Vince Clarke is an English synthpop musician and songwriter. Clarke has been the main composer and musician of the band Erasure since its inception in 1985, was the main songwriter of several groups, including Depeche Mode and The Assembly. Vincent John Martin was born in South Woodford, Essex and he moved to Basildon, Essex, he studied the violin and the piano, but he was inspired to make electronic music upon hearing Wirral synth band Orchestral Manoeuvres in the Dark. Along with OMD, other early influences included The Human League, Daniel Miller, Fad Gadget. In the late-1970s, Clarke and schoolmate Andy Fletcher formed a short-lived band called No Romance in China. In 1980, he teamed up with Martin Gore to form French Look. Another band, named Composition of Sound, followed in 1980 with another addition of Martin Gore and Andy Fletcher. Clarke provided vocals until singer Dave Gahan joined the band, renamed Depeche Mode. At that time, he adopted the stage name Vince Clarke, by which he is known.
The band adopted a slick synthesized electropop sound, which produced the album Speak & Spell and the Clarke-penned singles "Dreaming of Me", "New Life", "Just Can't Get Enough" in 1981. Clarke left Depeche Mode shortly thereafter. There were many rumoured reasons pertaining to his departure, he commented on Depeche Mode's material as being a little dark for his taste, but good nonetheless. Clarke stated that he did not enjoy the public aspects of success, such as touring and interviews, found himself at odds with his bandmates on the tour bus, he stated: "I think everybody in the band myself, imagined that the reason we were doing so well was because of themselves... We were pretty young and lucky, things had happened quickly for us, I don't think we were mature to handle the situation." Clarke was replaced by musician Alan Wilder, Depeche Mode went on to achieve international stardom. Clarke teamed up with singer Alison Moyet to form the popular synthpop band Yazoo, which produced two albums and a string of hits including "Only You", "Don't Go", "Situation", "The Other Side of Love", "Nobody's Diary", "Walk Away from Love".
Yazoo disbanded in 1983, Moyet went on to have a successful solo career. Yazoo reformed in 2008 for a series of live dates to celebrate 25 years since the duo's split. In 1983, Clarke teamed up with Eric Radcliffe, it was their idea to collaborate as one-off associations with different artists on each new single, under the name The Assembly. Meanwhile, he founded the label Reset Records with Eric Radcliffe. During 1983 and further on in 1984, he produced four singles "The Face of Dorian Gray", "I Just Want to Dance", "Claudette", "Calling All Destroyers" for his friend Robert Marlow, which were released on this label, they produced an album, shelved but was released much in 1999 under the name The Peter Pan Effect. In 1985, another collaboration took place with Paul Quinn of Bourgie Bourgie, the result was the single "One Day" by Vince Clarke & Paul Quinn. However, the project never took off, Clarke moved on to other projects. In early 1985, Clarke put an ad in Melody Maker for a singer, one applicant was Andy Bell, a fan of his earlier projects.
He teamed with Bell to form the group Erasure, the duo became one of the major selling acts in British music with international hits like "Oh L'amour", "Sometimes", "Chains of Love", "A Little Respect", "Drama!", "Blue Savannah", "Chorus", "Love to Hate You", "Take a Chance on Me", "Always". The band has released 16 albums to date and has enjoyed a long string of hit singles spanning their three decades together, most topped-off by the 2005 top five hit "Breathe" taken from their Nightbird album. In 2006, Erasure produced a country-western style acoustic album consisting of non-single cuts from their previous albums; this album, Union Street was preceded by the single "Boy" included on their 1997 Cowboy album. On 26 January 2007, in a video message on the official Erasure website, the band announced the release of their sixteenth album, entitled Light at the End of the World. Released in the UK on 21 May 2007, with a US release the following day, it was preceded by the single "I Could Fall in Love with You", released on 2 April 2007.
