June 12, 2025 • 25 mins
This week in the world we live in and life in general w/ host Jon Justice
- Douglas McCarthy Nitzer Ebb passes away
- New Track Names
- Depeche Mode “M” Movie reviews
- Cleanest version of “In Then End”
- Listener feedback.
SUPPORT JON JUSTICE BY PICKING UP YOUR COPY OF THE EMBARK, THE SCIENCE FICTION SERIES WRITTEN BY JON JUSTICE
An exciting mix of Fast and Furious, Star Wars, Ready Player One and the sci-fi adventures of the 70’s - 1990’s
EMBARK: Book 1 and EMBARK: Treasure in Darkness (Book 2) EMBARK: The Vanishing War (Book 3) Gahan Corbijn and the Asteroid of Misfortune, The Rocket Queen (Book 5) Fear the Dangerous Night (Book 6) are available now in ebook, paperback, audiobook and free on Kindle Unlimited!
EMBARK Battle Planet (Book 7) is now available!
https://www.amazon.com/dp/B07K7LLFZY
Latest drink and chat with Rob Rohm https://youtu.be/rXs7iZX1tfU
Email: TalkShowNerd@gmail.com
@X @JonJustice
Instagram TheJonJustice
Facebook Jon Justice
- Douglas McCarthy Nitzer Ebb passes away
- New Track Names
- Depeche Mode “M” Movie reviews
- Cleanest version of “In Then End”
- Listener feedback.
SUPPORT JON JUSTICE BY PICKING UP YOUR COPY OF THE EMBARK, THE SCIENCE FICTION SERIES WRITTEN BY JON JUSTICE
An exciting mix of Fast and Furious, Star Wars, Ready Player One and the sci-fi adventures of the 70’s - 1990’s
EMBARK: Book 1 and EMBARK: Treasure in Darkness (Book 2) EMBARK: The Vanishing War (Book 3) Gahan Corbijn and the Asteroid of Misfortune, The Rocket Queen (Book 5) Fear the Dangerous Night (Book 6) are available now in ebook, paperback, audiobook and free on Kindle Unlimited!
EMBARK Battle Planet (Book 7) is now available!
https://www.amazon.com/dp/B07K7LLFZY
Latest drink and chat with Rob Rohm https://youtu.be/rXs7iZX1tfU
Email: TalkShowNerd@gmail.com
@X @JonJustice
Instagram TheJonJustice
Facebook Jon Justice
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
This week on depeche Mode the Podcast the passing of
the lead singer of a band closely aligned with Depeche Mode,
and it pains me to have to bring you this
news on this week's episode. Also, we may have all
of the track names for the unreleased fully produced Memento
Moriy songs Depeche Mode m movie Review. I have a
(00:25):
very special surprise for those podcast listeners of the show,
So if you're enjoying this on YouTube, I would encourage
you to head on over to whatever podcast platform you
use and make sure that you download this week's episode
for this very special addition to the podcast this week,
plus we'll get to your emails listener feedback. Let's go
(00:48):
ahead and get right to it. On depeche Mode the Podcast,
I'm your host, John Justice on Depeche Mode the Podcast,
I'm glad you or with another episode this week as
we dive into all of the news, both sad and
exciting as well. I want to mention briefly a programming note.
(01:10):
The intention was to have Rob Rahm on the show
this week from the global Depeche Fan Group. Unfortunately, because
of my own personal work schedule, I simply didn't know
when I was going to have the opportunity to go
and record the podcast and therefore couldn't coordinate with Rob,
So hopefully we'll get him on the show in the
very very near future. That being said, we have a
(01:31):
lot of ground to cover on the podcast this week,
and first off, we start off with just some absolutely
tragic news. I saw a post on Wednesday afternoon on
Facebook from the family members that were relaying that unfortunately,
the co founding vocalist of the English Industrial Dance Outfit,
(01:54):
as it's described in the article in front of Me
from Billboard Knights a EB, Douglas McCarthy, has passed away
at the age of fifty eight. Now, as I mentioned,
McCarthy's death was confirmed by Knights or eb's official social
media account, and this happened on Tuesday, so I missed
the actual official release announcement.
Speaker 2 (02:13):
I didn't see this until Wednesday, and.
Speaker 1 (02:15):
They said it is with a heavy heart that we
regret to inform that Douglas McCarthy has passed away this morning,
a June eleventh, twenty twenty five. You know, end of
just the data is of somewhat significance given the proximity
to the passing of course a number of years ago
of Andy Fletcher. We're also coming up on the anniversary
(02:36):
once again of the music for the Masses one oh
one show at the Rose Bowl. So you know, June
just ends up continuing to be and I'm not making
light of it, but just a month of significance, both
of celebration and of tragedy for Depeche Mode fans. They
went on to say, we ask everyone to please be
(02:56):
respectful of Douglas and his wife during this difficult time.
We appreciate your understanding it. Share more information soon. Maa
McCarthy co found The Knights rab back in eighty two
along with the school friends Vaughn bon Harris and David Gooday,
with the group taking inspiration from the post punk genre
from their early single releases, that sounds soon evolved into
(03:18):
a more industrial and electronic laced influence, with the band
quickly becoming regarded as noted figures within the electric body
music scene, a genre that canbined elements of industrial punk
and dance music. I don't ever remember their music being
described as electronic body music. As a matter of fact,
(03:38):
that's the first time I've actually seen that particular phrase
or uttered it on the podcast, I've always just referred
to them as being an industrial group.
