Gareth Jones, the legendary producer and engineer, has released a new album under his echoGenetic guise.
Jones is well-known for his work with Erasure, Wire, Fad Gadget, and Depeche Mode. He has also established himself as an artist with Sunroof (with Daniel Miller), QUINQUIS (with Émilie Tiersen), Spiritual Friendship (with Nick Hook), and Nous Alpha (with Christopher Bono).
The five tracks on Live in Chemnitz are performances of songs from the forthcoming studio album, Nos Da. The latter is expected from Mortality Tables on 21 January 2026.
More than anyone else, perhaps, Brian Griffin created the image of Depeche Mode over their first five albums. At a time when they were capable of issuing an album a year, developing their style with each release, Griffin’s images were the best-known and most-distinctive features of their branding. From a plastic-wrapped lawn ornament to a monumental banner-draped building, Depeche Mode were defined by his eye and the lens of his camera.
In 1989, Robert Görl was nearly killed in a car crash. The founder of Deutsch Amerikanische Freundschaft survived but was left in hospital with a shattered body. It could have been the end of Görl’s career in music; but, instead, it marked a kind of rebirth.
The truth is that Stevo Pearce, the founder of Some Bizarre and legendary Soft Cell manager, has more personality than his body can handle. It bursts out in moments of wildness that surprise and scare record company executives. With a love of the surreal and MDMA, Stevo (no one uses his last name other than his bank manager) took a duo from Leeds to global stardom while creating a label that gave obscure industrial acts access to major label resources.
The intersection of three lives – Cosey Fanni Tutti, Delia Derbyshire, and Margery Kempe – is explored with references to music, feminism, and marginalisation. Tutti, once denounced in Parliament as a “wrecker of civilisation,” is making a film version of her book, Art, Sex, Music, while contributing to another about Derbyshire’s complex life. At the same time, she is reading the story of the 15th century local mystic, Kempe. Similarities emerge about places, situations, and struggles.
The history of electronic body music really began with DAF. Gabi Delgado sang, while Robert Görl played drums. They used sequencers to play the bass lines and pulses that completed their sound, and the feeling was harder than their disco precedents. The approach was functional but also stylistic. In Elektronische Körpermusik, Hampejs and Schulze explore these origins but also celebrate the movement that grew from it.
Written by our Editor, Walking in Their Shoes traces the path of Depeche Mode as they played and recorded in London. It locates the venues and studios where the band developed their sound and built their audience. It also includes key locations in Mute Records’ history, such as the Decoy Avenue house where the label was founded. Pictures and public transport details help orient fans visiting the sites. It is the best way to experience London in the footsteps of the band.
If you believe the conventional history, Factory was a group of men making things. There was Tony Wilson, the hero of every story. Rob Gretton, the drug-hoovering manager. Peter Saville, the graphic designer with no sense of time. Barney and Hooky from New Order sulking or scheming like schoolboys. Mike Pickering in the booth at the Haçienda. Everywhere and always, if there was a face to the label and its spin-offs, it belonged to a man.
The use of a Yello track in the teen comedy, Ferris Bueller’s Day Off, gave the obscure Swiss act a hit. By that point the duo of Dieter Meier and Boris Blank, Yello had grown up on the same label as The Residents and were a stable in the record collections of underground DJs. The inclusion of “Oh Yeah,” with Meier’s processed intonation suggesting male lust, opened the money tap and took the band into the mainstream.