The second single, "Sunday Girl" was subsequently released. The album was produced by Gareth Jones and was a more "dance oriented" effort than some of their more recent work with Clarke making reference to the new material sounding a bit more like Andy Bell's 2005 solo effort Electric Blue. Erasure went on to tour with Cyndi Lauper, Deborah Harry, Margaret Cho, other artists, for the 2007 True Colors Tour of the United States, a tour which benefited gay, lesbian and transgender freedoms and rights. Erasure went out on their own, headlining the "Light at the End of the World" tour in Europe and North America; the band released a new EP, Storm Chaser, in September 2007. The EP contains nine tracks, one of them the winner of an online fan remix contest, for the track "When a Lover Leaves You", from the Light at the End of the World album; the Erasure album, Tomorrow's World, was released on 3 October 2011, featuring production by Frankmusik. The album was done in two locations, Vince in his Cabin Studio in Maine composing the music and vocal arrangement, production done by Andy in Los Angeles.
The album featured three singles.
Songs of Faith and Devotion Live
Songs of Faith and Devotion Live is Depeche Mode's live album recorded during their worldwide Devotional tour and was released on 6 December 1993. The album, which featured performances recorded in Liévin with two other tracks recorded in Copenhagen and New Orleans, was a track by track live duplicate of the Songs of Faith and Devotion album, released earlier in 1993. Though live tracks were used for the "Condemnation" single and the Mute Tonal Evidence 6 tape, no song from Milan is available on the album; this album was poorly received by critics. Reaching only #46 in the UK, it managed a #193 peak in the U. S. selling a mere 114,000 units there as of April 2006. A near-complete concert of this tour was released on the Devotional video in 1993, enjoyed more commercial success. In comparison to Songs of Faith and Devotion and Faith and Devotion Live received less acclaim from music critics. All tracks recorded live in Liévin, Stade Couvert Régional on 29 July 1993, with the exception of "Get Right With Me" and "One Caress".
"I Feel You" – 7:11 "Walking in My Shoes" – 6:41 "Condemnation" – 3:56 "Mercy in You" – 4:20 "Judas" – 5:01 "In Your Room" – 6:47 "Get Right with Me" – 3:11 "Rush" – 4:35 "One Caress" – 3:35 "Higher Love" – 7:30More audio tracks from Liévin are available on the "In Your Room" singles, the complete soundtrack of Liévin is now available on the re-release on 2DVD set of Devotional. Album information from the official Depeche Mode web site Allmusic review
Salt Lake City
Salt Lake City is the capital and the most populous municipality of the U. S. state of Utah. With an estimated population of 190,884 in 2014, the city is the core of the Salt Lake City metropolitan area, which has a population of 1,153,340. Salt Lake City is further situated within a larger metropolis known as the Salt Lake City–Ogden–Provo Combined Statistical Area, a corridor of contiguous urban and suburban development stretched along a 120-mile segment of the Wasatch Front, comprising a population of 2,423,912, it is one of only two major urban areas in the Great Basin. The world headquarters of The Church of Jesus Christ of Latter-day Saints is located in Salt Lake City; the city was founded in 1847 by followers of the church, led by Brigham Young, who were seeking to escape persecution that they had experienced while living farther east. The Mormon pioneers, as they would come to be known, at first encountered an arid, inhospitable valley that they extensively irrigated and cultivated, thereby establishing the foundation to sustain the area's present population.
Salt Lake City's street grid system is based on the north-south east-west grid plan developed by early church leaders, with the Salt Lake Temple constructed at the grid's starting point. Due to its proximity to the Great Salt Lake, the city was named Great Salt Lake City. In 1868, the 17th Utah Territorial Legislature dropped the word "Great" from the city's name. Immigration of international members of the church, mining booms, the construction of the first transcontinental railroad brought economic growth, the city was nicknamed the Crossroads of the West, it was traversed by the Lincoln Highway, the first transcontinental highway, in 1913. Two major cross-country freeways, I-15 and I-80, now intersect in the city. Salt Lake City has developed a strong outdoor recreation tourist industry based on skiing, the city hosted the 2002 Winter Olympics, it is the industrial banking center of the United States. Before settlement by members of the LDS Church, the Shoshone and Paiute had dwelt in the Salt Lake Valley for thousands of years.
At the time of Salt Lake City's founding, the valley was within the territory of the Northwestern Shoshone. One local Shoshone tribe, the Western Goshute tribe, referred to the Great Salt Lake as Pi'a-pa, meaning "big water", or Ti'tsa-pa, meaning "bad water"; the land was treated by the United States as public domain. The first American explorer in the Salt Lake area was Jim Bridger in 1825, although others had been in Utah earlier, some as far north as the nearby Utah Valley. US Army officer John C. Frémont surveyed the Great Salt Lake and the Salt Lake Valley in 1843 and 1845; the Donner Party, a group of ill-fated pioneers, had traveled through the Great Salt Lake Valley in August 1846. The valley's first permanent settlements date to the arrival of the Latter-day Saints in July 1847, they had traveled beyond the boundaries of the United States into Mexican Territory seeking a secluded area to safely practice their religion away from the violence and the persecution they experienced in the Eastern United States.
