything Counts / Work Hard as well as the album Construction Time Again followed by another single Love, In Itself / Fools.
In January DM went into the studio together with Alan for the
first time. They worked with sound engineers Eric Radcliffe and John Fryer at
Blackwing Studios in London. The result was released on January 31 -
the single Get The Balance Right / The Great Outdoors!.
Get the Balance Right was not included on the following album
Construction Time Again, but does appear on the American compilation
People Are People and the compilation The Singles 81-85.
The B-side, The Great Outdoors!, an instrumental written by Martin and Alan,
featured on the Broken Frame Tour as the introduction theme on selected shows.
The single reached number 13 in the UK charts.
Alan: "Interestingly, this was the first time we had concentrated on
producing a dance 12". Although remixes had been made for previous releases,
this one was very much geared towards the clubs."[1]
First the band tried to say something positive about their new single, of course.
Martin: "I think Get The Balance Right is a lot harder, more powerful
and more direct. It's quite moody, too. I think our new material's going to be more
to the point, about more general topics that everyone can relate to rather than
having more personal lyrics."[2]
David: "Get The Balance Right is about telling people to go their own way.
It also takes a dig at people who like to be different just for the sake of it.
You've just got to reach the right balance between normality and insanity."[3]
Later it became more and more clear that they weren't really happy about
Get The Balance Right.
Alan: "I don't think I made a great deal of difference. I probably made it
worse."
Martin: "Well that is actually our least favourite single. It was hell
to record.[4] Things have been going pretty badly for us press-wise recently - it
had to come. It's no surprise, just a bit annoying, especially when there's a lot
of people who used to like you and for some reason they suddenly don't. Before, you
couldn't do anything wrong, now you can't do one thing right.[5]"
The video to Get The Balance Right was some kind of joke, too.
Not at least because Alan appears singing at the beginning of the video.
Alan: "This was because the director didn't actually know
who the singer of the band was and for some reason made the
assumption that it was me. As an indication of our naivety, we
were too embarrassed to point out his mistake."[6]
(Construction Time Again - with friendly permission of © Tupid)
After they had made a trip to the musicfair in Frankfurt on February 7
the band went from March 24 to April 10 on the last leg of
the A-Broken-Frame-Tour. It included 11 concerts in North America and later
in Asia - in Tokyo, Hong Kong and Bangkok.
David: "The Japan trip has really come out of the blue. We've never been
before but we sell loads of records over there so we thought it would be best
to go over there and do some gigs."[7]
Alan: "There have, over the years, been occasions when we were mobbed
at International airports - I particularly remember first travelling to Japan
and Hong Kong where chaos ensued when we tried to collect our baggage and
leave the airport."[8](He's talking here, of course, about very excited fans. ;))
Mainly the impressions in Asia had an influence on the songs Martin wrote now.
David: "When you see things that are poorer than you've ever seen, when we
saw people begging and little kids coming up to us with disgusting, dirty clothes
hanging off them, showing themselves or holding their hands out for food ...
When you experience that, you begin to understand what a lucky position all of
us here are in. We were in this really expensive hotel full of businessmen, but
as soon as you went outside the gates, it was a totally different world."[9]
Later this year the media was busy with giving DM a "workers' background"
because of these lyrics, wrote about their "socialist ambitions" and their
"world improvement thoughts".
For years, the band tried to get rid of that image - more or less unsuccessfully,
tried to explain that
Construction Time Again wasn't a "political album" and that the
lyrics were just written because of these new impressions.
Alan: "I think the politically conscious aspects of DM's early songs
were more to do with age than any great desire to make a statement -
we were hardly Billy Bragg. We never had a collective political view. We
all had different ideas on most things (despite our backgrounds) and apart
from the tracks on Construction Time Again, I think you'd be hard
pressed to find anything else that was directly politically motivated."[10]
In May the recordings of Construction Time Again started in the
Garden-Studios of John Foxx in London. As a result of the new constellation
of the band Fletch was now more involved with the organisation while Alan
took over most of the musical tasks.
