Depeche Mode

Depeche Mode Announce Tour/Album

by coldwarnightlife
written by coldwarnightlife

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Sony recording artists, Depeche Mode, have announced a new album and tour. The blues-rock band, which was inducted into The Rock and Roll Hall of Fame in 2020, told a press conference in Berlin that they will continue as a duo, following the death of Andrew “Fletch” Fletcher earlier this year.

The new album, Memento Mori, takes its name from the Roman-era saying that one should remember one’s mortality. It is still incomplete, but work is continuing in the band’s home base, the United States of America, with producer James Ford. Ford, better known for his work with Arctic Monkeys, Mumford & Sons, and Klaxons, was responsible for the band’s previous Spirit album.

With an invited audience of international journalists in attendance at their press release, Martin Gore (61) and Dave Gahan (60) revealed details of their upcoming tour to their UK PR, Barbara Charone (70). Charone led a discussion about the performance of the Premier League football team, Arsenal, under the guidance of former Manchester City assistant manager, Mikel Arteta Amatriain. They took only a handful of questions, in the time remaining, which led to the revelation that the band is still thinking about playing one of their old songs that Fletcher enjoyed. Gahan also revealed that the act is proud to have brought joy by performing to their fans.

The tour is being handled by the events monopoly, Live Nation, which has been associated with more than “200 deaths and at least 750 injuries since 2006,” according to NPR reports. The company is also being sued in California, Gore’s home state, for antitrust violations.

Depeche Mode’s tour will reach the UK at London’s Twickenham Stadium on 17 June 2023.

 

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Depeche Mode’s Fletch Leaves in Silence

by coldwarnightlife
written by coldwarnightlife

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Andrew Fletcher has died. The founding member of Depeche Mode was reported on the band’s social media pages to have passed away, leaving fans and friends in shock. He had recently received medical care for an injury to his arm while on holiday, but there had been no indication that the 60 year old was in danger or suffering from illness.

“Fletch” had a unique role in electronic music. Originally charged with playing bass lines for Depeche Mode, his lack of musicianship meant that he started to mime to backing tapes early in their career. As the band’s fortunes rose, becoming only second to the Rolling Stones as a global touring act, Fletch kept his position at shows in front of a keyboard but played a more critical role off-stage. He was often described as the glue that held the band together, acting as a go-between for other members and an avatar for songwriter Martin Gore. He became involved in management issues, such as merchandising, but his main function was to give voice to Gore’s vision.

This role famously brought him into conflict with Alan Wilder, who had been brought into Depeche Mode following the departure of Vince Clarke. Wilder, a classically trained musician with deep studio skills and a sense of discipline, resented Fletch’s lack of musical contributions. As tensions widened between Gore and singer Dave Gahan, however, Fletch’s importance as a balancing act in the dysfunctional Depeche Mode environment came increasingly to the fore. It was said, with some fairness, that there could not have been a Depeche Mode without Fletch.

In 2002, Fletch launched the Toast Hawaii record label, and with it the recording career of Client. Featuring Sarah Blackwood as Client B, the band toured with Fletch as DJ. That he could only put on records, one after the other, and did not try to beat mix, was entirely in keeping with the Fletch brand. So was naming the label after a German canteen snack that he became known for while Depeche Mode had been recording.

Food played an important part in Fletch’s personality. On stage, he was famously captured eating a banana while other band members played their instruments. He also owned a restaurant in London’s St. John’s Wood called Gascogne that attracted Depeche Mode’s loyal fans keen to have pints pulled by one of their heroes. The restaurant was sold off, but he returned to the hospitality game when he bought into a local pub.

A Christian who started preaching with Vince Clarke in the Basildon Boys Brigade, Fletch was reportedly shocked by the lyrics to “Blasphemous Rumours,” an early Mode single. He is also reported to have preferred a pint of beer over the heroin, coke and speed consumed by his bandmates. Following the shocking news of his passing, many musicians took to social media to share their memories of Fletch as a supportive and caring friend. He was also known as someone willing to call out anyone who cut into a queue at a concert – a core element of British morality – even if his choice of words was…well, choice.

Fletch is survived by his wife, Grainne, and two children, Megan and Joe. His departure leaves a hole in the hearts of the black army of Mode fans around the world.

