Depeche Mode's "Enjoy the Silence"

And what a one song nation today. We're bringing back one of our favorite episodes is part two of a two part of we did under Peshmo. We tracked the emergence of the Peshmo and part one. And in this one, it's more about all the ways they handled international fame in the late 80s and throughout the 90s. And listen, listen, listen, listen, we'll be back October 15th with a really big episode. Mark it on your calendars now, right now October 15th. Just write it down. In the meantime, check out this classic episode of one song on enjoy the silence by De Peshmo. Hello, one song nation. This is Diallo and this is part two of our two part episode on De Peshmo. So if you haven't already heard part one, we highly recommend that you go back before diving into this. In fact, we demand it because you won't understand this episode at all. We're not telling you what to do. It'll make no sense. No, go back and listen to the first one. Two parts. De Peshmo, let's go luxury. Yes, sir, on this episode, we are going to talk about another. I know they're how lucky they're big. They're big. It's definitely their biggest. Yeah. If you go by streams and popularity, you care about numbers, you care about numbers. It's certified gold and hit number one on the billboard alternative airplay chart in 1990, as well as number one in Spain and Denmark, the Peshmo going global. What we're going to talk about on this episode is how the band started to evolve and grow and bring new sounds into the fold and new people into the team. We're going to be talking about all of the above on this episode because there's no denying that this song took the group to global superstar status. And all we ever wanted, all we ever needed was to be here in your ears, telling you how much we love this song. I love that you with them. I'm almost sorry, but not sorry that it's one song and that song is enjoy the silence by depression mode. I'm actor writer, director, and sometimes DJ D all a riddle. And I'm producer, DJ, songwriter, and music ologist luxury, aka the guy who whispers interpolation on the internet. And if you want to watch one song, please go to our YouTube channel and watch this full episode and please subscribe. All right, let's start. We've reached part two. In part one, we laid the groundwork of Depeshmo's career from 1980 to 1984. This is well before enjoy the silence. So before we dive in, I wanted to ask you luxury, do you like enjoy the silence? Are you excited to break down this song? I love Depeshmo. I love their later, this sort of series of records that come. This is actually for me, the sweet spot of Depeshmo. Yeah, some great reward goes into Black Celebration in '86. Black Celebration we are agreed is underrated. Oh my god. It's so good. Underrated. Music for the masses might be my favorite. I'm later maybe my third favorite. Oh no, okay. We have a disagreement because I will say I come in on Strange Love. Okay. I said that in the previous for the masses, right? Yeah, but I became a fan of the band, not just, you know, thinking they're making these cool singles. A fan of the band with music for the masses. Strange love to this day. One of my favorite Depeshmo's songs. And we were talking about on the earlier episode, on the people, our people episode, how we were making the connections, specifically when we were listening to the isolated beats and bass lines, we could really hear that boogie influence and that funk influence. On this song in particular, I hear this influence. That is amazing. I never drew that snare sound. It's so specific, right? Yeah. And that is my favorite snare, I think. I think you love '86 snare. Yeah, Prince has a snare that I love. Okay. But that is my easily, I think that might be my favorite snare. Really? In fact, anytime that you and I have worked on music, and I'm like, what's the sound of that like concrete slab hitting the ground? That's that. I feel like that's the snare. It's my least favorite snare sound. It might be my least favorite snare sound. You know why? Because of this song. And it's too driving me crazy by fighting on cannibals. To me, that is the pinnacle of that snare sound, to the own picolonist degree. It's too high. It's too high. It hurts my ears. I am a fan. We'll meet halfway. We'll meet halfway. We'll meet halfway. Just to talk about music for the masses. It's not a song that DJs ever really mix in. I think it was a song that was popular at the time. I feel like it's almost becoming one of those weird songs that like, you know, if you were there, you know, but if you weren't there, you may not know it. I think music for the masses is an amazing record. Never let me down again. So again, behind the wheel. Behind the wheel. That's my whole. But that was seriously. I love violators so much. And when I found out that you had violator stems, you know, I was like, we could do a whole album. We could just change one song to one album. And we could just talk about music. I know it was this close. It was this close. No, it's true. I am not just excited. I am excited. Oh, that's for the, that's for the fans. I don't know like that. 2000 album. Exciter. I love it. I love. Listen, I think when we were preparing the show, I said, I like early to Pesh mode. But to me, they were like, they were artists. They were what I would think of as like, oh, I like that song. I like that song. I think those fans, a de Pesh mode fan. Because that's how we consumed artists back then. I think you really had to be the person who didn't just enjoy the song on the radio. You really had to buy the album to become a fan. And music for the masses, I think I might have bought it. But by later, I definitely owned. I burned a hole in that CD. I just loved it. From start to finish, we're going to, we're going to talk a little bit about how that album starts off. Because I think it's one of those songs that gives me chills. I was so looking forward to this episode. I will fully admit that the night before we recorded this, my wife and I just went down the rabbit hole on YouTube, just watching clip. You and me both, babe. Oh my gosh. So pleasurable. Admittedly, we had a bottle of wine, like about an hour in. My wife is dancing around the room. To behind the wheel, I'm sitting up in my in my bed wearing sunglasses, feeling like days. Yes. Like I'm just like, we always wear days. I am into this music. I love the Pesh mode. This is a band that envelops you. It's the sound. It's the recordings. It's the aesthetics as we were talking about. In this episode, we're going to talk a little bit about in this moment what those aesthetics are and why a person that comes into their life that really helps them establish this look and this feel they have for them. Listen, I have always felt a little bit like an outsider for a variety of reasons. I don't need to get into that here. I have a therapist. Actually, I don't have a therapist. I'm your therapist. You're my therapist once a week. No, it's my therapist. I have always felt a little bit like an outsider. And one reason I have always loved the Pesh mode. I've always loved those artists that felt a little bit like they were an outsider and they were say, hey, we're outsiders too. We're letting you in. I think that's one of the reasons why the Pesh mode is so freaking cool is that if you talk to people who feel like they're a little bit on the outside, there are certain touch points. Yeah. There are certain artists and movies and things in the world that you sort of say, but that's mine. The Pesh mode found that's why I'm welcome. The Pesh mode found those people through a combination of the songs and the album covers and that videos on the and all the aesthetics that I found the quote. I think this is from Martin. We spoke to people that felt a little different. The ones with way too much eyeliner. The ones in schools that were bullied or had to run home. We were the odd ones and we embraced that because that's kind of who we were as well growing up. And I think that shows in their lyrics and the music and everything they do. And on the outside, we both related from different backgrounds. Absolutely. Different experiences. I