Speaker 2 (03:48):
Now.
Speaker 1 (03:48):
Their debut album, that Total Age, issued in eighty seven,
and though avoiding charts success, the single Joined in the
Chant would reach number one on the Dance Club charts.
Knights A reb W remain a fixture of the chart
in the coming years, with singles such as Control, I'm Here,
Lightning Man, Fun to Be Had, and just what a
fantastic album that was all appearing therein with the latter
(04:12):
giving the band their highest peak when it reached number
five in nineteen ninety, and they would also impact the
Alternative airplay charts with nineteen ninety one's Family Man giving
them a career high when they reached number twenty one.
Now Knights are reb I don't recall whether or not
I was familiar with Knights Are Reb prior to them
joining the tour as the opening act for the World
(04:34):
Violation Tour. I want to say that I was, but
it's difficult to know. I will say that, in my opinion,
Knights are Eb opening four Depeche on that tour in
promotion of Violator was probably one of the most significant
opening acts that they've had, next to the now that
(04:55):
was the personal favorite of mine, So I would imagine
from the fandom at large, there have been some amazing
opening acts for the band throughout their years. You know,
Knights Areb was just significant in that moment in time
because it was almost as if what Knightzareb was doing
in the opening act for Depeche on tour was an
(05:17):
interesting comparison and juxtaposition. Whereas depeche had this electronic focus
to their music. The blues element was there, but it
was teetering on that industrial sound, but of course more
pop in its delivery. It's almost as if if you
(05:38):
had a progression of electronic music, you would go like
industrial to you know, Knightzareb to Nine Inch Nails in
terms of accessibility and then more mainstream appeal with Depeche Mode.
Getting back to the article, nineteen ninety ones, Ebbhead would
(06:00):
be their only record to reach the Billboard two hundred.
Nineteen ninety five's big hit would be the band's last years,
with Knights Are Splitting soon after its release. I loved Ebhead,
of course, produced by Flood, and again during this period
of time, you know, sort of the peak of Depeche
Mode's power and popularity, dove tailing off of Violator into
(06:24):
songs of faith and devotion, anything attached to the band,
even ancillary was incredibly popular, and so my fandom of
Depeche Mode would extend beyond the band and then of
course into Knights Are reb not only because of their association,
but obviously because of their music as as well, speaking
to just the popularity and just how devoted we are
(06:47):
to Depeche Mode, and it still remains that way to
a certain extent, although a lesser extent than during that
particular Apex Mountain time period of the band. McCarthy would
contribute to Recoil, the solo project from Alan Wilder of
Depeche Mod through the nineties, later collaborating with a French producer,
producer Terrence Fixmer as one half of Fixmer. McCarthy Knighter
(07:11):
reb would reform in two thousand and six and release
their final album, Industrial Complex in twenty ten. In twenty thirteen,
McCarthy would release his only solo album, Kill Your Friends.
In recent years, McCarthy had suffered from a noted health issues,
with Harris taking over vocals for a series of twenty
twenty one performances after McCarthy collapsed before a show due
(07:35):
to a pre existing medical condition. In early twenty twenty four,
McCarthy announced he would no longer be performing live after
being diagnosed with cirrhosis of the livers. So again, just
far too young at fifty eight, and you know a
band that will you know.
Speaker 2 (07:53):
Certainly be remembered for.
Speaker 1 (07:57):
Their significance in the electronic industrial dance music. It's attachment
to depeche Mode, but even beyond beyond that, and again
going back to that era of industrial music, they were
right there again, they were right there in the middle
between you know, Einsters and Zenoiboten and I know I
(08:18):
butchered that name in terms of industrial music that was
much less accessible to the mainstream. You know, nightser Reb
would be sort of that bridge that would fill in
the gap for individuals who liked the electronic dance music
excuse me, but again wanted to hear something that was
a little bit more accessible, and certainly with Ebbhead, that
(08:40):
was when they really were teetering closer to something sounding
like depeche Mode while still keeping that that edge that
made them so special. All right, So with that, let's
go ahead and move on Chris Culpepper had wrote in
this week for listener feedback and emails talk show nerded
gmail dot com. If you're enjoying this up on YouTube,
(09:02):
of course leave a comment there. We'll get to his
email a little bit later on. However, I hadn't seen
this yet, but over on the Depeche Mode Reddit page,
somebody had gone in to look at the registered trade
mark tracks for Depeche Mode.
Speaker 2 (09:22):
And we've done this in the past. We did this,
you know, I did this.
Speaker 1 (09:25):
Other people did this heading you know, toward the release
of a mental Maury clamoring for news about the album,
you would head into the registered trademarks from the label
to maybe get a glimpse of songs that would be released.
And some of those song titles I believe may have
changed in terms of title. However, as Chris Culpepper shared
(09:45):
with me a screen grab taken from registered trademarked tracks
regarding Martin Gore. In it, you see the series of
Momento Moriy tracks written by Martin Gore, and then you
also see two songs that we haven't heard yet, Loose Cannon,
and if you want to now, they're being registered next
(10:07):
to the pre existing Memento Moriy tracks, I think lends
a lot of credibility to their validity. So if this
is accurate, then unless in the end was named something else,
which I can't imagine that it was.