 

 

 

 

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I Start Counting Open Archives

by coldwarnightlife
written by coldwarnightlife

[vc_row][vc_column][vc_column_text]I Start Counting should have been the next Depeche Mode. Recording for the same label (Mute), working with the same producer (Daniel Miller), and writing songs filled with melody and pathos (see: “Letters to a Friend“), they ought to have nestled easily into the slipstream of the Basildon boys. Instead, their brand of detuned synths and pained observations took a less commercial turn; and, like Fad Gadget before them, the band became more influential than successful. The fickleness of the music industry meant that they were more likely to have their sounds plundered than played on radio. It is a pity, because many of the tracks they recorded were stronger than the charts could bear.

Simon Leonard and Dave Baker met at Middlesex University (which, in 2014, awarded an honorary doctorate to Daniel Miller, but that is another story). They began DJing together before recording some demos, which Leonard presented to Miller, a fellow North Londoner and acquaintance from the underground electronic music scene. That led to two singles produced by Miller using his Synclavier, “Letters to a Friend” and “Still Smiling.”

An album followed with one of Mute’s in-house producers, Paul Kendall, that demonstrated the duo’s ability to cannily combine experimental, humorous and pop-oriented material. My Translucent Hands was followed two years later by a second album, Fused (with the amazing “Lose Him”), before the project folded. Leonard and Baker then relaunched as Fortran 5, joining the wave of club material issuing from the house movement, before becoming Komputer, an act drawing heavily on the sounds popularised by Kraftwerk. Throughout, they have maintained their slightly quirky but knowing approach to music.

This past summer, Mute released two limited edition cassettes of material from the I Start Counting archives. Ejected (the blue one) featured a selection of demos, including the original versions of “Million Headed Monster” and their cover of “Rawhide.” Re-fused (the red one) continued the theme with versions of “Lose Him” and the excellent “Million Headed Monster.” The hand-made releases were a treat for collectors, but now they are being made into commodities for distribution through record shops and digital platforms. If there is any justice in the world, that is where I Start Counting belong.

Ejected and Re-fused are released by Mute on 25 March 2022, and pre-orders are open now.

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Totally Wired: Sunroof’s Modular Improv

by Simon Helm
written by Simon Helm

[vc_row][vc_column][vc_column_text]Before you break the plastic seal around Electronic Improvisations Vol. 1, you are already back in the 1970s. The golden age of modular music saw sleeves that imparted important information about the sound and artist. They might have featured signposts in the form of waveforms or patches. The records were as often found in libraries than in shops, because they were clearly made by intellectuals who worked as engineers as much as musicians. The sleeves told a story of earnest modernity, just by their layout grid, but they also explained the method.

So, here we have the first vinyl collection of modular improvisations by Gareth Jones and Daniel Miller. Working together as Sunroof, they have issued material online and contributed covers to compilations of Krautrock classics, but until now they have held back from releasing an album. That it comes packaged as a delayed message from 1976 only makes things more interesting.

Both artists took significant steps as the 1970s ran out: Miller with The Normal’s “TVOD/Warm Leatherette” single, and Jones as the engineer on John Foxx’s immortal Metamatic. They were brought together by Foxx, who suggested Jones to work with Depeche Mode, and formed a working and personal relationship that has outlived the Cold War, Britpop and the fax machine.

Miller, of course, turned his hobby release into one of the mightiest independent record labels, Mute. Jones built a career producing and engineering many of the label’s acts, before settling into a remixing role. They worked in close quarters in the studio, particularly for Depeche Mode’s Hansa recordings, but also applied their skills together for The House of Love. They came together as Sunroof to remake “Hero” by Neu! and “Oh Yeah” by Can, as well as to remix Goldfrapp and To Rococo Rot.

The revival of interest in modular synthesis captured the imaginations of both men. As new manufacturers created tools for those who dream of wires, they filled a black hole with money to create novel configurations. Their shared love of circuitry led them from occasional noodling to a programme of recordings made in a spirit of free experimentation; subject to self-imposed limitations on time, interaction and channels. Electronic Improvisations Vol. 1 is, therefore, less Stockhausen than AMM; an album in the English tradition described by Cornelius Cardew in Towards an Ethic of Improvisation:

We are searching for sounds and for the responses that attach to them, rather than thinking them up, preparing them and producing them. The search is conducted in the medium of sound and the musician himself is at the heart of the experiment.