Upon arrival at the Salt Lake Valley, president of the church Brigham Young is recorded as stating, "This is the right place, drive on." Brigham Young claimed to have seen the area in a vision prior to the wagon train's arrival. They found. Four days after arriving in the Salt Lake Valley, Brigham Young designated the building site for the Salt Lake Temple; the Salt Lake Temple, constructed on the block called Temple Square, took 40 years to complete. Construction started in 1853, the temple was dedicated on April 6, 1893; the temple serves as its centerpiece. In fact, the southeast corner of Temple Square is the initial point of reference for the Salt Lake meridian, for all addresses in the Salt Lake Valley; the pioneers organized a state called State of Deseret, petitioned for its recognition in 1849. The United States Congress rebuffed the settlers in 1850 and established the Utah Territory, vastly reducing its size, designated Fillmore as its capital city. Great Salt Lake City replaced Fillmore as the territorial capital in 1856, the name was shortened to Salt Lake City.
The city's population continued to swell with an influx of converts to the LDS Church and Gold Rush gold seekers, making it one of the most populous cities in the American Old West. Explorer and author Richard Francis Burton traveled by coach in the summer of 1860 to document life in Great Salt Lake City, he was granted unprecedented access during his three-week visit, including audiences with Brigham Young and other contemporaries of Joseph Smith. The records of his visit include sketches of early city buildings, a description of local geography and agriculture, commentary on its politics and social order, essays and sermons from Young, Isaac Morley, George Washington Bradley and other leaders, snippets of everyday life such as newspaper clippings and the menu from a high-society ball. Disputes with the federal government ensued over the church's practice of polygamy. A climax occurred in 1857 when President James Buchanan declared the area in rebellion after Brigham Young refused to step down as governor, beginning the Utah War.
A division of the United States Army, comman
Synth-pop is a subgenre of new wave music that first became prominent in the late 1970s and features the synthesizer as the dominant musical instrument. It was prefigured in the 1960s and early 1970s by the use of synthesizers in progressive rock, art rock and the "Krautrock" of bands like Kraftwerk, it arose as a distinct genre in Japan and the United Kingdom in the post-punk era as part of the new wave movement of the late 1970s to the mid-1980s. Electronic musical synthesizers that could be used in a recording studio became available in the mid-1960s, while the mid-1970s saw the rise of electronic art musicians. After the breakthrough of Gary Numan in the UK Singles Chart in 1979, large numbers of artists began to enjoy success with a synthesizer-based sound in the early 1980s. In Japan, Yellow Magic Orchestra introduced the TR-808 rhythm machine to popular music, the band would be a major influence on early British synth-pop acts; the development of inexpensive polyphonic synthesizers, the definition of MIDI and the use of dance beats, led to a more commercial and accessible sound for synth-pop.
This, its adoption by the style-conscious acts from the New Romantic movement, together with the rise of MTV, led to success for large numbers of British synth-pop acts in the US. "Synth-pop" is sometimes used interchangeably with "electropop", but "electropop" may denote a variant of synth-pop that places more emphasis on a harder, more electronic sound. In the mid to late 1980s, duos such as Erasure and Pet Shop Boys adopted a style, successful on the US dance charts, but by the end of the decade, the'new wave' synth-pop of bands such as A-ha and Alphaville was giving way to house music and techno. Interest in new wave synth-pop began to revive in the indietronica and electroclash movements in the late 1990s, in the 2000s synth-pop enjoyed a widespread revival and commercial success; the genre has received criticism for alleged lack of musicianship. Synth-pop music has established a place for the synthesizer as a major element of pop and rock music, directly influencing subsequent genres and has indirectly influenced many other genres, as well as individual recordings.