Speaker 2 (10:25):
We have our four track titles.
Speaker 1 (10:27):
For the unreleased fully produced tracks Life two point zero,
which Martin Gore has mentioned in interviews for the promotion
of Amento Mory. Of course, we now now have in
the end, and again for you podcast listeners be waiting
for the end of the podcast, I have something very
special to share, and I'll reiterate for you YouTube watchers,
(10:47):
you'll want to go and download the podcast on whatever
podcast platform you use. So we have in the end
Life two point zero, and then that these two tracks
are to be confirmed loose Cannon and if you want
to Now regarding when we end up hearing these tracks,
I've been told, as I mentioned, that these tracks will
be released in promotion of the film m which we'll
(11:10):
talk about here in just a moment. Clearly in the
end's going to be released with that as it was
included on the you know, in the beginning of the
credits for the film.
Speaker 2 (11:21):
So I would.
Speaker 1 (11:22):
Imagine that probably with the physical release of the concert
film that will end up getting some sort of package
that will include those four tracks. There's a lot of
people speculating about the potential box set, a special box
set for Memento Mary.
Speaker 2 (11:36):
I'm less inclined to believe that's going to happen.
Speaker 1 (11:39):
There's been so much distance since the album to come
out with a special edition of it now seems a
little a little late wherein the physical release of the film.
To have four new tracks to coincide with it to
help boost downloads and sales seems like the more logical
thing to do. And a programming note on this week's episode,
(12:00):
you're not hearing some of the typical transition sound effects
that I normally do because I'm actually recording the episode
this week in my radio show studio again just because
my time is limited and I'm incredibly busy at the moment,
but I wanted to make sure that I got the
podcast out, so I don't have access to those particular
sound effects that you typically hear.
Speaker 2 (12:21):
On the episode.
Speaker 1 (12:22):
So I just want to kind of want to give
you a bit of an update as to why you're
not hearing the traditional transition sounders that I use. So
with that let's get into this review of Depeche Mode's
new concert film. I've actually seen a few clips from
the film. I'm not going to watch anymore, just simply
because I don't want to be spoiled, but I've probably seen, oh,
(12:44):
I don't know, six seven minutes, maybe ten minutes worth
of the film. I've seen some of the concert footage,
and then have watched enough to get a good idea
of what the non concert footage will entail and listen,
it looks like a really interesting combination of what we
(13:08):
saw with the Playing the Angel Live concert release, not
so much in terms of the filming of the concert itself.
The concert footage that I watched from the film seemed
fairly straightforward of what you would expect something along the
lines of Live in Barcelona, certainly done in a very
(13:28):
cinematic way. I was very impressed with what I saw
of the live footage in this essentially concert film. The
additions of what Fernando Frius did in adding in the
other elements relating to the Mexican holiday and Mexican culture
definitely unique, much of it in black and white, interpretively
(13:51):
stylistic and fitting in well with the essence of Memento Maury,
So I was fairly impressed with what I saw. It
reminded me a bit too. I guess the other correlation
I want to give in. Rob Rahm mentioned this in
his comments last week after seeing the film is that
he was reminded of Strange and I certainly got that
(14:11):
vibe as well. Definitely not Anton Corbin, but in terms
of the artistry of the additional footage added to the film,
it had. It definitely had that vibe, and it felt
very cohesive and consistent. Not a documentary film such as
(14:33):
one oh one, something closer to what Anton KORbin did
with the Live in Berlin Alive in Berlin intermixed with
fan interviews. But what I saw, I felt was very
impressive and has me even more excited to see the film.
Then let me go ahead and get to this. And
I believe I pulled this from Variety if I'm not mistaken.
(14:54):
The director behind the new documentary m links the cultural
significance of the Mexican holiday celebrate the Day of the
Dead with the music of the electro synthpop band, which
is indisputably a new wave pioneer. It's an ambiguous concept
but also an intriguing one. At the June fifth world
premiere of M at the Tribeca Film Festival, Fryas was
(15:17):
joined by Depeche Mod's Dave Gone and Martin Gore for
a boisterous screening of the ninety five minute film that
often felt as much like a live concert as the
ones depicted on screen. Gone said during the panel, one
of the things about Depeche Mode's concerts, it's a communal experience,
and if you listened to last week's episode, I included
the entirety of that Q and A that took place
(15:41):
after the debut of the movie. That experience was filmed
during a three night stand in Mexico City's four oh
Soul Stadium in twenty twenty three, where a total of
more than two hundred thousand fans pilgrimaged to watch the sleek,
massive production that showcase Gone twirling around on stage, Stevie
Nixon three piece suit, Gore, sharing his keyboard and guitar skills,
(16:04):
as well as his angelic voice and songs from four
decades of synth Drenched to creativity, Prius and his already
approach toggled back and forth between black and white and
color video and many of his camera shots and close
up of the heel of Dave Gone's boot to quick
cut to a cluster of fans waving white gloved hands
(16:26):
during Never Let Me Down Again per tradition, confirmed how
much he wanted this documentary to be different. In Between songs,
including the moody my Cosmos's Mind Now, he included Don't
Say You Love Me. That was a mistake, so I
went ahead and changed it for him, because I know that.