One of the features of modular synths is that they have their own character and are capable of producing unexpected sounds. Musicians working with traditional instruments have more control over the results, and their technical ability is a key to the manipulation of sound. Modular synths have flexible signal paths that can escape the grasp of even the most skilled operator. The sounds that come through the speakers might be heard for the first time and never be recreated again. They are the ephemera of electricity.

Good for us, then, that Sunroof pressed record on their sessions. As a result, we find within the old school sleeve a set of recordings that explore the interactions of waveforms over the course of eight tracks. With an emphasis on curiosity over composition, the results are less Jarre than Eno: in places, sounding like incoming signals at Jodrell Bank; in others, the visceral hum of subatomic particles; and then Brion Gysin’s Moroccan memories absorbed by an IBM mainframe. The pieces are surprising and playful, and they succeed most when the duo play with resonances. You can’t dance to them, but you will have fun trying.

(Main photo: Diane Zillmer)

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“I Said I’d Write a Letter” – Devoted Pen Pals Remember BONG

by coldwarnightlife
written by coldwarnightlife

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Depeche Mode fans are a special breed. The band might only release albums on a four-year cycle, but this Olympian schedule is synced with gruelling tours that are estimated to earn in the area of $200,000,000. The bulk of that revenue comes from their most hardcore fans, who are devoted to the trio and their songs of pain and suffering in different tempos.

The strength of the commitment and the connection between fans was neatly summed up by Karen Castrischer Stegall on Depeche Mode’s Facebook page:

Fans. The Devotees, The Black Swarm. Those are my people! Before the internet, I found a pen pal through an issue of BONG and made my very first DM international friend for life.

BONG was Depeche Mode’s official fanzine. Published fifty-two times in its UK edition between 1988 and 2002, BONG provided information on the band’s latest exploits. It also featured a section which allowed fans to publish their interest to hear from others by post.

The growth of email and chat groups eventually made the pen pal section of BONG redundant, but for a time it provided a way for devotees to share their love of the band, connect with other fans for tour events and meet-ups, and even fall in love.

We asked three of the fans who took part in the pen pal section of BONG to tell us about their experiences.

MERJA OUTALA (Finland)

Photo: Merja Outala

I remember it was a such a dream world to me to find the DM fan club and get the magazines.

Living in Finland, there was hardly anyone around who was loving DM, too. I have my DJ brother to thank for get to know about DM. He had their music and a lot of similar stuff, like Kraftwerk, Human League and so on. The “Shake the Disease” 7″ I got from him, and I used to play it before going to school. I was totally hooked and started collecting DM.

When I started getting pen pals through BONG and then the DM pen pals site, it was a dream to me and so much fun. I had eventually about forty pen pals, and I think I got to know some Finns there, too.

Mainly, all we wrote about was DM. I had friends from all over the world, and seem to have many bootleg fan club magazines from Japan, etc. We exchanged pics, posters, cassettes and videos of DM – practically everything you can send. People sent me real pics when they met DM and went to concerts. I couldn’t because they never came here and I could not go approad at the time. All the letters and envelopes were full of DM pics and drawings.

We used to all have a nickname, depending on whom we loved the most. I was called Gorette 😁

I still have all the cassettes I got from pen pals. I got to know some other bands who played synth music and got their tapes. I remember I once sent a tape with good music like DM, etc., and mixes to someone who worked for Russian radio and they played it. I guess it was harder for them to get music the music then 🤔

I got so much: so many friends, and so much more knowledge of DM and similar bands through these pen pals around the world.

It was so much fun, and it was very exciting waiting for letters. Some days, you got many letters. I went to Essex to be an au pair for two months to get to a DM convention in London at Camden Palace in 1990. I also ended up dating, for a while, one of the pen pals. He once won a Dave Gahan look-alike competition at a DM convention. I went once to a DM convention in Birminham with him and his band mates.

Some of the pen pals came very close to me. We have met in real life and found each other again on Facebook.

