Posts by Gerald Jackson48

Let me just jump in here and say this is a seriously great record. It hits that sweet spot where those pop-inspired melodies and harmonies are incredibly well-crafted and executed, yet you still get these perfect alternative vibes where you can tell Wilder is really pushing into new territory.

Everything feels tight and cohesive too—it doesn't wander aimlessly. My take? They nailed exactly what they set out to do. As for the lyrics, I’ve got zero complaints. They step way outside the typical pop box to tackle much heavier themes, sometimes even paired with surprisingly "cheerful" musical arrangements.

It's actually those specific contrasts—that tug-of-war between commercial and alternative, between the catchy pop hooks and the experimental textures—that give the album its soul. Especially when you consider how much the band was obsessing over that exact balance at the time.

Aside from the singles—though I have to admit Little 15 never really clicked for me, and it still doesn't—The Things You Said and Nothing were such pleasant surprises.

Steven Newman50 said:Even though Strangelove is definitely one of their highlights, the opening track Never Let Me Down Again is also one of those signature songs that everyone knows.

Depeche Mode is a band I only really started digging into in my mid-twenties. I didn't experience them much before then, but I guess that's just what happens as you get older and more mature. It's funny, because Music for the Masses is anything but music for the masses, even though it’s wild to think they still had to fight to break through with a sound like this.

To be honest, I've spent more time spinning some of their later stuff lately since it hits a bit harder emotionally than this record, but this one is still a great listen.

Yeah, the title is ironic, and the cover art is too. Based on what Gore was saying back then, there was tons of pressure to record more commercial tracks, but the guys—especially him—wanted to go darker and heavier. Gore mentioned that the album title was basically a joke about how non-commercial the songs actually were, which ties right into that cover showing megaphones out in the desert.

The producer Miller wrote this for the liner notes of The Wall - Pink Floyd, actually: "In class or among your friends, Depeche Mode were the music for the outsiders. Mainstream fans were listening to Duran Duran or something similar, but this was the album for the kids in the back row wearing black eyeliner and plotting to take over the school."

Just more drama, but it really shows how they refused to look like your typical pop band, which they weren't anyway at the time.

These links are solid. 👍

I haven't really sat down to experience this album as one cohesive journey yet. I know all the singles inside and out, but I've spent way more time obsessing over The Wall - Pink Floyd, Nevermind - Nirvana, Discovery - Daft Punk, and even Skrillex...

Anyway, I won't ramble on forever. I'm sitting here tonight with my headphones on, listening to the whole thing from start to finish so I can actually process my thoughts properly.

Up until now, this instrumental track has been such a pleasant surprise, especially since it's an unreleased piece from the sessions. It’s got this cinematic vibe with a beautiful melody, and then they throw in the Morse code at the end. Spot on.

Steven Newman50 said:I saw this interesting documentary during DORF about this guy from the UK. He’s totally obsessed with old-school production and that classic vinyl sound. He was going on about how he turns down certain artists because they just want that super clean, ultra-loud digital sound, blah blah blah.

Digital formats offer incredible clarity, volume, and sheer audio fidelity, but vinyl is something else entirely. It’s special specifically because of its technical imperfections. If you set aside personal bias, those little flaws are exactly what make it so much more pleasant to the ear.

I was half-joking, but honestly, we could go on forever about this. You could spend all day debating everything from the "loudness war" in digital mastering to that whole "analog warmth" thing people obsess over with vinyl—you know, those specific low-end artifacts that make it feel real. There are actually plenty of ways to use digital tech to mimic that vibe, too. Those options definitely exist if you know what you're doing.

I don't want to dive too deep into the whole digital versus analog rabbit hole. I'm not trying to go there because those debates get exhausting fast, and honestly, I'm not an elitist. I’ve got vinyl, CDs, MP3s, FLAC files—you name it, I've got it sitting around the house. The last group I heard about who went all-in on analog techniques, from the very start of recording all the way to the finish, were Daft Punk on RAM. They were so obsessed with the tiny details that they actually managed to trip up Moroder.They'll figure it out eventually. They'll know.If you're a vinyl lover, do yourself a favor and grab this record. It’s the best way to get that pure analog feel in this digital age. I picked up a copy myself, so there's my answer to the original question. 😁

I was just reading this piece on Sound on Sound about how the PinkFairies era actually ties back to Daft Punk. It’s wild when you start digging into the connections. People always think electronic music came out of nowhere, but the roots go way deeper than most realize. Honestly, it’s fascinating stuff. Definitely worth a look if you want to see how those old-school vibes eventually paved the way for the legends we listen to today.

Hardcore fans saw it coming early on. They knew Depeche Mode had totally evolved from those bubbly new wave beginnings like "Just Can't Get Enough" back in the early 80s. Most casual listeners weren't really paying attention yet, though.

A lot of critics look at "Music for the Masses," which dropped in September 1987, as the big turning point. Between this record and that massive tour—which ended with that legendary show at the Rose Bowl Stadium in Pasadena—the band basically launched themselves into global superstardom. It’s been a wild ride of highs and lows ever since.

