I almost couldn’t believe it when I first saw this photo of Ringo with his wife, Barbara Bach. Take a good look — that’s Ringo Starr wearing a Depeche Mode t-shirt! And not just any tee — it’s from their Tour of the Universe.
I don’t know if he’s actually a fan or if he just liked the design, but I’d like to think he’s into the music. Either way, it’s pretty awesome to see.
Nice one, Ringo. Peace and love, mate.
In 1986, during the Black Celebration tour, Depeche Mode was often asked about the distinctiveness of their live performances. Two of the band’s members, Alan Wilder and Andy Fletcher, reflected on their commitment to electronic music in a time when many bands were moving toward a more mainstream sound.
Alan Wilder explained their philosophy:
“When we’re on stage, we prefer to keep it to just keyboards and drum machines because there aren’t too many bands around that do that anymore. Even some of the electronic bands that started around the same time as us have moved away from that. I suppose, in that respect, we like to stick to the look of electronics and keyboards, simply because it makes us a bit different.”
Andy Fletcher echoed this sentiment, recognizing the unique stance they took by staying true to their electronic roots:
“We kept on playing electronic music, and by the mid-Eighties, with U2, rock music was very much in. Electronic music was considered a dirty word. All these so-called electronic bands, like The Human League, became more traditional, but we stuck to our electronic roots.”
Today, of course, Depeche Mode’s stage setup has evolved to include live drums and guitars, blending elements of both the electronic and rock worlds. But during the Black Celebration era, their dedication to a purely electronic setup set them apart—and defined a legacy that fans still celebrate today.
I picked up my vinyl copy of Depeche Mode’s Violator back in 1990 while I was studying in Australia. The album—Depeche Mode’s seventh studio release—had just hit the shelves on 19 March 1990, and I couldn’t resist grabbing it as soon as I spotted it.
I remember buying it at Brashs, a popular music store back then, though the exact price escapes me—probably around AU$18. A week later, I discovered imported UK pressings of the album were selling for just AU$9 at Melbourne’s Central Station Records, and I kicked myself for not finding that deal first.
As for the album itself, “Violator” sits squarely in the electronic genre, with Depeche Mode embracing their signature synth-pop sound throughout. The record blends lush synthesizer layers, moody atmospherics, and Martin Gore’s songwriting to create something unmistakably Depeche Mode—dark, stylish, and utterly danceable.
As I discovered not long after my own trek to Brashs, Violator wasn’t just pressed and released in Australia. The album seemed to spread like a synth-pop virus, cropping up in record stores and collections all across the globe—each version with its own unique catalog number and label combination to match. For the record nerds among us (and I say that lovingly, as one myself), tracking these down can become a bit of a hobby—or an obsession, if you ask my younger self.
Here’s a quick tour around the world in Depeche Mode vinyl and assorted formats:
Even unofficial cassettes from Poland and regional anomalies like the gatefold sleeve in Australasia make appearances. There are club editions, promo boxes, and that mythical misprint from Scandinavia—each with a slightly different label, a changed prefix, or an extra dash somewhere only obsessives notice.
Of course, for someone simply wanting to listen, it was all the same music—just with an extra helping of collector’s mystique.
Over the years, Violator has seen its fair share of unusual releases and curious misprints—some of which would make even the most seasoned collector raise an eyebrow. For instance, there have been infamous pressings where Side 1 of the album is actually from Music for the Masses instead of Violator itself. That’s not exactly what you’re hoping for when you drop the needle expecting “World in My Eyes” and get “Never Let Me Down Again” instead.
Then there’s the matter of sound quality. Some reissues, particularly remastered vinyl, have drawn criticism for their low volume and noticeable surface noise between tracks. I never encountered these issues with my original, but friends who nabbed newer versions sometimes wonder if the pressing plant was asleep at the switch.
On the unofficial side, Violator proved wildly popular across Eastern Europe, especially in Poland. Throughout the ’90s, bootleg cassette editions popped up under imprints like Tact, Boogie Studio, A&A Music, and Fantom—each with subtle differences in packaging. While rarely matching the sonic fidelity of a proper release, those tapes became cherished artifacts for fans behind the Iron Curtain, where official imports were hard to come by.
In other words: If you’re a completist, tracking down all these quirks and oddities could turn into a delightful (and occasionally frustrating) scavenger hunt.
Even after 34 years, I still have the vinyl, though it’s been over two decades since I last played it. With streaming platforms like YouTube Music making the album so accessible, I never felt the urge to take it out again. Besides, the remastered versions now sound much better.
Over the years, Violator has earned its place among audiophile wishlists and “best of” collections around the globe. Whether it’s being hoarded for a fantasy desert island scenario or slotted between other iconic 1990s albums, this record keeps cropping up in music lovers’ catalogs. You’ll find Violator in:
It’s clear that Violator isn’t just another relic from the past—it’s still being celebrated, replayed, and re-evaluated by music fans everywhere.
Over the years, Violator hasn’t just earned a spot on my record shelf—it’s also become a cherished piece for collectors and fans worldwide. To this day, tens of thousands of people have sought out the vinyl, hoping to add it to their own collections. The album consistently receives high praise, with listeners around the globe awarding it an impressive average rating of 4.67 out of 5. More than 13,000 fans have weighed in, cementing its reputation as one of Depeche Mode’s most celebrated releases.