BERNARD VAN ISACKER (Belgium)

Back in the day, there was simply no internet; or, at least, it looked rudimentary. Look at what the first official Depeche Mode Web site looked like: it was a graphical monsterpiece! Anyhow, BONG magazine offered a good platform to connect with people, so I got in touch with a few via the ad I posted there (which looked quite freakish to be honest – I wouldn’t have reacted if I were a reader!). I remember I exchanged lots and lots of cassettes with bootleg material, and I got to know a few more obscure bands – but also Wumpscut, thanks to a German pen pal.

Twenty-seven years later and I’m helming Side-Line magazine and the Alfa Matrix label, and I’m still sporadically in touch with some of these people. Those were damn good times, and it was a pity when BONG stopped – you kinda lost a ‘community,’ so to speak. Having said that, many readers from back then now turn out to be current contacts and friends of mine these days! The world is full of surprises.

LISA SHRED (USA)

Photo: Merja Outala

The DM fan club has changed over the years. In 1990, I was volunteering at the New Music Seminar in NYC when I asked Daniel Miller, who I met there, if I could start a DM fan magazine myself in the USA, besides the UK BONG. Daniel told me that someone else in the USA had already just started one. I managed to find this person months later, became friends with him, and helped him out with the US issues of BONG magazine from time to time.

We worked on a DM convention in New York together, along with Jo Bailey from the UK, who ran BONG there at the time. We visited the Mute Records office together. Years later, I joined the DM fan forum online at www.depechemode.com, since there were no more paper magazines. I met many local friends on this forum, and we would chat every day online on the Web site about not just Depeche Mode but other things, too. We would meet each other at local Depeche Mode parties in town, where a DJ would play mostly DM all night and we’d dance. We then would meet each other in person when the band was having record signings, or at concerts. This happened for several years, and many of us have remained friends or acquaintances to this day, eighteen years later!

Photo and Cover Photo: Merja Outala

On some tours, we fans would all get together and get a hotel room for after the show, after car-pooling together to an out of town DM show. In fact, one day the band held a private party in NYC after their rehearsal show, and all of us fans who knew each other and who always attended the DM events were allowed in to their private party at a rooftop hotel in NYC. Here we were, drinking champagne with Martin and Fletch, and yet it all started because we met online at depechemode.com. That was also the year I became a Depeche Mode DJ in NYC, and started to have dance parties where I’d play lots of Depeche Mode songs all night myself.

Now, as a DJ, I can attract as many as 600 people per Depeche Mode party. The record company helps us at our events (Sony – and, before that, Warner), and we do the official after-parties for DM on each of their tours. I still see some of the same faces that I saw almost twenty years ago on the dance floor! Although I have become a professional DJ over the years (somehow by accident!), I am and will always be a big Depeche Mode fan.[/vc_column_text][/vc_column][/vc_row]

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Shine On: Adrian Sherwood

by coldwarnightlife
written by coldwarnightlife

[vc_row][vc_column][vc_column_text]Adrian Sherwood launched his On-U Sound label in 1979, but he was already a fixture on the London roots and dub scene. Selling imported dub plates from his van across the city, a teenaged Sherwood had absorbed the transplanted sounds of the Caribbean with the air he breathed. Living in a Battersea squat with Neneh Cherry and Ari Upp, he was also close to the city’s post-punk explosion.

It didn’t take long for Sherwood to start putting out music himself. He soon learned to play with the studio controls in the spirit of dub pioneers like Lee “Scratch” Perry. Tearing sounds apart and reconstructing them through radical combinations of delays and distortion became the On-U Sound signature.

Sherwood’s ability to drive beats for projects like Dub Syndicate and New Age Steppers, while maintaining hypnotic grooves, brought him to the attention of electronic and industrial artists like Cabaret Voltaire, Skinny Puppy and Depeche Mode. Ministry’s Al Jourgensen used him to make the Twitch album, “borrowing” Sherwood’s studio techniques for later use in Ministry and Revolting Cocks.

Surrounded by talent from the roots and dub scenes, Sherwood took on industrial remix projects but also put out music with incredible sensitivity. The ultimate combination of these strands came on Mark Stewart’s “Stranger than Love,” which combined Erik Satie’s piano exercises with Bristol’s most powerful voice. It was proof positive that, in a master’s hands, the most delicate emotions can still be found in the red zone of the VU meter.

10. Bim Sherman – Slummy Ghetto

A key part of the On-U Sound ensemble, Bim Sherman was an uncompromising talent. He recorded solo, as well as with Dub Syndicate, New Age Steppers and Singers & Players – On-U projects that drew from the collective of artists surrounding Sherwood.