It’s easily one of the best examples of their golden era. Sound-wise, it sits right in that sweet spot between the darker, industrial-leaning vibes of "Black Celebration" and the polished mix of electronics and rock you hear on "Violator" in 1990.

As for the sound, they didn't ditch samples entirely, but they used them less. Instead, there was more experimentation from Alan Wilder, finding new ways to play with synths while bringing in more organic stuff like piano and electric guitar. People called it everything from stadium pop-rock to dramatic baroque rock opera.

Lyrically, Martin Gore is still digging into the dark side of life. He's obsessed with existential themes—things like broken trust, sadomasochism, intense highs followed by crushing lows, and a sense of nihilism. You also see a lot of imagery involving roads, driving, and traveling. (Sources: Albumism, AllMusic, Sputnik).

For the best experience, grab some high-quality headphones that support Dolby Stereo. 😁



Tracklist:

1. "Never Let Me Down Again"
2. "The Things You Said"
3. "Strangelove"
4. "Sacred"
5. "Little 15"
6. "Behind the Wheel"
7. "I Want You Now"
8. "To Have and to Hold"
9. "Nothing"
10. "Pimpf"

Discogs

Chris Myers said:There's zero debate here—vinyl sounds way better.

That’s a pretty loaded claim to make.

The thread will be up a bit later tonight. The person who suggested it is still stuck at work. 😁

Mark Cruz15 said:Yeah, but the singer in Dubriv is just a little guy. 😁

Trends come and go, but Depeche Mode has been the standard for four decades now.

It’s not even close. 😁

Ever wonder why Depeche Mode has been such a massive influence on basically every rock and metal band out there? We're talking everyone from Deftones and Tool to Nine Inch Nails and beyond. It’s wild. There was even this one groupie bragging on social media about how she spent an erotic, romantic night with Trent Reznor, only to catch him singing these exact lyrics while he was in the shower:
“ … Oh, give me the beat, boys, and free my soul
I want to get lost in your synth pop
And drift away”
…

I’m putting my money on Depeche Mode's Music for the Masses. It's their sixth studio record, and man, the symbolism is heavy. You can really feel them wrestling with the commercial side of things as they blow up, all mixed with those messy feelings of broken trust, loyalty, and a little bit of self-sabotage.

Dana Brooks3 said:Yeah, I really feel for them. Making a profit would be great, but if not, doing good work matters too... 😳

I won't post the link out of discretion... unless someone is feeling extremely curious. 🤔[/I]

I Googled 😁

So, does a moderator need to be a good dealer who understands the hustle?

That 🤣

We actually had a similar debate over in this thread: What are we even doing here?

The conversation eventually drifted off into a hundred different directions like it always does, but there was this recurring point about people falling into a "dopamine rabbit hole." It's essentially an addiction loop, which is pretty much how most of the internet runs these days.

https://www.fastcompany.com/90329997...ng-rabbit-hole

I’m throwing out Angel Dust by a Faith No More fan. Let's just sing along and enjoy the vibe. Music is pure joy.

I was naive enough to think we were actually voting on the albums here, rather than just picking their producers. 😛

Lisa Jackson7 said:Nietzsche basically targeted everyone—his critics, his fans, you name it—and honestly, it’s impossible to put them in one camp. But hey, it's not that surprising when you look at the contradictions scattered all over his work, his quotes... even his own damn life.
He’s managed to grab a massive amount of attention from Christian philosophers and theologians—people totally obsessed with his whole "holy YES to life" thing... regardless of how anti-Christian he actually is, or maybe even because of it.
Thomas Mann? For sure... he saw something prophetic in Friedrich Nietzsche that would lead to a "new humanism"... definitely within art.
Mann was always a critic—basically pointing out how "instinctual" power and reason are constantly at odds, with one just being shoved down the other's throat.

The link from René Guénon to Ralph Waldo Emerson and Julius Evola is straight-up direct.

Even John Zerzan—who kind of reminds me of... Unabomber Some people's views are basically the only thing keeping us from total collapse—they’re the last line of defense against these ideologies. Nowadays, you’ve got fanatics practically knocking on your door, threatening death or physical violence just because you own books that don't fit their radical-progressive agenda. I've dealt with this shit personally. These are heavy times, man. Even back in the day, the communists were out there persecuting Ralph Waldo Emerson. Just look how far things have gone since then...

I don't even know what to say about those attacks you're bringing up—honestly, I've seen you harping on about them in other threads too...

It’s actually pretty wild how backwards this works—it’s like the whole far-right movement is basically being fueled by the exact opposite of what you'd expect. Those damn evolutionary theories about biological racism—absolute garbage. Steven Pinker basically paved the way for all those "evolutionary psychology" hacks with his buddies—total joke. They'll probably twist evolutionary theory to back up their racist nonsense long before they ever touch anything by Ralph Waldo Emerson or Thomas Mann. We’ve got an example right here on the forum from a user like Alyosha—someone who lives and breathes these kinds of theories. But honestly, you don't even need examples—it's pretty obvious what's going on just by looking at them. (If that isn't clear to you, I've got my doubts about you.)