Synth-pop was defined by its primary use of synthesizers, drum machines and sequencers, sometimes using them to replace all other instruments. Borthwick and Moy have described the genre as diverse but "...characterised by a broad set of values that eschewed rock playing styles and structures", which were replaced by "synthetic textures" and "robotic rigidity" defined by the limitations of the new technology, including monophonic synthesizers. Many synth-pop musicians had limited musical skills, relying on the technology to produce or reproduce the music; the result was minimalist, with grooves that were "typically woven together from simple repeated riffs with no harmonic'progression' to speak of". Early synth-pop has been described as "eerie and vaguely menacing", using droning electronics with little change in inflection. Common lyrical themes of synth-pop songs were isolation, urban anomie, feelings of being cold and hollow. In its second phase in the 1980s, the introduction of dance beats and more conventional rock instrumentation made the music warmer and catchier and contained within the conventions of three-minute pop.
Synthesizers were used to imitate the conventional and clichéd sound of orchestras and horns. Thin, treble-dominant, synthesized melodies and simple drum programmes gave way to thick, compressed production, a more conventional drum sound. Lyrics were more optimistic, dealing with more traditional subject matter for pop music such as romance and aspiration. According to music writer Simon Reynolds, the hallmark of 1980s synth-pop was its "emotional, at times operatic singers" such as Marc Almond, Alison Moyet and Annie Lennox; because synthesizers removed the need for large groups of musicians, these singers were part of a duo where their partner played all the instrumentation. Although synth-pop in part arose from punk rock, it abandoned punk's emphasis on authenticity and pursued a deliberate artificiality, drawing on the critically derided forms such as disco and glam rock, it owed little to the foundations of early popular music in jazz, folk music or the blues, instead of looking to America, in its early stages, it consciously focused on European and Eastern European influences, which were reflected in band names like Spandau Ballet and songs like Ultravox's "Vienna".
Synth-pop saw a shift to a style more influenced by other genres, such as soul music. Electronic musical synthesizers that could be used in a recording studio became available in the mid-1960s, around the same time as rock music began to emerge as a distinct musical genre; the Mellotron, an electro-mechanical, polyphonic sample-playback keyboard was overtaken by the Moog synthesizer, created by Robert Moog in 1964, which produced electronically generated sounds. The portable Minimoog, which allowed much easier use in live performance was adopted by progressive rock musicians such as Richard Wright of Pink Floyd and Rick Wakeman of Yes. Instrumental prog rock was significant in continental Europe, allowing bands like Kraftwerk, Tangerine Dream and Faust to circumvent the language barrier, their synthesizer-heavy "Kraut rock", along with the work of Brian Eno (for a time the keyboard player with Roxy M
Strange - A Black and White Mode by Anton Corbijn is the second music video compilation by Depeche Mode, featuring the first five Depeche Mode videos directed by Anton Corbijn, released in 1988. Corbijn shot the entire video album in Super-8; the five videos are in black and white, except for some random megaphones that were colored red. There were the three main singles for Music for the Masses, the final Black Celebration single "A Question of Time", "Pimpf", the instrumental closer to Music for the Masses; the "Pimpf" video is exclusive to "Strange". VVC248 VVC336, a limited edition with six postcards, four of them signed by the band members MF026, re-issued in 1999 38147-3 BVVP-90, includes a notes sheet and a postcard BVLP-90 All videos are present on all releases. "A Question of Time" "Strangelove" "Never Let Me Down Again", longer than the video on "The Videos 86-98" and "The Videos 86-98+" "Behind the Wheel", longer than the video on "The Videos 86-98" and "The Videos 86-98+" "Pimpf"All songs were written by Martin L. Gore All videos were directed by Anton Corbijn
New wave music
New wave is a genre of rock music popular in the late 1970s and the 1980s with ties to mid-1970s punk rock. New wave moved away from blues and rock and roll sounds to create rock music or pop music that incorporated disco and electronic music. New wave was similar to punk rock, before becoming a distinct genre, it subsequently engendered fusions, including synth-pop. New wave differs from other movements with ties to first-wave punk as it displays characteristics common to pop music, rather than the more "artsy" post-punk. Although it incorporates much of the original punk rock sound and ethos, new wave exhibits greater complexity in both music and lyrics. Common characteristics of new wave music include the use of synthesizers and electronic productions, a distinctive visual style featured in music videos and fashion. New wave has been called one of the definitive genres of the 1980s, after it was promoted by MTV; the popularity of several new wave artists is attributed to their exposure on the channel.