didn't wear the eyeliner. I didn't. I wanted to wear the eyeliner. I was too. I was too scared. I wish I were. My start doing it wasn't even bullied. I wasn't even bullied in the traditional sense. Yeah, but I did. What's traditional bullying? What? Traditional bullying? Tradition. In other words, like I didn't have people slapping books out of my hands as a walk down the hall way. Yeah, that's rude. Like I didn't deal with any of that kind of stuff. I feel fortunate. I didn't have anything. Our family moved from before my time. My family moved from California from LA to Atlanta. It wasn't as cosmopolitan as it is now. And so we already felt like outsiders because we weren't Southern. And we weren't. We just we just felt like a little bit like the Adams family on our block a little bit. And you know, and I think that's one of the reasons why I gravitated to a group like the Peshma because it felt like they were like me. They've they've felt a little bit off center. Kind of cool. And they may be in the outsider. Look really cool. Yeah, well, let's talk a little bit about it because it's around Black celebration where they hook up with this episode. I'm not a guy that I'm thinking it was a totally different album. It was like Black celebration. I'm with with both those words. They're so apricot on the cover. They're so cheeky. Not what I expected, but I like it. There's an every episode we bring in one of the unsung people, the heroes of the band that I've been out everyone knows about. In this case, it's Anton Corbin, who is the photographer and videographer and album cover designer. It should be said, who joins as kind of a creative director around the Black celebration album. So around 86, 85, 86, he comes into the equation. He'd already photographed them for an enemy cover. Uh-huh. And it should be said that he is a world famous photographer that in the 80s is shooting every cool band under the sun. Yeah. DePesh mode gets their one shot with them. And then he never like wants to work with them again. So they feel kind of like they're not cool enough. But why did they not get along? I mean, we don't really know. It's not that they didn't get along. It's just that the way they tell the story after the fact, like their first meeting with him was like, oh, we're doing a shoot with this cool, cool guy. Oh, and then four years go by and we never do another shoot with him. So we're like, I guess we're not cool enough in this early phase DePesh mode are not beloved by the press. They are not quote considered cool in their own hometown. So what they say about their fan base, they're that they are referring to themselves as well to a certain degree. So when they're photographed by the cool photographer and he doesn't want to work with them again, they feel a little rejected. But it turns out that it comes back into their world around the time of Black Celebration. He is a Dutch photographer and videographer and quote, as Martin Gork describes him, he's the quote, "Visual Head of the Band," which is huge because think about every video you've seen since the mid '80s, every album cover. You think of the visuals of this band and it is a thing, it has a real aesthetic to it. It's the black and white, it's the big, open, American sort of landscapes in their videos. It's the famous one for this song where he's where Dave is wearing the king outfit. He's the king, he's walking through the grounds. Walking through Denmark in the cold and-- It's like clearly like the sad king who needed to get away from the kingdom for a little bit. I want to bring in one more thing about music for the masses. This stuck out to me. The leather coats. Yeah. The leather jacket. Yes. The vintage cars shooting lots of videos in the desert. In America. In American desert. That is all thanks to Anton Corbin who gave them a visual identity and gave them a kind of coolness that Depeche Mode literally at the 2020 Rock & Roll Hall of Fame induction. Dave said, "I'd like to thank Anton Corbin who thank God came in at the right time and actually made us look cool." So Dave, these are four cool guys. Come on, they're making cool music, but to him, this last layer of aesthetic coolness comes from-- Absolutely. --comes from this Dutch photographer. You're talking about a really great album. And I hear you when you say it might be your favorite because never let me down again. I'm taking a ride with my best friend. I once was driving down the road listening to that song. And I called somebody. I was like, I'm listening to never let me down again. I'm realizing this song is about cocaine. And my friend, she was like, no, honey, that song is about heroin. And I was just like-- Is that right? Oh, that kind of makes more sense. I mean, like heroin is such a weird drug in terms of my generation. You know what I mean? I feel like we just-- but once you said that, and I tied it in with Dave's emitting use of that drug at that time, now I hear it. Now I hear that. I'm so susceptible to videos. I think they're in a car in the video. So I'm like, oh, it's a song about driving with my best friend. They have a song called Behind the Wheel. There's a lot of cars. There's a lot of cars in the region. And I will also say that if you go back and watch 101, their documentary, they arrive at the Rose Bowl. It's a amazingly beautiful catalac. It's a classic sort of 50s car. There's a lot of driving iconography. But there's also sort of the coming of this guitar. It almost has a rockabilly sound to it. Yeah, very American, early 50s. And we've talked before that if you visited Los Angeles in the '80s, rockabilly and '50s, because the baby boomers were full on in their sort of nostalgia stage. They're ingesting this too. And I think that's one of the reasons why this band has the diverse band that they have. Is that they're bringing in rockabilly. That guitar on Behind the Wheel and some of their other songs from this period, people heard that. And it's sort of united, like, 50s car culture, specifically, you know, LA 50s car culture, with the sort of, like, German industrial sound that they had in the drum. I hadn't thought about that, but you're bringing up a really good point. Because most of the guitar playing is sort of on the low string kind of twang. He kind of dwayne Eddie. Yes. And it's not necessarily chords. It's almost rarely chords. In fact, I can't-- I'm thinking in my mind. Maybe there's a song that I've forgotten about. But for the most part, Martin is playing melodies on guitar that he might have played on synth. And by the way, that comes into play in the song we're going to talk about today. But he's may as well have played them on this enclaivier or on one of the synths. But he chose to play it on guitar to get that sound. And they tend to be one note melodies. They tend to have that kind of early rockabilly flavor to it, maybe, like an Eddie Cochran, if you will. I like that you brought up dwayne Eddie, though. The white guy on Motown, you know. Ravel Rouser, wasn't that his big song? [MUSIC PLAYING] Oh, he was on Motown, I didn't know that. So like we said, there's this interesting connection with the Pesh mode and the city of LA. In 1988, they do the music for the Mass' tour. It was their 101st Show, which is why that documentary was called 101. I always thought it was because of the 101 Freeway. I think it's a double entendre. I think it's a one-on-one introduction to the Pesh mode, but also 101st Show. It just lines up. Yeah, just lines up. Like so many things with this group, it's perfectly lined up. It was the final show of the tour. I love that documentary because they're so worried. They're like, can we move the stage so it doesn't look empty? Right. And then, of course, they sell out the Rose Bowl. 60,000 people show up. 60,000 more than 60,000 to tend the show. The second big American tour that go on is the violator tour. And this is, again, where I sort of come into the story. Because by this point, I'm like, oh, man. Like, I was too young. But if I was of the proper age and living in Los Angeles, two things that I wasn't. I would have probably been one of the, I believe, it was something like 15,000 people who basically storm