Depeche Mode’s journey from Basildon pop darlings to stadium blues-rock giants was arranged, sampled – and largely steered – by the band’s first non-Bas recruit.
Alan Wilder joined the band in 1982, after responding to an ad in Melody Maker, on a weekly wage. He left, in June 1995, as the musician whose programming, keyboard, and production work shaped the band’s studio sound for the ages.
Born in Hammersmith in 1959 and classically trained on flute, brass and piano, Wilder had been a tape op at DJM Studios – a role he put down as “a tea boy, really.” His ambitions had taken him through four bands – The Dragons, Real to Real, The Hitmen (with Ben Watkins), and Dafne and the Tenderspots – before being recruited to fill the gap left on stage by Vince Clarke‘s departure for Yazoo
The classified ad he answered sought a “reasonable keyboard player” who was 21 or under.” Hiding his actual age of 22, Wilder auditioned at Blackwing Studios in Southwark and got the job. He played his first show at Croc’s in Rayleigh on 20 January 1982. Official membership followed that October – too late for the recording of A Broken Frame but in time for “Get the Balance Right.”
Wilder was welcomed as a writer at first: two songs on Construction Time Again, a flurry of B-sides, and one track on Some Great Reward were accepted from him. Martin Gore then turned against other band members writing songs; and, after Some Great Reward, Wilder stopped submitting them. Asked about it, Wilder was phlegmatic: “My interest is more about atmosphere and production and editing and all the other things.”
This allocation of roles worked, but it planted the seeds of resentment. The typical pattern of writing and recording an album saw Gore turn over demos for Wilder and the production team to turn into polished tracks while he partied with Andy Fletcher. The latter, whose musical talents and contributions were slight, supplied criticism (“Martin doesn’t like that bit.”) for the same share that Wilder received. Dave Gahan sang when he needed to and competed with Primal Scream to reach rock-and-roll Valhalla. The burden of making the band a success fell disproportionately onto one man’s shoulders. Eventually, he shrugged it off.
Gore later called Wilder “a great influence on the band” and conceded that the workload imbalance had pushed him out. Recoil, the home-studio project Wilder had run alongside the band since 1986, became his main work. Darker and more experimental than Depeche Mode, it was less commercially ambitious – but it was his own. The man in the black leather jacket didn’t need to take directions from Fletch or wait for the singer to come around from his last fix. He could still work hard, but without being taken for granted.
10. Depeche Mode – The Great Outdoors!
The B-side of “Get the Balance Right!”, released in January 1983, was co-written with Gore. For the twelve-inch of the A-side, Wilder cut up and reassembled the master tape by hand – an early remix built with a razor blade rather than a computer.
9. Depeche Mode – Two Minute Warning
Construction Time Again opened the Berlin chapter for Depeche Mode. Wilder wrote “Two Minute Warning” and “The Landscape Is Changing,” and mastered digital sampling tools like the Emulator and Synclavier. He described his strengths as “placement of sounds and the structuring of the music” and pushed for “a darker, more weighty sound” on the album.
8. Depeche Mode – In Your Memory
The B-side of “People Are People” was written by Wilder alone. It followed another B-side, “Fools,” which sat behind “Love, in Itself” in 1983.
Only one more album track followed with a Wilder writing credit: “If You Want,” on Some Great Reward, was his last song for a Depeche Mode LP. The B-sides remain the fullest document of what a writing partnership might have produced.
7. Depeche Mode – Somebody
Recorded live with Wilder on piano and Gore on vocals, and described by Wilder as the band’s first acoustic-performed track, “Somebody” sits within an album of metal percussion and sampled noise. The ballad is stripped back, and the voice-and-piano format survives the contrast.
Gore’s ballad found the setting it needed in the third live pass, and the classical training came off the page. Legend has it that Gore sung the vocals without clothes, while Gareth Jones recorded the results, and the instrumentation is also stripped of electronic dressing. It is one of the band’s most enduring songs, and it didn’t need oscillators to work.
6. Recoil – 1 + 2
Released in August 1986 while Black Celebration was still selling, the first Recoil record was improvised at home on a four-track cassette Portastudio using sampled Depeche Mode sounds. Daniel Miller persuaded Wilder to release it.
The experiment marks the difference between Wilder’s professional role and the others’ hobbies. The same home studio later produced most of the backing track for “Death’s Door,” recorded for Wim Wenders’ Until the End of the World; built from a reworked Gore guitar part and Nils Tuxen’s pedal-steel outtakes.
5. Depeche Mode – Christmas Island
The instrumental B-side of “A Question of Lust”, written with Gore, was Wilder’s final songwriting credit with the band. He said that gave up writing, after Some Great Reward, because the lyrics did not come naturally and his interests lay elsewhere.
The track closes the composing chapter quietly: an instrumental with two co-writers and no role for Gahan’s baritone. From here, Wilder’s credits move exclusively into the production and arrangement column, where the next decade of the band’s sound was built.
4. Nitzer Ebb – Come Alive
Released on the 1991 As Is EP, “Come Alive” brought Wilder into the workspace of another Essex band. Although credited as its mixer, Wilder was handed a demo and given the space to reshape it. “They gave me a free reign to do pretty much what I wanted with it,” he recalled. This was not simply a visiting dignitary adjusting the levels: Wilder had been given the keys.
They opened the door to a deeper involvement in the band’s next chapter. Wilder and Flood also co-produced Ebbhead, released that September. “Come Alive” stands at the threshold of Nitzer Ebb moving into a new stage.
3. Recoil – Faith Healer
Recoil’s first single, released in March 1992, was a cover of a song by the Sensational Alex Harvey Band, sung by Douglas McCarthy of Nitzer Ebb. It reached No. 60 in the UK – the project’s first brush with the chart. Recoil’s distinct identity took form here, while he was still enmeshed with Depeche Mode.
2. Depeche Mode – Little 15
Music for the Masses continued Wilder’s growth as the band’s resident producer, after Daniel Miller stepped back. Songs arrived as Gore demos; they were arranged and programmed by Wilder; and they were then recorded by the band. He struggled with “Little 15” until he saw Peter Greenaway’s A Zed & Two Noughts and heard Michael Nyman’s minimalist score, which inspired the result. David Bascombe called the result classic Wilder.
The orchestral samples and the repeated figures show the arranger’s ear at work. Wilder played most of the album’s piano on the grand at Studio Guillaume Tell. Gahan later allowed that Wilder was “a fantastic piano player” – a skill the band lost when he left.
1. Depeche Mode – Enjoy the Silence
Gore’s demo arrived as a ballad. Wilder proposed that it could work as an up-tempo dance track, and he and Flood assembled a new version while the rest of the band were out of the room. Gore resisted the change; then relented and recorded the guitar riff that sits on the single. Fletch called the result one of the most magical moments of his time in the band. As a pop achievement, it will outlive them all.
Wilder’s verdict on the recording is mixed: he preferred an earlier version, and described the version released as the 7″ single as flat, with a snare that sounded like “sticky toffee pudding.” One of the most successful singles the band had exists because of his arrangement – and the biggest complaint about its finish comes from the man who had proposed the transformation in the first place.
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.