Soul with Me is the Martin gor track that's included
in the film, both from twenty twenty three's Memento Mori
(16:48):
album Remember You Will Die. Voiceover from voiceovers from fans
and lines from poetry are presented in Spanish. The serene
scene of a swamp shifts to an overhead drone shot
of the concert, with Gone executing mesmeriting, mesmerizing calisthenics during
the somber ballad of Speak to Me, his resonant voice
(17:10):
cutting through a cloud of synthesizers. A lesson about the
Aztec guardian of the underworld prefaces Gore's stunning rendition of
Soul with Me, another freest thoughtful connection between the song
and spirit. Thus, I guess I included it for him
where he actually went included in himself. Longtime fans of
Depeche Mode will relish the relish the vibrant performances of classics,
(17:33):
enjoy the silence personal Jesus, but they will likely most
appreciate the dedication to the original member, Andy Fletcher, who
died in twenty twenty two at age sixty. Dot matrix
printounce of Fletcher's face bob throughout the crowd as God
bends his fingers to form eyeglasses and hold his arms
(17:54):
overhead in a mask like pose. As the band performs
World in My Eyes, the video screens blanketing the back
of the stage illuminate with Fletcher's photo and the sweet
tribute to the new wave innovator. While the theme of
mortality is threaded throughout the film, it is also balanced
with hope, appreciation.
Speaker 2 (18:14):
And more than a dab of realism.
Speaker 1 (18:18):
As one fan asks rhetorically, thinking something will last forever
isn't good?
Speaker 2 (18:25):
Right?
Speaker 1 (18:26):
And again, from what I saw of the film, I'm
really excited for it. I'm I'm pleased personally that it
is more of a concert film than it is something
akin to what Anton Corbin had done with Spirits in
the Forest, and my expectation, as I mentioned last week,
(18:47):
is that we'll obviously get a physical release of the film,
but that may be all that we get of the
live show unless they decide to go ahead and release
the entirety of the footage and compile it into the
full concert.
Speaker 2 (19:01):
That seems like it would be.
Speaker 1 (19:02):
A very large task, like I mean with editing to
include all of the songs. Depending on how much work
was done in the editing process to make the film itself,
they may have, you know, already edited the entire film,
in which case they can just put the songs together
so that remains to be seen. But I also have
that expectation as I've been told, that we will get
all four of those tracks, not just in the end,
(19:25):
with the actual release of the of the album. I
also want to make a quick correction, and I know
some of you are probably already typing to me. I
had my apologies talking about the passing of Douglas McCarthy
from Knights or eb Fletch passed away in May. The
reason I made that mistake is because my dear friend Drew,
(19:46):
who passed away that same year, passed away the following
month in June, and so I was conflating that in
my mind because I couple those two things together as
they were, you know, sort of back to back heart
breaks for me personally, and of course, with the passing
of Fletch, heartbreaking in and of itself. So here's what
(20:08):
I'm gonna do, just because I am incredibly short on
time this week. I do have your emails from over
the week, and I appreciate those. I'm gonna hang on
to all of these. Maybe I'll do a bonus podcast
this weekend, depending on my schedule. If not, we'll certainly
take the time and do an extended listener feedback portion
(20:30):
on next week's show, just simply because I'm pressed for
time and I need to get back to getting ready
for doing my weekly radio show, which I'm about an
hour away from going live on. So with that, for
you watching on YouTube, thank you so much for checking
out the episode. As always, if you want to support
(20:52):
the podcast and you enjoy listening to or reading more specifically,
but you can do both science fiction. I hope you'll
check my science fiction space opera adventure series Embark. I
wrote it out of my love of Star Wars, being
a fan since I was five years old. All seven
books in the series are available on Amazon dot com.
(21:12):
Go and check them out today. M bark E M
b A r K, John j O N Justice and
you can find them there. If you want to follow
me on social media at John Justice Jon on X.
You can also follow me on Instagram, the John Justice,
the John Justice TikTok as well and Facebook John Justice.
You can find me there too, so drop me an
(21:35):
email talkshow Nerd at gmail dot com. And for you
YouTube watchers again, I would encourage you to go and
download the podcast now. For those of you listening on
the podcast that you have a special treat for you.
I probably overhyped this, but the reason why I couldn't
do it on the YouTube is because I'm afraid I'm
getting it nicked for copyright issues. But I know I
(21:58):
can get away with it on the podcast. I've tracked
down and many of you probably have as well. The
cleanest version of what a fan has gone and put
together of in the end, as recorded from the credits
of Depeche Mode M they actually did a really I mean,
(22:18):
for all things being considered that this was recorded in
the theater on a phone and This is what they
were able to go and reproduce to give us the
cleanest version of the song.
Speaker 2 (22:29):
I definitely wanted to share it.
Speaker 1 (22:30):
With you on the podcast this week, so without further ado,
here is the cleanest version available so far. And trust me,
I've scoured the internet of Depeche Modes unreleased a track
in the end from the sessions of Memento MORI. Thank
you so much for checking out the podcast this week.