warehouse records on La Sienica. For those people here in LA, you know that the Beverly Center, that's like a busy part of West Hollywood. You've got the Beverly Center set the corner of Beverly in La Sienica. If you see footage of this, basically, the kids filled up the entire street for that whole block. And by the way, the line to the warehouse records went out for 15 blocks. Like, that's insane. - Jesus Christ. - It's an insane amount of people. - And they thought it was gonna be 100 people or 200 people or something. - Yeah. Richard Blade, who was one of their old disjockeys. He was like, talking about it for the week. And so people started lining up days in advance. And so by the time that it came about, like, all the news trucks are like, if you've heard about dead Peshmo, you would be like, they're mispronounced in the name. - A loud control problem in West LA tonight. As thousands of teenage fans of the rock band Dead Peshmo, Clan the area near that shopping center for a chance to meet them. - But it's already newsworthy. The band arrived about nine o'clock. They were supposed to be there till midnight. They only signed for like an hour because it's basically like a full on. It's like, it's like right on the sunset strip, right? Like, right outside Pandora Fox. - It's crazy. - All these kids in the street. - Pandemonium. - This is about 20 years later. And it's pure Pandemonium. Like, people are all filling out the parking decks. Once again, connecting to Peshmo with Los Angeles. - With Los Angeles and then they end up playing Dodger Stadium, right? - They played Dodger Stadium. It's an insane concert. And thanks to the people who reached out to me on Instagram to tell me about what it was like to be in the stadium. - Oh man. - When they started off with this song, and I want to say something about this song on the other side, this is "World in My Eyes." ♪ Let me show you that world in my eyes ♪ (upbeat music) - Dude, it gives me chills. This shows me how much I love the violator album because I think "World in My Eyes" is in a special class of songs that start off an album perfectly. There are some albums that start off freaking perfect. - When you love the album and the band plays it first, you're just so satisfied. - Listen, it's not a hard choice to make, but it's still so satisfying. - "World in My Eyes" is like Sgt. Peppers. It's like ambitions of a writer. It's like New York state of my, like there's some songs that start off albums, and you're just like, "Oh, they're going." - I'm not moving for an hour sitting right here and listening. - They know exactly what they're doing. - I'm sitting down in this album. Why is my voice cracking? They know exactly what they're doing. - They are the one behind the wheel to coin the phrase, and they know exactly where they're taking us. 'Cause I just freaking love this album, "World in My Eyes" and these lyrics and all these songs are just, they're searing lyrics that go perfectly. We're gonna talk about the production of the song, enjoy the silence, and the case I'm gonna make is that there's no fluff, you know what I mean? From the drums, to the keyboards, to everything. It's just like, everything you hear is a little bit precision, a little bit perfect. I just love "Depeshmo" at this point in their career. And at this point, they've released six albums. Leading up to "Violera," which is crazy to me. They're on their way to "Global Stardom." - After the break, the moment you've all been waiting for where we finally get into the stems from "Enjoy the Silence." Don't go anywhere. - Welcome back to one song, "Luxury." We're now walking in your shoes. Tell us how did "Enjoy the Silence" get made? - So, "Violera," "Depeshmo" is the seventh record. They bring in a new producer, who they end up working with many times after this, but "Flood," "A.K.A." Mark Ellis, "Flood." - We love that dude. - Namda producer, Namda Ploon. He worked with, he is one of the big '80s, kind of, in this genre of "South Pop," British bands that are making some of my favorite music, our favorite music. It's a new order. - I think we brought him up when we've been-- - Cabaret Voltaire. - Millicolli in "The Infants." - He works with "Pashing Pumpkins." He's still working to this day, but he's also done a racer, and you too, and a cave. So, they bring him in to work on this record. He's very hands-on with synths and samplers, like similar to Daniel Miller. So, like, he is another person doing the work. Remember, we were talking on the first episode, our first "Pashing"-- - Love about Daniel Miller. - And about how Martin tended to not want to necessarily be involved in the post-writing of the song process, the making of the sounds. That changes with this record. They have a new approach to songwriting where Martin's demos are a little bit looser. He doesn't take them all the way to the anthragrace. He tended to be four. His earlier demos tended to be like the entire song with all the bells and whistles, all the little melodies. He would have thought those through. With this one, he kept them looser, And I'm going to play for you the demo version. I've enjoyed the silence so you can hear. I've never heard this. I'm so excited. I've kind of a. Wow! Kind of a 12/8 like it's a 3-feel, not a 4-feel too. It's interesting, right? I love that. Yeah, so that's like a really. he did that. Just him singing and the harmonium that like keyboard sound. And that was a conscious choice to let the process of the production unfolding be more open-ended. Like have more creativity. By the way, I just. We're going to talk a lot about lyrics in this song because this is one of those songs and albums where I just feel like every lyric is for lack of a better term piercing. Yeah. But I love the. To make you understand, "Oh my little girl, like as a boy who probably wanted more confidence with the ladies." I was definitely like that guy who was like, "Wow, this guy sounds like an English professor, but he's got a game. I need to be like that guy." It's funny, we relate to that. It does bring out in us that sort of vulnerable like, "Why don't more girls like me?" I think that's the only thing that the Pesh Modesong tend to bring out in the book. Yeah, he seemed like a nerd who actually have a game. I love this band so much. Wow, that is so cool. I've never heard that demo. So as I was saying, he wanted to have a simpler, more loose demo. So there was more room to interpret it in the studio. So they did a lot less pre-production. And as Dave ends up saying about the record process, it was the first record where, quote, "Everyone pulled their weight in the studio." I think he's talking about himself because on our previous part one, the people, our people episode, Daniel Miller and Gareth Jones talk about how it was just the two of them with Alan kind of doing the whole record. And the rest of the band was sort of doing their own thing. Go to the pub, have fun. This time around, they were a lot more involved. And God bless them because there's seven albums in and they're peaking. That's a hard thing to say. It's true. The fact that Martin is letting go a little bit, letting go of control. He's kind of more trusting. He's obviously got six albums and Rose Bulls and Dodger Stadium experiences to indicate that-- They could have easily followed up with this album. It's true. Instead of grabbing hands or grabbing more tightly, he let go. And it was like, let's do this together. And what's interesting is I feel like the songs on this album, they're big. They're thematically and lyrically tackling big subjects. And the music sounds big and everything's coming together just to create this big thing. But as a person who creates music, and we sometimes work together, sometimes you create something and you're like, oh, this is actually turning out bigger than I thought it was going to be. Well, they say it's the first fletch says. It's the first time in our whole career that as they were making it, they were like, I think we might have a hit single on these boys. As it made the transition, as we'll talk about next, from demo to actual production, they were feeling something happening in the room. They were