This take shows the mainstream version of Sherwood’s production work. In his hands, the material is classy but subversive.

9. Robert Wyatt – Biko

The British communist activist and composer, Robert Wyatt, engaged Sherwood to shape his cover of Peter Gabriel’s tribute to the South African anti-apartheid leader, Steve Biko. Recorded in London’s legendary Blackwing Studios, with John Fryer engineering, the track still raises goose-bumps with its haunting and spacious mix.

8. Cabaret Voltaire – Here To Go (Live Drum Jacknife Mix)

Cabaret Voltaire had already found their way to the alternative dancefloor when they recorded Code. Years of listening to James Brown in Sheffield had influenced the industrial pioneers; but, as this single showed, they were just as moved by Brion Gysin’s art and writing.

Sherwood was brought in for the production of part of the album, but he took the tapes apart for this remix.

7. Skinny Puppy – Deep Down Trauma Hounds (Remix)

Canada’s dark electro pioneers called on Sherwood for the 1987 release of “Addiction,” which featured this version of “Deep Down Trauma Hounds” on the flip side.

6. Depeche Mode – Master and Servant (An On-U Sound Science Fiction Dancehall Classic)

Many Depeche Mode fans were mystified by the limited edition remixes that Mute released with Sherwood at the controls. Stripped back melodically (and given what sounds like a thorough going-over with Keith LeBlanc’s drums), the retooling of “Master and Servant” and “People Are People” was unexpected and – for the less forgiving – unwelcome.

Today, the remix of “Master and Servant” isn’t as jarring. Sherwood’s signature is still engraved in the rhythm – carved by hammer and chisel across the master tapes – but the world has caught up to the idea.

5. Dub Syndicate – Wadada (Means Love)

Of Sherwood’s many projects, his collaboration with “Style” Scott as Dub Syndicate was the most successful. Infused with the possibility of space travel in the mind, and hidden in a cloud of sweet-scented smoke, it represented the avant-garde end of the roots spectrum.

Scott was murdered in Jamaica, which brought this project to an end. Its legacy is an incomparable body of reggae with experimental flair.

4. Mark Stewart – Hypnotized

The dissolution of The Pop Group freed singer Mark Stewart to mix his love of noise, funk and reggae together in a flammable cocktail.

“Hypnotized” is a savage cut-up of beats, breaks and scratches that completely dismantles conventional song structures.

Sherwood worked with Stewart to mangle tapes, splice beats and throw faders, created the most subversive 12″ single of all time. People still quote the statistics cited in the song.

3. Ministry – The Angel

Al Jourgensen claims to dislike Twitch, but Ministry’s last album before they let metal in was an alternative dancefloor classic. With tracks like “Over the Shoulder” pummelling clubbers like a backhoe shattering asphalt, it set a new bar for hard beats.

Jourgensen managed to sound menacing throughout, and nowhere more than on this track. When he returned to Chicago, he took samples of Keith LeBlanc’s drum sounds with him, fuelling the Wax Trax sound for years to come.

2. Einstürzende Neubauten – Yü Gung

German metal-bashers, Einstürzende Neubauten, recorded “Yü Gung” with Gareth Jones at Hansa in Berlin before Adrian Sherwood was let loose on the tapes. Blixa Bargeld screams “Feed my ego!” with the intensity of a drug-addicted chemistry grad starved of narcissistic supply – which is fitting, as the song was inspired by the chopping and snorting of methamphetamine.

1. Tackhead – Mind at the End of the Tether

In 1984, Sherwood was in New York on a studio assignment when he met up with Keith LeBlanc, the drummer in the Sugar Hill Records house band. Within short order, LeBlanc was in London with two other members of the band, Doug Wimbish and Skip McDonald, making magic with Sherwood as Fats Comet.

Wimbish – who went on to play with Living Colour and the Rolling Stones – suggested using the name, Tackhead – New York slang for a homeboy – for the group’s less commercial work.

For this powerful 12″, LeBlanc’s beats create a furious racket, while a voice laments the decline and fall of civilisation. Citing H.G. Wells, the narrator asks, “Is there a way out?” The only way is across the dancefloor.