I look forward to talking with you again next week
(22:50):
and email me talkshow nerd at gmail dot com. And
with that, I hope wherever you are, you're happy, You're healthy,
You're safe, God bless I'll t talk to you next week.
Speaker 2 (23:01):
And here is Depeche Modes in the end?
Speaker 3 (23:06):
Are you forever looking?
Speaker 4 (23:08):
Man at the past?
Speaker 5 (23:10):
Between the cracks voting since when who's fly sparting to
the black?
Speaker 3 (23:17):
Heaven knows what Sunday he sees work for that belief
seven help you when you pray.
Speaker 2 (23:24):
I don't think so anyway.
Speaker 3 (23:33):
In the waits quoting hellnestly, it would.
Speaker 5 (23:41):
Be plastic game. In the end, these are complicated diners.
(24:11):
He has confusion anticat.
Speaker 3 (24:13):
I can why to wear the spread on the night
you laid away as the wake up gets upon second,
setching out the lines artist antiness inside. That's a shiny
yard in Going over there, say, would be the lastic game.
Speaker 4 (24:48):
Meating the door of the di at that sun.
Speaker 1 (25:32):
You know, killing the
Speaker 4 (25:43):
Wis voting sys
This week on depeche Mode the Podcast the passing of
the lead singer of a band closely aligned with Depeche Mode,
and it pains me to have to bring you this
news on this week's episode. Also, we may have all
of the track names for the unreleased fully produced Memento
Moriy songs Depeche Mode m movie Review. I have a
(00:25):
very special surprise for those podcast listeners of the show,
So if you're enjoying this on YouTube, I would encourage
you to head on over to whatever podcast platform you
use and make sure that you download this week's episode
for this very special addition to the podcast this week,
plus we'll get to your emails listener feedback. Let's go
(00:48):
ahead and get right to it. On depeche Mode the Podcast,
I'm your host, John Justice on Depeche Mode the Podcast,
I'm glad you or with another episode this week as
we dive into all of the news, both sad and
exciting as well. I want to mention briefly a programming note.
(01:10):
The intention was to have Rob Rahm on the show
this week from the global Depeche Fan Group. Unfortunately, because
of my own personal work schedule, I simply didn't know
when I was going to have the opportunity to go
and record the podcast and therefore couldn't coordinate with Rob,
So hopefully we'll get him on the show in the
very very near future. That being said, we have a
(01:31):
lot of ground to cover on the podcast this week,
and first off, we start off with just some absolutely
tragic news. I saw a post on Wednesday afternoon on
Facebook from the family members that were relaying that unfortunately,
the co founding vocalist of the English Industrial Dance Outfit,
(01:54):
as it's described in the article in front of Me
from Billboard Knights a EB, Douglas McCarthy, has passed away
at the age of fifty eight. Now, as I mentioned,
McCarthy's death was confirmed by Knights or eb's official social
media account, and this happened on Tuesday, so I missed
the actual official release announcement.
Speaker 2 (02:13):
I didn't see this until Wednesday, and.
Speaker 1 (02:15):
They said it is with a heavy heart that we
regret to inform that Douglas McCarthy has passed away this morning,
a June eleventh, twenty twenty five. You know, end of
just the data is of somewhat significance given the proximity
to the passing of course a number of years ago
of Andy Fletcher. We're also coming up on the anniversary
(02:36):
once again of the music for the Masses one oh
one show at the Rose Bowl. So you know, June
just ends up continuing to be and I'm not making
light of it, but just a month of significance, both
of celebration and of tragedy for Depeche Mode fans. They
went on to say, we ask everyone to please be
(02:56):
respectful of Douglas and his wife during this difficult time.
We appreciate your understanding it. Share more information soon. Maa
McCarthy co found The Knights rab back in eighty two
along with the school friends Vaughn bon Harris and David Gooday,
with the group taking inspiration from the post punk genre
from their early single releases, that sounds soon evolved into
(03:18):
a more industrial and electronic laced influence, with the band
quickly becoming regarded as noted figures within the electric body
music scene, a genre that canbined elements of industrial punk
and dance music. I don't ever remember their music being
described as electronic body music. As a matter of fact,
(03:38):
that's the first time I've actually seen that particular phrase
or uttered it on the podcast, I've always just referred
to them as being an industrial group.
Speaker 2 (03:48):
Now.
Speaker 1 (03:48):
Their debut album, that Total Age, issued in eighty seven,
and though avoiding charts success, the single Joined in the
Chant would reach number one on the Dance Club charts.
Knights A reb W remain a fixture of the chart
in the coming years, with singles such as Control, I'm Here,
Lightning Man, Fun to Be Had, and just what a
fantastic album that was all appearing therein with the latter
(04:12):
giving the band their highest peak when it reached number
five in nineteen ninety, and they would also impact the
Alternative airplay charts with nineteen ninety one's Family Man giving
them a career high when they reached number twenty one.