In opposite to some interpretations that there had been difficulties due to
Alan's role in the studio from the very beginning, Alan says: "I had
no problem getting involved - the others weren't particularly precious about
the studio. The most protective person was actually Daniel Miller who very much
controlled the studio direction at that time."[11]
Also new was the sampling technique at which they were supported by sound engineer
Gareth Jones who encouraged them to create an industrial-sound.
Alan: "Construction Time Again also marked the introduction of Emulator
and Synclavier and I think it marked a turning point in DM's musical history.
It was a very creative time.[12] There's a track called Pipeline on the album.
It's got a lot of strange percussion in it. What we did was to just go out and start
banging on anything we could find.[13]"
Fletch: "We was like smashing corrugated iron and old
cars. The vocals were recorded in a railway arch in Shoreditch - you've got the
train three-quarters of the way through and the aeroplane up above. It's really
interesting doing that."[14]
Alleged already at this first common recording session it became clear that
the characters had been very different. While Alan was more a part of the
serious side - Miller and Jones - and tried to learn as much as possible
about the technique, it is said about Fletch and Martin that they made
a lot of jokes and were acting the goat, and that Fletch and David were
arguing all over the time.
Admittedly I have to say that this description of Malins seems exaggerated to me.
I don't know where he had taken from Alan's quote about this but it seems to me
as if it was taken from a different or bigger context. It gives the impression of
three serious hard working grownups who felt disturbed by three children
playing very loudly around them. I don't think that this reflects reality.
Videos from that time also show a relaxed atmosphere but don't
give the impression of Fletch, Martin and David NEVER did a thing in the studio.
Talking about studios: Construction Time Again was the first album that was
mixed at the Hansa Studios in Berlin.
David: "We've been working in The Garden Studios in Shoreditch, and we just
wanted to go to Berlin to get a different atmosphere. If you work a lot in one place
it gets quite boring."
Fletch: "The engineer knew Hansa Studios so we went over and had a look at
it: we had a preview when we mixed the single, decided we liked it, and went
over and mixed the whole album."
Martin: "The computer desk was one of the main reasons for going there: it
had 56 channels. It was the only place that had the equipment we needed."
In connection with this the question of the year was put forward: Did you visit
the Berlin Wall?
Alan: "Well, we were recording right next to it. You look out of the studio
window and there it is. If you went out on the balcony you could actually see
right over it."[15]
Berlin represented a change in the lives of the band members. Primarily Martin, who speaks and understands German, felt very comfortable there. He left girlfriend Anne - "she was a devout Christian who really had me on reins. She was ridiculous - anything was perverted. If I watched something on TV and there was somebody naked, I was a pervert." - met his German girlfriend, Christina, and "discovered all this freedom".[16] Something that would provide some sensation within the next years.
On July 11 with the single Everything Counts / Work Hard the
first hit of the new quartet was released.
It not only marked a new musical era, the band also tried to create a new
visual image (although it would take another three years before they wouldn't
look "some kind of strange" anymore).
Alan: "It was felt that after the Julian Temple years, we needed to
harden up not only our sound but also our image. Clive [Richardson who shot the
video to Everything Counts in and around Berlin] had lots of new ideas
which didn't involve stupid storyboards where we were required to act."[17]
Martin explained that Everything Counts is about that companies
are getting that big and important so single persons have no meaning anymore
and everyone can push them around. But usually he didn't like talking about
his songs: "It's up to people to make of them what they want. A lot of people try
and make me explain what every line means, but it takes away any sort of mystique."[18]
On August 22 the album Construction Time Again was released.