feeling something. I mean, all these songs are good. We're talking about enjoy the silence. I mean, let's not forget policy of truth. Is an amazing song. This album just-- That might be my favorite on the record. Yeah, I know. I was dendled a wire with this song versus that one. There's that bend again. I don't think it's sarcastic. That's a dark bend. That's like that bend on the-- It's all mysteries. You know what it is? You mentioned the Americanness and the Americana. That is American bend. That is a blues bend. That is the deep sound. There's a lot in that bend. There's some American. There's some swampy black blues in that bend. That's what I mean by every element feels so intentional on this album in general and on this song specifically. And the addition of guitar is really important in that song, but also on this one. But also on the first single, it was personal Jesus. So that song is really crucial. So let's talk really quickly about personal Jesus. I mean, I remember when that song came out. That was some controversial stuff. And the fact that they felt comfortable making a song about televangelists. Like, it was kind of like, hey, we've had a good relationship with the US and now we're going to-- Now we're going to really challenge you. They were worried that it would not be played on American radio. They were pleasantly surprised when it began to massive hit. It's a massive hit. Can I admit? Never my favorite depechment. It was never my favorite. Even as a kid, I was sort of like, clearly they're trying to make a message. But it was never my favorite. I like the shuffle beat. It's one of those shuffle beat songs. A little triplet feel to it. A little swing feel to it. And I didn't even have a problem with the message. But just from a listening point of view, not my favorite, but definitely a song that caused some waves. Yeah, cause some waves. So they're introducing the guitar in a completely new way. We were discussing earlier. It's a melody instrument, as opposed to a chordal instrument. So it's playing a riff. It's playing a hook. So they're doing that on personal Jesus-- oh, by the way, for the record. My favorite version of personal Jesus is when they re-did the song a few years later, as I feel you, which is almost the same riff. I love my tune. No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no. It's just two notes that are the same, but they're related. They're cousins. They're cousin songs, maybe sister songs. They are a band who knows how to start off a song amazingly. By the way, you just have to ask, cause we were talking about what would be-- What is your number one favorite depechment song? Desert Island Heart One, because-- I know. They have so many different periods. You kind of have to go by periods right in your mind, cause they're also different. I'll say what's up there. I don't know if I can see. What's up there? Definitely off of the Singles 1981 to '85 is "Shake the Disease." It is a chill-- like you talk about chills. "Shake the Disease" is the best song. No, that's the right answer. That's your favorite? That's the correct answer. "Shake the Disease" is my favorite. Damn near perfect. "Shake the Disease" takes hold of my time in situations. Chills. This song, when I first started writing music, this was one of the songs that I deconstructed. I sat in a cafe for three hours, listened, and wrote down kind of every event that was taking place, because there are so many melodies, and like there's pre-courses, and courses, and post-courses, and bridges. There's like ten different events. So from a songwriting perspective, to fit that into three minutes. And we plan so much melody. We just played a bit of the chorus, and I will say that, you know, that chorus, the way that it goes, like there's-- The melody. The melody. It's so weird, and it shouldn't work, and yet it sounds twisted and perfect. You know what this band reminds me of? I was trying to think of, this band is basically a power-pop band with synthesizers. Now, hear me out. It's a power-pop being like, you know, big star in the raspberries. One thing they have in common is, like, there are so many chord changes and melodies happening in a compact space. This is "Go All the Way" by the raspberries. Just listen to how many changes it goes through. This is a two-minute, three-minute song. I won't play the whole thing, of course. Listen to how many-- We just heard ten chords in ten bars. So many changes. And it's another one coming up now. And I just played you a little snippet. In this three-minute, this is a "Depesh Mode" song, or "Depesh Mode" is a raspberry's band song. But I do know that there are a lot of changes. It here is a plea from my heart to you. Nobody knows me as well as you do. You know how hard it is for me to shake the disease that takes a hold of my tongue in situations like these. [singing] See? See? How many song ideas there are? There are ten of the chords. There are twelve songs in that one song. There's nobody-- it's Power Pop. And then the Post-Course. It's Power Pop. That is a crazy song. We're here to talk about it, Joy the Silence. And let's get into the stems. Where would you like to start? Okay, so we heard the demo version. When that was played to the band, they heard what you just heard. They had a lot of differences. To me, I never noticed it until just now in the room. But it's got like a different feel. It's like a 12/8, like a triplet feel, right? So they played it to the band. And as Martin tells the story, Alan Wilder and Flood suggested that they speed it up and put a beat to it. And he was dead set against it. He did not like that idea. He thought this was one of his ballads. Because every album he gets as somebody or something. He gets one kind of slower, more heartfelt, vulnerable song. It wasn't to be. Martin was dead against it. He thought it was against the aesthetic of the words and the meaning of the song. So he was sulking about it. He said I was sulking for two days. He was really mad until Flood said, "Look, just try playing some guitar along to this disco beat." So let's listen to the disco beat. Because that's what convinced him. Because he wasn't convinced when it was just the disco beat. So Flood put up this basic disco beat. It really was literally just that. There's kind of a snare in there, I had this like violence. And what's crazy is that's the beat. That's a final beat. That's a demo-ass sounding beat, which is in the final version. There's three beats. It starts like that for the first minute. And then in the second minute, we get this bigger snare gets added. I love those 86 strokes. It sounds like you're playing an 8-bit video game and you're punching something. That's what that snare sounds like. I agree with Alan Wilder, who he himself said. Our most successful single ever was one of the flattest dullest sounding mixes with a snare drum, with a snare drum that sounds like sticky toffee pudding. So he hated the snare. I think it sounds like punching somebody on double drag. He hated the snare sound. Maybe as much as I do. But boy, does it not matter? Because this is a huge record that a sort of generic, sounding disco beat that they never decided they never thought needed much replacing or adding to is what's in the final mix what you just heard the drums only do three things in the entire song you've heard two of them here's the third thing we have this break beat and I'll play it for you in the mix and then I will show you where it comes from yes the second I hear that I know that that's enjoy the silence that's crazy that's that it's funny because in the song structurally it's just two isolated bars of this break beat yeah the songs over here the songs on this side oh dude what's the break beat now I feel like the second you tell me I'll be like of course it is what's the break beat it comes from this this is that's the way love is deep house mix extended version by ten city 1989 so they just took that break beat they put it the song added it to the song added to the existing beat and for the last third or so of the song you get that beat so there's kind of a build it starts with a simple one yeah goes to the bigger snare and then