Now Knights are reb I don't recall whether or not
I was familiar with Knights Are Reb prior to them
joining the tour as the opening act for the World
(04:34):
Violation Tour. I want to say that I was, but
it's difficult to know. I will say that, in my opinion,
Knights are Eb opening four Depeche on that tour in
promotion of Violator was probably one of the most significant
opening acts that they've had, next to the now that
(04:55):
was the personal favorite of mine, So I would imagine
from the fandom at large, there have been some amazing
opening acts for the band throughout their years. You know,
Knights Areb was just significant in that moment in time
because it was almost as if what Knightzareb was doing
in the opening act for Depeche on tour was an
(05:17):
interesting comparison and juxtaposition. Whereas depeche had this electronic focus
to their music. The blues element was there, but it
was teetering on that industrial sound, but of course more
pop in its delivery. It's almost as if if you
(05:38):
had a progression of electronic music, you would go like
industrial to you know, Knightzareb to Nine Inch Nails in
terms of accessibility and then more mainstream appeal with Depeche Mode.
Getting back to the article, nineteen ninety ones, Ebbhead would
(06:00):
be their only record to reach the Billboard two hundred.
Nineteen ninety five's big hit would be the band's last years,
with Knights Are Splitting soon after its release. I loved Ebhead,
of course, produced by Flood, and again during this period
of time, you know, sort of the peak of Depeche
Mode's power and popularity, dove tailing off of Violator into
(06:24):
songs of faith and devotion, anything attached to the band,
even ancillary was incredibly popular, and so my fandom of
Depeche Mode would extend beyond the band and then of
course into Knights Are reb not only because of their association,
but obviously because of their music as as well, speaking
to just the popularity and just how devoted we are
(06:47):
to Depeche Mode, and it still remains that way to
a certain extent, although a lesser extent than during that
particular Apex Mountain time period of the band. McCarthy would
contribute to Recoil, the solo project from Alan Wilder of
Depeche Mod through the nineties, later collaborating with a French producer,
producer Terrence Fixmer as one half of Fixmer. McCarthy Knighter
(07:11):
reb would reform in two thousand and six and release
their final album, Industrial Complex in twenty ten. In twenty thirteen,
McCarthy would release his only solo album, Kill Your Friends.
In recent years, McCarthy had suffered from a noted health issues,
with Harris taking over vocals for a series of twenty
twenty one performances after McCarthy collapsed before a show due
(07:35):
to a pre existing medical condition. In early twenty twenty four,
McCarthy announced he would no longer be performing live after
being diagnosed with cirrhosis of the livers. So again, just
far too young at fifty eight, and you know a
band that will you know.
Speaker 2 (07:53):
Certainly be remembered for.
Speaker 1 (07:57):
Their significance in the electronic industrial dance music. It's attachment
to depeche Mode, but even beyond beyond that, and again
going back to that era of industrial music, they were
right there again, they were right there in the middle
between you know, Einsters and Zenoiboten and I know I
(08:18):
butchered that name in terms of industrial music that was
much less accessible to the mainstream. You know, nightser Reb
would be sort of that bridge that would fill in
the gap for individuals who liked the electronic dance music
excuse me, but again wanted to hear something that was
a little bit more accessible, and certainly with Ebbhead, that
(08:40):
was when they really were teetering closer to something sounding
like depeche Mode while still keeping that that edge that
made them so special. All right, So with that, let's
go ahead and move on Chris Culpepper had wrote in
this week for listener feedback and emails talk show nerded
gmail dot com. If you're enjoying this up on YouTube,
(09:02):
of course leave a comment there. We'll get to his
email a little bit later on. However, I hadn't seen
this yet, but over on the Depeche Mode Reddit page,
somebody had gone in to look at the registered trade
mark tracks for Depeche Mode.
Speaker 2 (09:22):
And we've done this in the past. We did this,
you know, I did this.
Speaker 1 (09:25):
Other people did this heading you know, toward the release
of a mental Maury clamoring for news about the album,
you would head into the registered trademarks from the label
to maybe get a glimpse of songs that would be released.
And some of those song titles I believe may have
changed in terms of title. However, as Chris Culpepper shared
(09:45):
with me a screen grab taken from registered trademarked tracks
regarding Martin Gore. In it, you see the series of
Momento Moriy tracks written by Martin Gore, and then you
also see two songs that we haven't heard yet, Loose Cannon,
and if you want to now, they're being registered next
(10:07):
to the pre existing Memento Moriy tracks, I think lends
a lot of credibility to their validity. So if this
is accurate, then unless in the end was named something else,
which I can't imagine that it was.
Speaker 2 (10:25):
We have our four track titles.
Speaker 1 (10:27):
For the unreleased fully produced tracks Life two point zero,
which Martin Gore has mentioned in interviews for the promotion
of Amento Mory. Of course, we now now have in
the end, and again for you podcast listeners be waiting
for the end of the podcast, I have something very
special to share, and I'll reiterate for you YouTube watchers,
(10:47):
you'll want to go and download the podcast on whatever
podcast platform you use. So we have in the end
Life two point zero, and then that these two tracks
are to be confirmed loose Cannon and if you want
to Now regarding when we end up hearing these tracks,
I've been told, as I mentioned, that these tracks will
be released in promotion of the film m which we'll
(11:10):
talk about here in just a moment. Clearly in the
end's going to be released with that as it was
included on the you know, in the beginning of the
credits for the film.
Speaker 2 (11:21):
So I would.