The band was very proud of it and tried to explain that they combined serious and
alarming lyrics like the possibility of a nuclear war (Two Minute Warning)
with a nice tune and slight melodies. They liked the idea of most people humming
the melody without thinking about the meaning of the lyrics. They claimed to have
a unique sound now (which they truly had) what is nevertheless quite funny when you know
that they talked about an "established change" before according to A Broken Frame.
However, they felt much more self-confident with this new album than ever before
and had much more fun.
David: "When I hear tracks from the first album, I get embarrassed. Though
at the time we thought it was great. Then on the second album, it was very hard
in the studio, people were letting us drift, there was a lack of enthusiasm ...
but then with Construction Time it was very UP in the studio, everyone was
really working to make it happen.[19] I think we're becoming tighter as a unit. I
think it's a bond really, we just get on very well together and we enjoy what
we're doing at the moment. As long as we keep enjoying it we'll keep doing it. As
soon as we stop enjoying it, we won't stay together. I mean, sometimes I argue with
Fletch, but it's not anything to do with the music we're making or the songs.[20]"
(with friendly permission of © Anja - compositionofsound)
On September 7 the Construction-Time-Again-Tour began and was
splitted up in three legs. The first leg had 23 gigs in Great Britain and ended on
October 8 in London.
In between - on September 19 - the single Love, In Itself /
Fools was released
David about Love in Itself: "This is the s-s-s-s's track. It had a
very soft vocal with lots of s's, it sounded awful. I was a bit disappointed with
this, it could have been brilliant."[21]
Alan: "Actually, it was a weird track all round, not least
because from the moment we first heard it, a standing joke was
born that the verses sounded just like a particular nursery
rhyme - I can't quite put my finger on which one but I'm pretty
sure it's Ugly Duckling. When pushed, Martin admitted that he
had in fact based the tune around the rhyme and I'm afraid I could
never quite listen to the song seriously again."
And about Fools he said: "It sounds like me when trying to write a
pop song. This is something what doesn't come out of me normally.
This is the reason why I then stopped writing songs for DM. I
forced myself to try but it isn't easy for me to write lyrics for
a pop song. I don't like this. Once I tried to make Martin to write songs
together but he said he couldn't work that way. I think he suddenly has an
idea for a song and then it's almost ready."[22]
The second leg of the tour started on December 1 in Stockholm. There were 18
gigs in Europe, mainly in Germany where DM had great success.
It ended on December 23 in the Musikhalle in Hamburg.
The third leg took place in 1984.
David: "I get a big kick from the gig if the audience are really into what
I'm doing, then I can really feel it. But if I don't get anything from the audience
I just feel really down. I'm sure it's the same for everybody.[23] In Sweden we were
spoilt really, the audiences were so very, very warm. And Berlin yesterday was
very very good: usually Berlin's very cold and people just stand, but everyone was
joining in and it was good fun.[24]"
No wonder that they decided not to be so fixed on America but to focus Germany
instead.
Fletch: "To be honest though, America isn't the end, isn't our aim at all.
Germany for us is definitely more important at the moment. Germany is the market
to break."
David: "It's an exciting market as well. You can see something's happening,
that we’re building. We can see ourselves getting bigger every time we come over
here and play.[25] It's very odd. When we play German cities the word gets around
that we're in town as if we're some big hip band. I'm pleased. It shows that
our music does have a wider appeal.[26]"
To say that they weren't interested in breaking the American market is, of course,
not really honest. They couldn't make it at that time, and they knew it. But instead
of being despaired they enjoyed becoming "big in Germany".
(What is some kind of inside-joke because despite all the success they would
never become a real mainstream band. This was one of the DM "mysteries" probably: being big
without being mainstream really. I know some people will say that they are mainstream
meanwhile but I don't think you can count them to the same category like Madonna
or typical chart-music. Most people know them and at least one song (mostly
Enjoy The Silence) and the band is able to sell out a stadion-tour but
nevertheless they never reached general public. General opinion about them is very
strange and it's obvious that it is not known much about them.)