When it comes to favorite tracks, Violator has a few that stand out for me—”Enjoy the Silence,” “Halo,” and “Waiting for the Night.” I first heard “Enjoy the Silence” in 1989 on BBC radio, tuning in through shortwave while I was still in Malaysia. Before the album was released, I managed to get my hands on the 12-inch single of “Enjoy the Silence,” which featured a slower, more stripped-down version sung by Martin Gore. This was how the song was originally meant to sound before Alan Wilder transformed it into the upbeat anthem it became.
A handful of tracks from Violator received their own iconic music videos, further cementing the album’s legendary status. You’ll find “Enjoy the Silence” (complete with Dave Gahan wandering the countryside in a crown and deck chair), “Personal Jesus,” and “Policy of Truth” among the standouts. “World in My Eyes” and “Halo” also had memorable videos, each capturing that late-‘80s, early-‘90s Depeche Mode mood—moody lighting, striking fashion choices, and just enough surrealism to keep you guessing.
If you haven’t watched these in a while (or ever), most are easy to find on YouTube. The visuals pair perfectly with the remastered audio, making for an experience that’s just as compelling now as when they first hit MTV.
On January 14, 2014, Depeche Mode, slated for a performance at Palau Sant Jordi on Wednesday, January 15, 2014, took the opportunity to attend FC Barcelona’s afternoon training session. The band members observed the team’s training and, at the session’s conclusion, posed for photos with the players.
Some members of the band, such as Martin Gore and Andy Fletcher, are ardent football fans and support Arsenal FC and Chelsea FC, respectively, as evident in the accompanying photos below:
Depeche Mode’s 2013 album, “Delta Machine,” secured an admirable position at No. 18 in ABC News’ 50 Best Albums of 2013.: –
Source: http://gma.yahoo.com/blogs/abc-blogs/review-50-best-albums-2013-120206489–abc-news-celebrities.html
18. DEPECHE MODE – “DELTA MACHINE” (DELUXE EDITION) Of the 80’s titans still standing, Depeche Mode seem like the most unlikely to tread new ground, and yet, “Delta Machine” is their strongest effort since 1997’s “Ultra.” Somehow, they have adopted a minimalist approach and it sounds strikingly of the moment and fresh. (Single “Heaven” is one of the strongest bits of gospel-blues they have ever produced.) They never sound bored. They never sound tired. It sounds like the work of a band revving up to make another series of epic statements. With any luck, Depeche Mode can continue issuing classics of this caliber. This is exactly the kind of album you want a veteran group to release. Depeche Mode’s future is bright!
Favorite Tracks: “Secret To The End” “My Little Universe” “Happens All The Time” (Bonus disc track) “Welcome To My World” “Heaven”
Depeche Mode’s 2013 album “Delta Machine” secured a place in The Scene’s Top 40 Albums of 2013, a list curated by the editorial team at The Scene, the essential entertainment guide published every Friday with the Irish Daily Star:
Source: http://www.thestar.ie/star/the-scenes-top-40-albums-2013-38655/
40. Depeche Mode: Delta Machine (Sony)
Three decades or so after Depeche Mode helped start the synth-pop movement – alongside Soft Cell, Eurythmics and Pet Shop Boys – and they are the only act left with a major label contract and enough popularity to fill stadiums worldwide. This stunning 13th studio album (produced by Ben Hillier and mixed by Flood) shows why – they are still on top of their game.
“Depeche Mode are the most successful electronic band in music history, selling over 100 million albums and singles sold worldwide. Still, their blend of synth-pop and alternative is difficult to replicate, as the wide range of idiosyncratic atmospheres lead songwriter Martin Gore was able to construct is daunting. Many bands influenced by them are not obvious audible replications as a result. Instead, they are more influenced by their mode of songwriting, which allowed ambition to flow freely; it encouraged artists to pursue darker territory as they saw fit.” Read more: http://concerttour.org/bands-under-the-influence-of-depeche-mode.php
Depeche Mode finally performed ‘But Not Tonight’ on a world tour for the first time during their show in Frankfurt, Germany, on June 5, 2013. Sung by Martin instead of Dave, it was a fantastic acoustic version. However, I would have loved to see it played live with the synths, akin to the album version.
For those unable to attend Depeche Mode’s Delta Machine tour live, a multicam edited video with excellent audio quality offers a comprehensive experience of their Budapest performance on May 21, 2013.
Depeche Mode launched their Delta Machine world tour on May 4, 2013, at Le Palais Nikaia, Nice, France, treating fans to a lengthy setlist of 24 tracks. The concert featured old favorites like ‘Just Can’t Get Enough’ and ‘Black Celebration’ but notably omitted ‘But Not Tonight.’
Setlist: Depeche Mode, Le Palais Nikaia, Nice, France, 5/4/13
1. “Welcome to My World”
2. “Angel”
3. “Walking in My Shoes”
4. “Precious”
5. “Black Celebration”
6. “Policy of Truth”
7. “Should Be Higher”
8. “Barrel of a Gun”
9. “Higher Love”
10. “The Child Inside”
11. “Heaven”
12. “Soothe My Soul”
13. “A Pain That I’m Used To”
14. “A Question of Time”
15. “Secret to the End”
16. “Enjoy the Silence”
17. “Personal Jesus”
18. “Goodbye”
19. “A Question of Lust”
20. “Halo” (Goldfrapp Remix)
21. “Just Can’t Get Enough”
22. “I Feel You”
24. “Never Let Me Down Again”
Full details and video links at slicingupeyeballs.com