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DEPECHE MODE
(thoughts from Milano)
Given the fact that I wrote in
English very few times for this blog, it may appear an oddity that I am now writing
not in Italian about an artist I do like and care for a lot, but which does not
rank within, say, my favourite three.
The reason for this exception is
both of very short and very long period, the first derives from the latter.
Depeche Mode are not a fad: that’s
why after years I attended again another concert of them and still value as
masterpieces two albums they made: Black
Celebration and Music For The Masses
([1]).
While I did (and do) not understand
the vast majority of people who crowded Milano (Italy) football temple San Siro
Stadium on the night of July 18th, 2013 (their second concert in
this venue if I remember well) as they were way different in look (I was one of
the very few wearing full black as if I were attending a DAF or a DM gig in
Zürich ([2])),
age (see on the contrary 101, the
movie directed by D. A. Pennbaker), musical tastes (women were in the “average public”
of those listening to love crooners of any kind) from me, I have to conclude
that DM have a “diagonal” following.
Not even with binoculars I managed
to understand who, at the front before the stage, were hailing a hand-made flag
stating “Dave’s Slaves”: were those gay boys or else?
How comes local ladies scream for the
mimics and naked torso of Dave Gahan, who I always consider in terms of looks
and poses a unique mix of Sal Mineo, Marc Almond and (inevitably) a bullfighter,
hence a homoerotic image which should appeal more to males (including
heterosexual ones ([3]))?
How comes Martin Gore is now
respected as a guitarist, singer and whatever else, while before he was the
“nutter who inexplicably can write great songs he is too shy to perform”?
What about Andy Fletcher who stays
behind and happy but at press conferences speaks like the Minister of
Propaganda?
Why Black Celebration, the album, is becoming prominent again (like
when I attended that Swiss gig)?
DM “cross” people also geographically,
and this is well demonstrated by a documentary which you may have failed to
know about (like I did) also because it does not have as of today, five years
after its first screening, a DVD release ([4]):
The
Posters Came From The Walls.
The geography of following still
makes Britain, and notably England and specifically their hometown Basildon,
not “the country and town” of Depeche Mode, as it is very well outlined in an
interesting article by Dr. Sophie
Deboick by the title “Basildon Bond: Depeche Mode & The Essex New
Town” published at the end of 2011
in the excellent web-magazine The Quietus ([5]).
So?
So the Deps’ mysteries still make
them all (including the now, since a while, ex Alan Wilder) an interesting
band, which manages to use guitars but not so much, sometimes goes for stompers
a-la-Glitter-via-Sheffield (“Soothe My Soul”), which can cope with Anton
Corbijn being somehow “artistically married” with both them and U2 ([6])
(hence he cannot always have great ideas).
And they make me write about them once
more.
Steg
© 2013 e 2024 Steg, Milano, Italia.
All rights reserved/Tutti i diritti
riservati. No part – including its title – of this work and/or the same in its entirety can be reproduced and/or filed (including by means of electronic systems) for private uses and/or reproduced and/or filed (including by means of electronic systems) for the public without previously obtaining in each and any case, the explicit consent from the author.
[1] I wrote, although briefly, about
“me and Depeche Mode” in the post by the title “From Basildon: Lessons In Musical Danger”: English title for a
writing in Italian which is quite an odd in terms of how I usually write. I had
to do it in that way because I thought I would have been too obvious if I chose
a linear outline.
Hence, some overlapping between these two posts
may apply.
[2] Respectively a couple of
years ago and more than twenty-five: see footnote above.
[3] Do I have to namedrop Kenneth
Anger and a quote from Richey James of Manic Street Preachers: “All Rock ‘n’ Roll is homosexual”?
[4] Because of Mute retaining copyright
but not releasing, it has a story a bit like Cocksucker Blues (for those familiar with this Rolling Stones
documentary).
You may still find some clips and pieces on the
web.
In any case, you can check: http://www.nicholasabrahams.com/depeche-mode-film.htm.
[5] You can find it at http://thequietus.com/articles/07165-basildon-speak-spell.
[6] Who someone describe as people
making music for people who do not like music.
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