we have the break beat mixed in with it for the rest of the song it goes back to what we were saying before like you you introduce elements and then by the end you've got all the elements that's right right and that's it the drums don't really do anything else aside from having this one fill here's the only fill I could find in the song that's it that happens here it's right before that last chorus yeah pretty simple stuff you know it's good to not overthink it uh let's talk about the bass all right here is the bass line apparently programmed on floods roll and 700 modular and it sounds a little bit like this you like the gurgling synth I don't think I noticed till this listening how there isn't a snare in the song until that first minute really the first minute of the song is just love it I freaking love it there was a song called lazy uh by express two featuring david burn that blew up around 2000 it was a dance song and uh my favorite version of that is ironically called the acapella which it isn't but it's basically the entire song with no with all the drums stripped out of it really there's something about that even as a drummer I feel like a traitor saying it but there's something about the the drumless version of my favorite songs that just it hits different yeah daft punk did a whole drumless version of random access memories couple years ago the white cover yeah okay so that's the bass in the a section there's an a a b and a c section so another thing about this song I'm noticing because like our drums had an a b and c yep exactly right and another one thing that's happening with this song and and sort of from here on out is there is a simplification and from this point forward we don't not have a lot of melodies but there are fewer yeah and there are fewer sections one thing they start emphasizing though and I'll explain it a little more when we get to the synth in a second is harmonically they're doing some really interesting things with the chord changes but for now I will play for you what's happening in the bass in the b section which is the verse basically and in fact and then here is the chorus one thing I wanted to point out there is that there's this extra bar there's this like ninth bar in the chorus sort of extends the duration and gives you a little more attention before we get into what comes next which is verse two with that little drum break we played earlier so that's an interesting thing going on in the bass that gurgling thing goes through the whole thing those three parts are kind of all that we hear the whole time we've been talking about the guitar becoming more prominent in this period of depression and moving forward so what are the guitars doing in this song so in the recording studio martin here's what we've been hearing the room he's hearing the drums hearing the bass yeah he's everyone's kind of stoked about how the song is taking this direction it's a little faster it's got more of a groove to it and martin's still not feeling it but he goes to the synth he's a team player he comes up with some melody ideas and Alan said great melody what else can you play it on meaning he didn't like the sound but he's being diplomatic about it so flood suggested producer fled to just that martin pick up the guitar and play it on the guitar and he's not into it he's like we're a synth band and I've just been making the case all these reporters that electronic music is music right he's just not he's like why would I play guitar right we're a synth band so they spend half a day trying out different ideas and again they're playing guitar sonically more than like for the part because he has the part he has the melody that he found on keyboards yeah he's just transferring it to guitar yeah and flood is being producer guy finding an interesting way to sonically treat it so it sounds different from your typical guitar and that's when they find it and that's the moment that the magic comes together and when martin starts to be like oh I get why you guys like the song so much he even goes on to say I could in that moment here that this song had crossover potential and I have to say I was soaking for two days for no reason he sang in a later interview and I'd like to take this moment to apologize to Alan and Flynn so let's without further ado listen to this iconic guitar melody it's almost like when Dylan decides to go electric you know it feels like he's selling out but again this isn't our brand I don't know I can't be playing guitar again you know this is less rock ability than some of the other songs that we've talked about but it is that guitar that probably makes it all the more popular in the United States yeah I think you're totally right I think that they maybe had a subconscious feeling of americans that came from all these Anton Corbin shoots and Rose Bulls and such and so it finds its way into the guitar and again the sound the melody was already there but for martin it was finding the sound that was unusual that wasn't your typical guitar sound I like that reverb on it really sweet let's talk about the synths okay well we have to start with the famous choir sound now I can hear what sounds like somebody on the microphone maybe I think this is definitely a layered thing sure there's three or four things happening at once there's definitely a keyboard part I think there's a sample vocal now I've gone down to rabbit hole there's some like deep depression mode nerd sites and some of them are incredible no but some of them the verification I just wasn't sure some people are saying this is coming from a sample of the Bulgarian state television female choir from 1987 also known as limister de la vulgar record I remember coming out and don't we all know about that record I really do remember that record but I don't I could not find the exact moment but it might have been from whatever it was it would only take a sliver of one syllable to with this enclaivier or whichever sample they're using in the moment may not be this enclaivier anymore you can pitch it up pitch it down and again with the layers there's also the sort of classic fair light vocal sound that's in the mix however they made it they made it and they made it their own by layering it and but we don't think that they brought like a choir or even a singer into the studio I'm I'm I will say 99.9% certainly not but in the list and just now first folks there might be a layer of Martin or Dave just going oh okay so here's a little combination of gurgly and choir as I put in my notes I love that sound I love that and here it is with the bass and the guitar just so this is all the the activity that's happening before the vocals come in besides the drums it's a lot simpler than earlier to push mode I say that and then I listen back and I'm like but there are like four melodies happening there's so many things there's a lot happening I'm like yeah I'm just a bass guy I'm just a bass guy you're always happy with the bass is there what's that bass comes in I'm like it's gonna be all right you know don't worry about that if you worried about two minutes ago about you know you and luxury going your separate ways like the bass is here I rescind my previous comment about the reduction of melody too because there's a lot of melody there's a lot of melodies in there do we have any more sense you want to play we sure do my friend let's listen to the choir pad that happens in the chorus and now we're about to get to that ninth bar and there's an interesting chord that happens here an interesting thing to notice when you listen to the song is there's a couple of really interesting chords and I'm going to point them out to you so at the very beginning of the song the A section as we've been referring to it there's the one to the three basically which is C minor to E major and then it just repeats that again but when we come around to the verse that second chord changes and you've noticed this your whole life but this time I'll explain why it's happening the second chord goes from being major which is normal for the Dorian mode it goes into minor So just a really subtle thing, but it's a surprise, and it darkens it, because you've