In the mid-1980s, differences between new wave and other music genres began to blur. New wave has enjoyed resurgences since the 1990s, after a rising "nostalgia" for several new wave-influenced artists. Subsequently, the genre influenced other genres. During the 2000s, a number of acts, such as the Strokes, Franz Ferdinand and The Killers explored new wave and post-punk influences; these acts were sometimes labeled "new wave of new wave". The catch-all nature of new wave music has been a source of much controversy; the 1985 discography Who's New Wave in Music listed artists in over 130 separate categories. The New Rolling Stone Encyclopedia of Rock calls the term "virtually meaningless", while AllMusic mentions "stylistic diversity". New wave first emerged as a rock genre in the early 1970s, used by critics including Nick Kent and Dave Marsh to classify such New York-based groups as the Velvet Underground and New York Dolls, it gained currency beginning in 1976 when it appeared in UK punk fanzines such as Sniffin' Glue and newsagent music weeklies such as Melody Maker and New Musical Express.
In November 1976 Caroline Coon used Malcolm McLaren's term "new wave" to designate music by bands not punk, but related to the same musical scene. The term was used in that sense by music journalist Charles Shaar Murray in his comments about the Boomtown Rats. For a period of time in 1976 and 1977, the terms new wave and punk were somewhat interchangeable. By the end of 1977, "new wave" had replaced "punk" as the definition for new underground music in the UK. In the United States, Sire Records chairman Seymour Stein, believing that the term "punk" would mean poor sales for Sire's acts who had played the club CBGB, launched a "Don't Call It Punk" campaign designed to replace the term with "new wave"; as radio consultants in the United States had advised their clients that punk rock was a fad, they settled on the term "new wave". Like the filmmakers of the French new wave movement, its new artists were anti-corporate and experimental. At first, most U. S. writers used the term "new wave" for British punk acts.
Starting in December 1976, The New York Rocker, suspicious of the term "punk", became the first American journal to enthusiastically use the term starting with British acts appropriating it to acts associated with the CBGB scene. Part of what attracted Stein and others to new wave was the music's stripped back style and upbeat tempos, which they viewed as a much needed return to the energetic rush of rock and roll and 1960s rock that had dwindled in the 1970s with the ascendance of overblown progressive rock and stadium spectacles. Music historian Vernon Joynson claimed that new wave emerged in the UK in late 1976, when many bands began disassociating themselves from punk. Music that followed the anarchic garage band ethos of the Sex Pistols was distinguished as "punk", while music that tended toward experimentation, lyrical complexity or more polished production, came to be categorized as "new wave". In the U. S. the first new wavers were the not-so-punk acts associated with the New York club CBGB.
CBGB owner Hilly Kristal, referring to the first show of the band Television at his club in March 1974, said, "I think of that as the beginning of new wave." Furthermore, many artists who would have been classified as punk were termed new wave. A 1977 Phonogram Records compilation album of the same name features US artists including the Dead Boys, Talking Heads and the Runaways. New wave is much more tied to punk, came and went more in the United Kingdom than in the United States. At the time punk began, it was a major phenomenon in the United Kingdom and a minor one in the United States, thus when new wave acts started getting noticed in America, punk meant little to the mainstream audience and it was common for rock clubs and discos to play British dance mixes and videos between live sets by American guitar acts. Post-punk music developments in the UK were considered unique cultural events. By the early 1980s, British journalists had abandoned the term "new wave" in favor of subgenre terms such as "synthpop".
By 1983, the term of choice for the US music industry had become "new music", while to the majority of US fans it was still a "new wave" reacting to album-based rock. New wave died out in the mid-1980s, knocked out by guitar-driven rock reacting against new wave. In the 21st-century United States, "new wave" was used to describe ar
Andy Fletcher (musician)
Andrew John Leonard Fletcher, popularly known as "Fletch", is an English keyboard player and one of the founding members of the electronic band Depeche Mode. In the late 1970s, Fletcher and schoolmate Vince Clarke formed the short-lived band No Romance in China, in which Fletcher played bass guitar. In 1980, Fletcher met Martin Gore at the Van Gogh Pub on Paycocke Road in Basildon. With Clarke, the trio, now all on synthesizer, formed. Clarke served as chief songwriter and provided lead vocals until singer Dave Gahan was recruited into the band that year, after which they adopted the name Depeche Mode at Gahan's suggestion. Clarke left the group shortly after the release of their debut album Speak & Spell, their 1982 follow-up album, A Broken Frame, was recorded as a trio, with Gore taking over primary songwriting duties. Musician & producer Alan Wilder joined the band in late 1982 and the group continued as a quartet until Wilder's departure in 1995. Since the core trio of Gahan and Fletcher have remained active, most with the release of their 2017 album Spirit and ensuing world tour.