Speaker 1 (11:22):
Imagine that probably with the physical release of the concert
film that will end up getting some sort of package
that will include those four tracks. There's a lot of
people speculating about the potential box set, a special box
set for Memento Mary.
Speaker 2 (11:36):
I'm less inclined to believe that's going to happen.
Speaker 1 (11:39):
There's been so much distance since the album to come
out with a special edition of it now seems a
little a little late wherein the physical release of the film.
To have four new tracks to coincide with it to
help boost downloads and sales seems like the more logical
thing to do. And a programming note on this week's episode,
(12:00):
you're not hearing some of the typical transition sound effects
that I normally do because I'm actually recording the episode
this week in my radio show studio again just because
my time is limited and I'm incredibly busy at the moment,
but I wanted to make sure that I got the
podcast out, so I don't have access to those particular
sound effects that you typically hear.
Speaker 2 (12:21):
On the episode.
Speaker 1 (12:22):
So I just want to kind of want to give
you a bit of an update as to why you're
not hearing the traditional transition sounders that I use. So
with that let's get into this review of Depeche Mode's
new concert film. I've actually seen a few clips from
the film. I'm not going to watch anymore, just simply
because I don't want to be spoiled, but I've probably seen, oh,
(12:44):
I don't know, six seven minutes, maybe ten minutes worth
of the film. I've seen some of the concert footage,
and then have watched enough to get a good idea
of what the non concert footage will entail and listen,
it looks like a really interesting combination of what we
(13:08):
saw with the Playing the Angel Live concert release, not
so much in terms of the filming of the concert itself.
The concert footage that I watched from the film seemed
fairly straightforward of what you would expect something along the
lines of Live in Barcelona, certainly done in a very
(13:28):
cinematic way. I was very impressed with what I saw
of the live footage in this essentially concert film. The
additions of what Fernando Frius did in adding in the
other elements relating to the Mexican holiday and Mexican culture
definitely unique, much of it in black and white, interpretively
(13:51):
stylistic and fitting in well with the essence of Memento Maury,
So I was fairly impressed with what I saw. It
reminded me a bit too. I guess the other correlation
I want to give in. Rob Rahm mentioned this in
his comments last week after seeing the film is that
he was reminded of Strange and I certainly got that
(14:11):
vibe as well. Definitely not Anton Corbin, but in terms
of the artistry of the additional footage added to the film,
it had. It definitely had that vibe, and it felt
very cohesive and consistent. Not a documentary film such as
(14:33):
one oh one, something closer to what Anton KORbin did
with the Live in Berlin Alive in Berlin intermixed with
fan interviews. But what I saw, I felt was very
impressive and has me even more excited to see the film.
Then let me go ahead and get to this. And
I believe I pulled this from Variety if I'm not mistaken.
(14:54):
The director behind the new documentary m links the cultural
significance of the Mexican holiday celebrate the Day of the
Dead with the music of the electro synthpop band, which
is indisputably a new wave pioneer. It's an ambiguous concept
but also an intriguing one. At the June fifth world
premiere of M at the Tribeca Film Festival, Fryas was
(15:17):
joined by Depeche Mod's Dave Gone and Martin Gore for
a boisterous screening of the ninety five minute film that
often felt as much like a live concert as the
ones depicted on screen. Gone said during the panel, one
of the things about Depeche Mode's concerts, it's a communal experience,
and if you listened to last week's episode, I included
the entirety of that Q and A that took place
(15:41):
after the debut of the movie. That experience was filmed
during a three night stand in Mexico City's four oh
Soul Stadium in twenty twenty three, where a total of
more than two hundred thousand fans pilgrimaged to watch the sleek,
massive production that showcase Gone twirling around on stage, Stevie
Nixon three piece suit, Gore, sharing his keyboard and guitar skills,
(16:04):
as well as his angelic voice and songs from four
decades of synth Drenched to creativity, Prius and his already
approach toggled back and forth between black and white and
color video and many of his camera shots and close
up of the heel of Dave Gone's boot to quick
cut to a cluster of fans waving white gloved hands
(16:26):
during Never Let Me Down Again per tradition, confirmed how
much he wanted this documentary to be different. In Between songs,
including the moody my Cosmos's Mind Now, he included Don't
Say You Love Me. That was a mistake, so I
went ahead and changed it for him, because I know that.
Soul with Me is the Martin gor track that's included
in the film, both from twenty twenty three's Memento Mori
(16:48):
album Remember You Will Die. Voiceover from voiceovers from fans
and lines from poetry are presented in Spanish. The serene
scene of a swamp shifts to an overhead drone shot
of the concert, with Gone executing mesmeriting, mesmerizing calisthenics during
the somber ballad of Speak to Me, his resonant voice
(17:10):
cutting through a cloud of synthesizers. A lesson about the
Aztec guardian of the underworld prefaces Gore's stunning rendition of
Soul with Me, another freest thoughtful connection between the song
and spirit. Thus, I guess I included it for him
where he actually went included in himself. Longtime fans of
Depeche Mode will relish the relish the vibrant performances of classics,
(17:33):
enjoy the silence personal Jesus, but they will likely most
appreciate the dedication to the original member, Andy Fletcher, who
died in twenty twenty two at age sixty. Dot matrix
printounce of Fletcher's face bob throughout the crowd as God
bends his fingers to form eyeglasses and hold his arms
(17:54):
overhead in a mask like pose. As the band performs
World in My Eyes, the video screens blanketing the back
of the stage illuminate with Fletcher's photo and the sweet
tribute to the new wave innovator. While the theme of
mortality is threaded throughout the film, it is also balanced
with hope, appreciation.