got two minor chords in a row, and the second one is technically it's a borrowed chord. It quote unquote shouldn't be there. It isn't the same notes of the scale as the first chord was. So we're borrowing some chords there, and it happens again a second time, and again, this has been the thing as you've been listening to the song all these years. One of the reasons why that ninth bar I mentioned in the chorus is so special and weird, is it's another borrowed chord. So I can't even find technically what the music theory term for that would be, because it's the one, but it's a flat one. It's the C minor goes to a B major. That's what's happening there. Off, step down, it's really eerie and crazy sounding. It's an eerie note. It's an eerie note. And just those two little substitutions, these borrowed chords that aren't technically in the key of the rest of the song, are why we have these wonderful surprises happening in seconds. I love it. I love it. This might be my favorite sound. Wow. Whoa. So satisfying. That was great. That's literally that sounds like dappong, circa human after all. Well here it is with a couple of synths layered. I love it. It makes me want to punch my fist. I don't know. Why is that one sound so peep, or it's angry, it's very aggressive sound. It does that a little bit like human after all. You're right. Very doft. Very doft. That's in the second chorus. That enters in the second chorus. That's like just a new element that gets added. And at the end, we have this sort of build situation. Right? Yes. Can we talk about our vocals because I don't know if that was important listen. I love Dave Gans voice. This band would not, it just wouldn't be the same without it. So can you play us some vocals from Dave Gans? And maybe if I may, just give me the beginning of verse number one because that is a way you start a song. All the reverb too, I mean, it's like you're singing in a church. I'll go. No, there's so much of this. Yes. That's the church setting. That's happening. That's right. There's a lot of stuff going on with that voice. But at the end of the day, those words are just beautiful and tragic. Words are very unnecessary. I mean, again, I'm the writer. They can only do harm. Even worse is words are meaningless and forgettable. Yeah. What do you think it's about? This is feelings are intense and words are trivial. What does it mean to you? I have debated internally whether I wanted to say what I think the song means and what, you know, where it's coming from, because look, there are a couple of ways to interpret it. There's a literal way, which is like he's in a, you know, in a relationship and, you know, he's saying, like, the words that we say are not as important as what is here in my arms. That's the literal way. As with all things, to Peshmo, there's a, there's a drug interpretation that goes through all this, which is like, once you're high, the words are meaningless and forgettable. It can also be very Buddhist though, about just being like-- Yeah. That's the way that I would-- Yes. I think I prefer the way that it's not about a relationship or-- I'll ever want it. I don't need anything. I think it's more existential. What I am is all I need. Yes. Yes. And even when he's walking around in that king outfit, you get the sense that it's deeper than just a drug or a person, it's more him. He might be singing about his relationship with fame, you know what I mean? Like, because by this point, he is freaking the head of one of the most famous bands on Earth, but-- Right. You know-- All I ever wanted is here in my arms. Now channel that through the like, fact of him singing, not being who wrote it. Like, how does that-- Oh, dude. I didn't like-- Now that you mentioned it. Right. He didn't write it like-- Is Davis saying this because he-- Is this, is this-- But it's Mark's being where somebody puts words in your mouth because that's how they feel about you. Oh, I see. So I mean, that's another way to interpret it. Okay. That's kind of a confrontational way. Right. Who freaking knows? Like-- But Martin is writing about Dave, and Dave is singing Martin's words. That is a relationship, a very interesting-- it's what's the name of the guy? Yeah. I think you're talking about Serrino. Yeah. Serrino Berserat. Serrino Berserat. Serrino Berserat. But there's a-- Someone-- Someone-- But he has a handsome guy who he can just funnel his words through. Right. That's what she falls in love with. This man through-- He falls in love with this man, but it's another man's words. And you could even go so far as to say that Alan Wilder, up until this moment, especially, has been at the end of that Serrino chain. It's like Serrino to Serrino to Serrino, where what you're hearing on the record, and where Martin goes to Dave goes to Alan for the sound of what you're making the recording, the choices of synth patches and chords. Can I hear that chorus? That classic chorus? All I ever wanted, all I ever needed is here in my arms. I think that's Martin with harmony. At first, I was like, that could be Dave going the octave, which I don't know if he can do. He probably is a great singer. He probably could do it. But then, at the very end of it, you hear that kind of wavering. That is so Martin. The way that note ends. I'll just play that again. Listen to how that harmony, that octave above, and by the way, it's not a harmony with like a third or a fifth. It's just the octave. Listen to that, and it sounds like Martin to me. There's like a little shake to it. I don't think we would do our listeners, you know, justice. If we didn't hear a little bit of that second verse, Islay, can you play us that? The vowels are spoken first. I mean, I feel like I just got punched in the stomach. It's so beautiful. Pleasure's remain. So does the pain. Can we do something interesting because I actually have the drive vocals too. What? Oh my gosh. Let's listen to the second chorus. It's like being in the room with Dave. It's so interesting to hear the contrast. It's like a verse dry like that. Can you do a second verse dry? I'll do a second verse dry. Okay. So different. It's so, it's always kind of crazy to me that you can hear like really sad or dark things and yet and feel those things, but also feel great joy and happiness in those sad and dark moments. It's so interesting. And also hearing the contrast between the reverb and the dry. What you hear is so much more vulnerable and stripped back because the power, the Dave in front of the audience with the reverb, he's empowered by the reverb in many ways. But then he sort of seems just human and it's vulnerable on us. Yeah. So to speak. Right. Damn. I'm so glad that we did this episode because I love and enjoy the silence. And I bought all eight of the first depech mode records on vinyl, two very fancy expensive books. And I have been spending the last four days just immersing myself in depech mode, depech mode, depech mode. So you went down your rabbit hole with with the YouTube and the wine. Yeah. It's been glorious. It's been such a fun week in preparing for this episode. What do our splits look like on this song? Oh, they're always a hundred percent Martin Gore. There's only nine songs in the catalog that aren't, I mean, up until the ninth or tenth record. A hundred percent? A hundred percent songwriter. I think it's money on the, on the masters. So we talk about this a little bit on the people are people episode. But just to clarify, this depech mode through these seven records, the first eight records at least, it is Martin Gore is the soul songwriter who gets songwriting and publishing credit. And then Dave is the singer, but he hasn't written a word or melody that he's singing. And Alan Wilder up until this record. I mean, he's amazing. Mostly. I just say. Doing production. That means that Dave is an amazing actor because I would never know that he didn't write this. He's reading from the script, but it seems natural and lived in an amazing job. You know, they tell the story interestingly on another interview I saw with with Martin and Dave on their first record, Vince Clark was the soul songwriter. when they brought. to their first publisher when they