Fletcher's role within Depeche Mode has been a topic of speculation. In early incarnations of the band, he played bass; as the band evolved after Vince Clarke's departure in 1981, Fletcher's role changed as each of the band members took to the areas that suited them and benefited the band collectively. In a key scene in D. A. Pennebaker's 1989 documentary film about the band, Fletcher clarifies these roles: "Martin's the songwriter, Alan's the good musician, Dave's the vocalist, I bum around." In his review of 2005's Playing the Angel, long after Wilder's departure from the band, Rolling Stone writer Gavin Edwards riffed upon Fletcher's statement with the opening line: "Depeche Mode's unique division of labor has been long established, with each of the three remaining members having a distinct role: Martin Gore writes the songs, Dave Gahan sings them and Andy Fletcher shows up for photo shoots and cashes the checks." Fletcher is the only member of the band. Fletcher continues to play a critical role within the band.
With the band having not always employed a full-time manager, Fletcher has handled many of the band's business and other non-musical interests over the years. In the EPK for Songs of Faith and Devotion, he discussed being genuinely interested in many of the business aspects of the music industry that other performing musicians shy away from, as such, he took over a lot of the business management aspects of the band. In recent years, this has included acting as the band's "spokesperson", with Fletcher being the one to announce Depeche Mode news, he is said to be the member, "the tiebreaker" and the one that "brings the band together". According to interviews, Fletcher built the compromise between Gahan and Gore that settled their serious dispute following 2001's Exciter album and tour over future songwriting duties within Depeche Mode. In the studio and during live shows, Fletcher does contribute a variety of supporting synthesizer parts, including bass parts, pads and drone sounds, various samples.
However, he is notably the only member of Depeche Mode. Although he can be seen singing in videos of Depeche's past live performances Fletcher's vocals were either mixed low or heard only through his own stage monitors. From the band's 2013/14 Delta Machine Tour to the present, vocal mics are no longer present on his keyboard station. On studio recordings, Fletcher's supporting vocals can be heard in some form or another on the majority of all Depeche Mode albums released since 1981. According to anecdotes from various members of Depeche Mode, an Andy Fletcher "solo album" entitled Toast Hawaii was recorded in Berlin during the Some Great Reward sessions in 1984. According to these anecdotes, all the songs on the "album" are cover songs on which Fletcher sings lead vocals; the "album" features Alan Wilder and/or Martin Gore on piano, with an album cover photo by Wilder. The story goes that Gore & Wilder presented the album to Mute Records' Daniel Miller and pleaded for him to release it. In reality, this "solo album" is certainly an in-joke, although it is not unlikely that during studio "downtime" from serious work, a diversion could have been making humorous recordings.
In 2002, Fletcher launched his own record label, a Mute Records imprint called Toast Hawaii and signed the band CLIEИT. He coordinated the recording of their eponymous 2003 debut and 2004's City and produced "extended remixes" for their subsequent singles "Price of Love," "Rock and Roll Machine," "Here and Now," "In It for the Money," "Radio" and "Pornography". CLIEИT left the label in 2006 and no further activity with the Toast Hawaii label has occurred or been announced to date. To support CLIEИT's live shows, Fletcher began touring as a DJ; when he is on hiatus from Depeche Mode, Fletcher plays occasional festivals and club gigs in Europe, South America and "places where Depeche Mode haven't visited or been able to visit" and is known to include various exclusive Depeche remixes in his sets. A notable DJ set of Fletcher's from 2011 in Warsaw has been bootlegged. In late 2015, Fletcher embarked on a small tour of European clubs. Fletcher is the eldest of four siblings born to John Fletcher.
The family moved to Basildon from Nottingham when Fletcher wa