Despite the success they still had a lot of problems with the media. Topics like
their image were picked up over and over again.
Martin: "We're rarely taken very seriously, especially by the press and
that's all you hear from apart from fans. We know we don't believe what the press
say[27]" but nevertheless it was difficult for them to handle it.
Some reporters couldn't remember the names of the band members. Some sneered at
David's "gimpy dancing" -
Alan: "It's not gimpy. I like it. I certainly couldn't do it."[28]
- and still asked for Vince Clarke in all seriousness.
Fletch (on the question whether he still liked Vince and what he thought
about his music): "Oh yeah, I really like him as a person. I mean he was my best
friend for years and years, so I can't dislike someone, he's never done any harm
to me, I still get on well with him now. I'm not so sure about the music."
Could Vince try to return to DM?
Fletch: "No, no. We wouldn't have him, never. There's no chance, you know,
because we wouldn't have him back. Because Alan's too ... we're so friendly with
Alan, you know. Alan's rooted now, and we don't need Vince."[29]
All this led to a certain frustration concerning the media.
Alan: "Also it's only the journalist's view of us, so whatever we say
always gets distorted, so what people are reading about us is often incorrect.
In a way, being misinterpreted is worse than being misquoted because
misinterpretation can destroy your whole point of view!"
And here is a little tit-bit at the end of this chapter.
Fletch: "We still haven't got a record contract at all, we're really proud
that our deal with Mute is based on trust, we're proud of the fact that we could
go out tomorrow and sign to EMI!"[30]
This sentence is funny, of course, because one day DM would be a part of EMI when
Mute Record was sold to it.
References:
[1] Recoil.co.uk
[2] Modes to Freedom, Record Mirror, 22nd January 1983. Words: Betty Page
[3] Depeche Mode - Nearly There, Smash Hits, 3rd - 16th March 1983. Words: Peter Martin
[4] Everything Counts (in Large Amounts), Number One, 19th October 1985. Words: Paul Bursche
[5] Modes to Freedom, Record Mirror, 22nd January 1983. Words: Betty Page
[6] Recoil.co.uk / Depechemodebiographie.de
[7] Poppix, 1982, author unkown
[8] Recoil.co.uk
[9] Coming up Smiling, The Face, February 1985. Words: Sheryl Garratt
[10] Recoil.co.uk
[11] Recoil.co.uk
[12] Recoil.co.uk
[13] New Life, No.1, 13th August 1983. Words: Paul Bursche
[14] Crushing The Wheels Of Industry, Meldody Maker, 7th January 1984, Words. Lynden Barber
[15] Enter the Countdown Mode, Record Mirror, 17th September 1983. Words: Sharon Machola
[16] Just Can't Get Enough, Uncut, May 2001. Words: Stephen Dalton
[17] Recoil.co.uk
[18] Modes to Freedom, Record Mirror, 22nd January 1983. Words: Betty Page
[19] Red Rockers over the Emerald Isle, NME, 17th September 1983. Words: X. Moore
[20] Enter the Countdown Mode, Record Mirror, 17th September 1983. Words: Sharon Machola
[21] Everything Counts (in Large Amounts), Number One, 19th October 1985. Words: Paul Bursche
[22] Recoil.co.uk
[23] Enter the Countdown Mode, Record Mirror, 17th September 1983. Words: Sharon Machola
[24] Interview 83, Mode7CD, label unknown
[25] Hanging in the Balance, NME, 26th March 1983. Words: Matt Snow
[26] New Life, No.1, 13th August 1983. Words: Paul Bursche
[27] Modes to Freedom, Record Mirror, 22nd January 1983. Words: Betty Page
[28] Depeche Mode - Nearly There, Smash Hits, 3rd - 16th March 1983. Words: Peter Martin
[29] Interview 83, Mode7CD, label unknown
[30] Up For Grabs, Sounds, 20th August 1983. Words: Johnny Waller
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