brought, just can't get enough to their first publisher. They brought the song, "The Publisher" was like, "Boys, this is a huge hit." And when he learned who wrote the song, Vince Clark exclusively, nobody else made an contribution. He was like, "This is gonna buy you a Rolls Royce, while the rest of you are gonna be riding around on bicycles basically." (laughs) So that was the day they learned what publishing was. And obviously, Martin took this to heart because he started writing all the songs on the second record. But interestingly, through the years, I can only imagine behind the scenes that there wasn't a lot of tension about Martin because the level of money is 10 to 20 acts potentially versus the splits between the rest of the bandmates on the Master's Day. - On the Master's Day? - Yeah, it makes sense. I mean, you know, Alan leaves the band. - Alan leaves the band. - It doesn't, I mean, like, let's just also, Dave's been very honest. He had a crippling addiction around that time. And then you throw money into the mix and then you can global fame into the mix. It's not the best recipe for getting along. It's tricky, I mean, the fact that they're still together all these years, they put out a record last year, momentum worried. It really speaks to their ability to keep it together, but you're right behind the scenes. I can only imagine there's been a lot of ups and downs about this imbalance based on the publishing splits. - I'll tell you what else is hard. Moving on from the album Violator because we love it so much. But I do want to take some time and talk about the albums that Depechmo released after Violator 'cause Violator's not the end of their story. - It's not. - And I think that as we Violator's 35 years ago, there's still making records. - And they're still making records. - And they're still making great songs. I want to call out two albums in particular. One from the '90s songs of Faith and Devotion. This was the follow up to Violator. You know, it didn't do the business, so to speak, that Violator may have done. But if you look at the track list, and there are some amazing songs on here. - It has a top three song for me. I think I feel you. That's a top three song. - I feel you. - I feel you. ♪ Feel you ♪ ♪ It's time to talk ♪ - And it's got one of my favorite songs. Here's a little bit of "Walking in My Shoes." ♪ I walk in my shoes ♪ ♪ So I walk in my shoes ♪ ♪ Yes, God, burn ♪ - 'Cause you know what? You'll stumble in my footsteps. (laughing) Great album. I actually want to call out another favorite album of theirs of mine. Exciter from 2001, I believe it was. There's some great songs on this record. If you don't know the song "Already Free Love" is an amazing oral experience, so you have to absolutely dig that one out and listen to "Free Love." It was a great, great song. One of their slower songs, not danceable at all, but I think if you blast it in your car, you will feel something. You will remind yourself that you live. And then, of course, there was the single "Dream On." ♪ Dream on ♪ ♪ Dream on ♪ (upbeat music) - And the cool thing about "Dream On" I think it just further submits that idea that once Martin picked up his guitar, he could do a song that almost sounded country in its influences, but it's still definitively the Peshmo. - Yeah, they really found a way to weave the guitar into the music and have it not feel like a guitar band. Like it's a synth band, an electronic band that has guitars in it, but the guitars are mostly kind of acting like another synth. It's another sound with a different palette, basically. But it is also something that allows Martin to play guitar on stage, which he's talked about being far more fun than standing in front of the keyboard. So it's worked out well for everybody. And actually on "Songs of Faith in Devotion," just to point it out, they have a live drummer. Alan is playing drums. He's playing drums in the studio, but also on stage. - And the first time it was the last album that had Alan, he, - Right. - Surely they're after-lift. - Yeah, so they're loosening their grip on this. We have to be a synth band in this moment with these two records. - Yeah, you know, listen, they started off as a synth band, but obviously, two last, as long as they've lasted, they have to make some change. They have to change somewhat. They can't just be locked in that tight. And I think that their longevity speaks to the fact that they made changes that their fans wanted to go along the ride with. - Yeah, and maybe their American fans maybe drove a little bit of that, too, of the sound change, yeah. - But playing the angel has a great song called "Precious." Which, you know, I guess it's like what a, maybe their fifth most popular song I'm streaming. And that song is what, maybe 24 years after they've debuted. And they're still cranking out. I mean, like, without calling out any names, there are many other bands that come out when they came out that would love to have a song in the 2000s, do what Precious did. But Precious, still a hit. ♪ Precious and fragile things ♪ ♪ Need special hand ♪ - And you just reminded me that there's actually a song on Ultra for the 1997 record. - Yeah, it's a good album. - Which is between songs of faith and devotion and excited. - Exciter. - They slow down their pace. So every four years, they make a record. Almost literally, like, mathematically. It's only because of the pandemic that they slow down that pace. - That is nuts. I'm looking at the pace right now and it's about every four years of 1990. - Ultra had a song that I discovered because of the remix, it worked for me. 'Cause I heard Ultra in every shoe store in New York as we were talking about before this episode. Because in 1997, when that amazing Cruder and Dorfmeister K&D Sessions record came out, it was a remix on there and I love that song. And I actually just, I broke down and spent a hundred bucks together down and discounted buying the K&D Sessions on vinyl. 'Cause it is so good. It sounds good to my ears again. Let's play a little bit of that. (upbeat music) - These guys were pioneers of remixing we should talk about, right? - We should talk about that, because they-- - It's the early days, not everyone remembers this, but in the early '80s, not all remixes were associated with-- - Sometimes it just said remix. - It just said remix. No, that was more common than not. - Yeah. - That you would get a 12-inch record and it would say the remix. But it wouldn't say, like, the justice remix or the death punk remix, wasn't a thing yet because these remixers didn't have names. They weren't coming from being known nationally, like international DJs. - Totally, yeah. - You might get a jelly bean Benita's every now and then. - Exactly. - I'm gonna say there were a couple who broke through the glass seal if there wasn't-- - It wasn't zero, but it was rare. - Shep Pedabone. - Yeah. - Somebody. - He was one of the first of the-- - He was one of those people who, like, when I saw it, I was like, "Oh, Shep did a remix." - Right, so we were probably that first generation that actually cared like who did the remix. - Right. - Behind the wheel, amazing track. The beat masters remix is a classic. The Shep Pedabone remix, got a lot of spins. - Depeche mode are really early to the idea of having a lot of remixes. - To extend the life of any given song, of any given single. So, like, to this day, they will put out a song and they'll have so many remixes. In fact, I think I did like a playlist recently and there were five, I didn't get to all of them, but on this playlist that I made before I gave up, there were 500 official remixes that are available on these streaming platforms of Depeche mode songs. - Just Depeche mode. - So they obviously considered an important tool for them, but they were early to recognize that. - Yeah, I think, you know, they were early to recognize that dancing and what I guess you'd have to call rock music didn't have to be separate categories, you know? They also make the big case over and over that electronic music is real music because believe it or not, that was obviously a thing in the '80s. And I do believe that they also saw the importance of having that killer remix, like you said, that can move the dance floor in ways that their original production, you know, maybe didn't. - Well, I was just gonna say to that point, I think they recognized early on that they could free themselves from having to think about the dance floor if they focused on the song for their original version. And then they could bring in people who are experts in the field, like DJs, with ears on the dance floor. 