Speaker 2 (18:14):
And more than a dab of realism.
Speaker 1 (18:18):
As one fan asks rhetorically, thinking something will last forever
isn't good?
Speaker 2 (18:25):
Right?
Speaker 1 (18:26):
And again, from what I saw of the film, I'm
really excited for it. I'm I'm pleased personally that it
is more of a concert film than it is something
akin to what Anton Corbin had done with Spirits in
the Forest, and my expectation, as I mentioned last week,
(18:47):
is that we'll obviously get a physical release of the film,
but that may be all that we get of the
live show unless they decide to go ahead and release
the entirety of the footage and compile it into the
full concert.
Speaker 2 (19:01):
That seems like it would be.
Speaker 1 (19:02):
A very large task, like I mean with editing to
include all of the songs. Depending on how much work
was done in the editing process to make the film itself,
they may have, you know, already edited the entire film,
in which case they can just put the songs together
so that remains to be seen. But I also have
that expectation as I've been told, that we will get
all four of those tracks, not just in the end,
(19:25):
with the actual release of the of the album. I
also want to make a quick correction, and I know
some of you are probably already typing to me. I
had my apologies talking about the passing of Douglas McCarthy
from Knights or eb Fletch passed away in May. The
reason I made that mistake is because my dear friend Drew,
(19:46):
who passed away that same year, passed away the following
month in June, and so I was conflating that in
my mind because I couple those two things together as
they were, you know, sort of back to back heart
breaks for me personally, and of course, with the passing
of Fletch, heartbreaking in and of itself. So here's what
(20:08):
I'm gonna do, just because I am incredibly short on
time this week. I do have your emails from over
the week, and I appreciate those. I'm gonna hang on
to all of these. Maybe I'll do a bonus podcast
this weekend, depending on my schedule. If not, we'll certainly
take the time and do an extended listener feedback portion
(20:30):
on next week's show, just simply because I'm pressed for
time and I need to get back to getting ready
for doing my weekly radio show, which I'm about an
hour away from going live on. So with that, for
you watching on YouTube, thank you so much for checking
out the episode. As always, if you want to support
(20:52):
the podcast and you enjoy listening to or reading more specifically,
but you can do both science fiction. I hope you'll
check my science fiction space opera adventure series Embark. I
wrote it out of my love of Star Wars, being
a fan since I was five years old. All seven
books in the series are available on Amazon dot com.
(21:12):
Go and check them out today. M bark E M
b A r K, John j O N Justice and
you can find them there. If you want to follow
me on social media at John Justice Jon on X.
You can also follow me on Instagram, the John Justice,
the John Justice TikTok as well and Facebook John Justice.
You can find me there too, so drop me an
(21:35):
email talkshow Nerd at gmail dot com. And for you
YouTube watchers again, I would encourage you to go and
download the podcast now. For those of you listening on
the podcast that you have a special treat for you.
I probably overhyped this, but the reason why I couldn't
do it on the YouTube is because I'm afraid I'm
getting it nicked for copyright issues. But I know I
(21:58):
can get away with it on the podcast. I've tracked
down and many of you probably have as well. The
cleanest version of what a fan has gone and put
together of in the end, as recorded from the credits
of Depeche Mode M they actually did a really I mean,
(22:18):
for all things being considered that this was recorded in
the theater on a phone and This is what they
were able to go and reproduce to give us the
cleanest version of the song.
Speaker 2 (22:29):
I definitely wanted to share it.
Speaker 1 (22:30):
With you on the podcast this week, so without further ado,
here is the cleanest version available so far. And trust me,
I've scoured the internet of Depeche Modes unreleased a track
in the end from the sessions of Memento MORI. Thank
you so much for checking out the podcast this week.
I look forward to talking with you again next week
(22:50):
and email me talkshow nerd at gmail dot com. And
with that, I hope wherever you are, you're happy, You're healthy,
You're safe, God bless I'll t talk to you next week.
Speaker 2 (23:01):
And here is Depeche Modes in the end?
Speaker 3 (23:06):
Are you forever looking?
Speaker 4 (23:08):
Man at the past?
Speaker 5 (23:10):
Between the cracks voting since when who's fly sparting to
the black?
Speaker 3 (23:17):
Heaven knows what Sunday he sees work for that belief
seven help you when you pray.
Speaker 2 (23:24):
I don't think so anyway.
Speaker 3 (23:33):
In the waits quoting hellnestly, it would.
Speaker 5 (23:41):
Be plastic game. In the end, these are complicated diners.
(24:11):
He has confusion anticat.
Speaker 3 (24:13):
I can why to wear the spread on the night
you laid away as the wake up gets upon second,
setching out the lines artist antiness inside. That's a shiny
yard in Going over there, say, would be the lastic game.
Speaker 4 (24:48):
Meating the door of the di at that sun.
Speaker 1 (25:32):
You know, killing the
Speaker 4 (25:43):
Wis voting sys
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