Honestly, I get the feeling most evolutionary psychologists are playing around with "nitroglycerin" without even realizing how volatile it is... or maybe they know exactly what they're doing and they just don't give a damn.

As for Alyosha—this is exactly where we split ways.

Then again—social constructivists can be absolute lunatics too.

Look, I’m telling you—this isn't even about race or right-wing politics. The people who claim they're out there "hunting racists"—which, let's be honest, sounds way too noble a title for a job that probably just serves as a front for something else—have plenty of those types right in their own ranks. And it's not even Black Americans they're primarily targeting. These days, being anti-Islam is basically a requirement in those "progressive" circles. For years, you'd see these Government agencies obsessing over civil rights for Black Americans, yet they never once breathed a word about Muslims.
But look, I honestly think it’s just a massive PR stunt designed to mask fat wallets and radical ideologies behind these shiny, virtuous ideals: human rights, civil rights, gender equality and the rest of that usual checklist... It’s the classic playbook—blacklisting certain authors while white-listing these "ideals" that everyone pretends are real, even though they’re actually just perfect breeding grounds for all sorts of agendas. To me, someone who spends all day preaching about progress and equality while simultaneously tormenting people and issuing death threats is way more suspicious than someone who openly advocates for crime. Honestly, you don't need a PhD to see through that.
Didn't Hegel say: ""Even the criminal thought of a villain is greater and more sublime than all the wonders of heaven."" There's some deep logic there, even if it sounds totally insane at first glance.

I get it... unfortunately, it's just a permanent abuse of science to grab university chairs, secure research grants, and control the media.

I once sat in on a seminar by Puljak—which had nothing to do with his actual work—and, man, he's basically the first thing you think of when you hear him speak... I mean, he knows how to hold an audience and he isn't boring, but... yeah, no thanks.

It happens all the time. People take stuff from a scientific field—and let’s be honest, evolutionary psychology is primarily just that, a science—and they dump it straight into the messy world of political and ideological nonsense. It’s a disaster. You end up with these totally warped interpretations of research that was actually meant to be purely academic.

It happens all the time, regardless of which political side you're on. People take something that isn't even a proven fact—just some unverified claim—and try to turn it into a fundamental law of nature. Then, they use those "laws" to dictate how everyone should behave morally. It’s a mess. Even evolutionary psychologists aren't safe from this. They end up wading straight into the murky swamps of political ideology, especially when they write those pop-science books meant for the general public. It's easy to lose your way there.

Some people might say that’s a term loaded with meaning. 😁

So, would this be some kind of Buddhist economics middle ground? You know, trying to find that sweet spot between total hedonism and extreme asceticism—where you basically try to reconcile those two extremes. But it feels like John Zerzan is chasing something else entirely. He’s taking this hardcore stance that seems way more aligned with our raw, primal instincts.

The thing is, he doesn't seem to see this as an individual struggle. A typical ascetic would focus on their own discipline, but he’s calling for massive social shifts instead. That’s classic leftist thinking right there. They rarely start with the person; they go straight for the collective, hoping to fix things for the individual by changing the whole system first.

William Palmer7 said:Talk about hypocrisy,

Why read Zerzan when he isn't even following his own rules? Here is a man writing books and using language.

It's just like that: 'Forward comrades, I'm right behind you.'

It reminds me of how Mussolini used to act. His whole thing was "Armiamoci e partite!"—basically telling everyone else to gear up and go fight while he watched.

Melissa Stewart6 said:Actually, Zerzan isn't calling for people to start communes. He's just arguing that true "primitive" living is impossible as long as civilization exists.

Yeah, I see he’s making a more specific distinction there. But honestly, those hippies my cousin used to hang out with avoided society as much as they possibly could. They couldn't be totally off the grid, sure, but nobody was working some typical nine-to-five corporate grind, if you know what I mean.

Melissa Stewart6 said:Most of Zerzan's books focus on critiquing civilization and everything he deems part of it, while praising pre-civilized ways of life. You won't find much in the way of practical advice or blueprints for a "primitive future," much like how Marx rarely gets into the nitty-gritty details of communism.

From what I've gathered, he definitely leans toward that second perspective.

In the end, these things usually spiral into something straight out of The beach by Boyl starring DiCaprio. I always think of that movie when this stuff comes up.

The closest thing to this I've seen was my cousin. He lived in one of those nomadic hippie communes.

Luckily, it didn't end too badly for him. A childhood friend invited him to a wedding, and once the commune found out, they basically excommunicated him. They accused him of "hanging out with the bourgeoisie and people who actually get married in the traditional way" back here in America.

The biggest blow was losing his gear. They seized all his equipment, so he had to give up his stage name. That was the end of DJ techno Ranger.