'Cause it's different, as we both know, like I know for a person experience if I'm making a song, at some point I have to make a choice, the more sort of different chord changes and melodies it has, the less it's gonna be a dance floor banger. So it took me a long time to recognize you can't really be a radio or headphones on and a dance floor song, those are all different. You might get lucky and hit the nail on the head. - Sometimes you can have a danceful song that has all those elements. - But for the most part, focusing on the song and the dancing in the secondary was strategic on their part, hence all the remixes and I found a quote where Alan Wilder talks about how he's so surprised whenever they get name checked by dance floor luminaries, like the Frankie Knuckles of the world who would praise the Pesh mode as being an influence. - It's a surprise, man. - 'Cause he'd be like, I didn't know that we were making dance music. (laughing) - I mean, I'm telling you, it doesn't surprise me that Frankie Knuckles and the early house guys were listening to this band, 'cause all the Texas guys. - This is danceable music. - All the Detroit guys, yeah. - Instrument-wise, it's the same as what was happening in R&B. - Frankie Chicago, but also all the Detroit guys, the Belleville three. - Yeah, well, you know, I mean, in doing research for this episode, I saw them continuously referred to at the time as Technopop, and I think that they filled a musical niche and a void that was later filled by dance music. In other words, it wouldn't be weird to create a Swedish house mafia song in the same style that DePeshmo was creating their song. So, you know, they're making dance songs with lyrics. - And at the time, to be fair, as I think about it, in the mid '80s, if you go to like a goth club or a synth pop club, whatever it might have been called at the time, an alternative club, you would definitely hear dead or alive right round with its disco kind of stocking in the waterman, for on the floor. But you would definitely hear master and servant. You would definitely hear people are people. So they were being played in the clubs. It's just sort of more the underground, more the like legit house kind of that dance, the loft. Those kind of clubs may or may not have played, you know, the non-remix versions of the DePesh songs. - As we wrap up this episode, what would you say is the legacy of "Enjoy the Silence"? - I love that "Enjoy the Silence" is their biggest song. It took what was already an open door to America and the world and just exploded it. Because the fact that these guys are 30 years later, still able to tour and make records globally, to this. degree and keep changing their sound and keep making incredible music is a testament to I think this moment too because it was the moment that Martin let go a little bit to his writing process. If I can jump in on that, I want to say about enjoy the silence. Two things. One is that lyrically there are a couple of songs where I'm just like how did they pull that off? Hip hop is a little different because you have to say so much that lyrics take on a different importance. But in sung lyrics lyrics that you sing dig if you will a picture of you and I engage in a case like that's one of those like lines it's like it's poetry just to say it yeah and for enjoy the silence you know we've we've talked about the lyrics there's some lyrics that I'm just like how did they get that into a pop song yeah how did this squeeze that it that is poetry is poetry and on the radio poetry on top 40 ready poetry on top 40 really 7 million copies yeah and so to that point it leads me into the second thing I want to say about enjoy the silence and also about depression mode writ large they make me want to create whether that's try a little bit harder on a script try a little bit harder and prepping my lines when I act or working with you on some music like it's one of those things where like if I'm in the right mood and I'm receiving what they're giving like I'm just like wow I am so grateful and thankful that we get to bring beauty into this world and even if it sounds really sad and and dire as some of the lyrics and enjoy the silence sound it ultimately brings happiness to people's life and and maybe even chills there is also something about the bandiness which reminds me why I love bands so much I love music yeah I love songwriting I love listening all the things about it but there's something special about bands that I'm reminded of sometime when you just love the band yeah there is something about the complete aesthetic package of what the music is how it feels the lyrics the sounds what they look like what the videos are like what what I think I know about them but the mystery behind them too literally Martin Gore I've been told throughout my life in various stages that like I remind people of Martin Gore because of the hair maybe my wife the other day said I look a little like an early Dave gone like they are me I am them like I identify with them I want to be them I want to be as cool as them I want to look like them I want to wear I want to be in black and white photographs on the American like landscape wearing leather jackets like them they really appeal to that I don't love exactly they really appeal to that part of me that really just loves the band part of music and I also love how many people they've influenced they've influenced so many bands I can't imagine nine-inch nails without there would be no nine-inch nails yeah and even radio hit you know like I feel like there's a radio head influence in the sense that like that is a band that has grown and changed their sound over time and sound is a big part of it too their exploration of sound and some of the chord change stuff I was talking about right I'm figuring out how can we not not necessarily get to the radio but how can we make it even you know just a little bit more palatable for for I think it's a great comparison you're right I hadn't thought about that I think radio head in a way is sort of like if to pesh mode is electronic music adding guitars it's radio head might be guitar's adding electronic music yeah absolutely what by I'll admit my most people love okay computer I think my radio head album is Kineh and that is another album with an impeccably beautiful song that opens up everything in its right place yeah perfect opening to that I'm every bit as much as world of my eyes yeah I think that's the cool answer for radio head I think they're like I would give the basic answer which is okay computer but I do appreciate Kineh. Well that was a show quite a show one song nation thanks for coming on this journey with us for the depeche mode has we hope that we've given you much to discuss some stuff that you didn't know before and we hope we hit the mark and for you depeche mode newbies what you waiting for check out depeche mode's amazing discography all the documentaries on youtube it's all out there and we just enjoyed ourselves as always you can find us on instagram and tiktok you can find me on instagram @dealo di alo and on tiktok at dealo riddle and you can find me on instagram at luxury lux x x ur y and on tiktok at lux x ur y x x you can also watch full episodes of one song on youtube right now just search one song podcasts and we love it if you'd like and subscribe and if you made it this far I think it means you like the podcast so please don't forget to give us five stars leave a review and share it with someone you think would like it it really helps keep the show going luxury help us in this thing i'm producer dj songwriter and musicologist luxury and i'm actor writer director and sometimes dj dealo riddle and this is one song we'll see you next time