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Silence Is Sexy: Mute Update STUMM433

by coldwarnightlife
written by coldwarnightlife

Daniel Miller (Photo: Diane Zillmer)

It is common knowledge that Daniel Miller was inspired by the writings of J.G. Ballard when he came up with the lyrics for “Warm Leatherette.” It is less well known that his imagination was fuelled by the sounds of actual car crashes taking place at Henlys Corner, just a short distance from the house where he lived with his mother in North London. As Miller lay in his room at night, he could hear the vibrations of violent collisions drifting through his open window.

One of Miller’s contributions to STUMM433, the forthcoming release from his Mute label, is an ambient recording of the sound outside his former residence at 16 Decoy Avenue. His performance of John Cage’s 4′ 33″ is only the third time that he has recorded as The Normal, and it forms part of a compilation issued to raise funds for mental health and tinnitus charities.

Cage’s infamous work requires performers to avoid playing instruments for four minutes and thirty-three seconds. Instead, they play with the audience by upsetting their expectations and drawing attention to the sounds they are making themselves. Coughs, rustling of programmes and the sounds of breathing are common elements in concert settings.

STUMM433, a play on the catalogue number for the album and the title of Cage’s composition, sees more than fifty Mute artists turning in recordings of their own performances. So, one shouldn’t expect to hear Dave Gahan’s sleazy crooning on Depeche Mode’s contribution; nor should Erasure fans hope for melodic work from Vince Clarke’s New York studios. Rather, each interpretation will reflect the sounds around the artists as they staged the work.

Miller, himself, appears several times on the album, as The Normal, Silicon Teens and part of Duet Emmo (his collaboration with Bruce Gilbert and Graham Lewis). We will have to wait to see if the Fad Gadget contribution is from Miller’s studio time with Frank Tovey. Other featured artists include:

A Certain Ratio, A.C. Marias, ADULT., The Afghan Whigs, Alexander Balanescu, Barry Adamson, Ben Frost, Bruce Gilbert, Cabaret Voltaire, Carter Tutti Void, Chris Carter, Chris Liebing, Cold Specks, Daniel Blumberg, Danny Briottet, Depeche Mode, Duet Emmo, Echoboy, Einstürzende Neubauten, Erasure, Fad Gadget, Goldfrapp, He Said, Irmin Schmidt, Josh T. Pearson, K Á R Y Y N, Komputer, Laibach, Land Observations, Lee Ranaldo, Liars, Looper, Lost Under Heaven, Maps, Mark Stewart / Sonskrif / The New Banalist Orchestra, Michael Gira, Mick Harvey, Miranda Sex Garden, Moby, Modey Lemon, Mountaineers, New Order, Nitzer Ebb, NON / Boyd Rice, Nonpareils, The Normal, onDeadWaves, Phew, Pink Grease, Pole, Polly Scattergood, Richard Hawley, ShadowParty, Silicon Teens, Simon Fisher Turner and Edmund de Waal, The Warlocks, Wire, Yann Tiersen and Gareth Jones.

If that wasn’t enough, the vinyl version of the release will be spread across five LPs in a box set with designs from Anton Corbijn and Malcolm Garrett, among others. As Mute note:

Each artist has created a visual to accompany their performance and a selection of 28 designers associated with Mute have contributed artwork inspired by 4’33”, including Simone Grant, who worked with Miller on a lot of the early Mute artwork (The Normal, Fad Gadget and Depeche Mode); Steve Claydon, a member of Add N To (X) who designed for Goldfrapp; Slim Smith, who worked with Mute through the 1980s and 1990s; Malcolm Garrett, who designed the House of Illustrious box set for Vince Clarke and Martyn Ware; Tom Hingston, who has worked with Erasure and created the majority of Nick Cave & The Bad Seeds and Grinderman artwork since the early 2000s and Anton Corbjin, who has worked closely with Mute on many campaigns since the early 1980s, including Depeche Mode, Nick Cave & The Bad Seeds and Fad Gadget.

Box set purchasers will also receive a set of candles infused with the scent of silence, as imagined by Joseph Quartana of Six Scents Parfums.

A CD version will be available, but it doesn’t come with candles or a certificate of authenticity signed by Daniel Miller.
Part of the proceeds from the sale of the album will go to the British Tinnitus Society and Music Minds Matter. These charities were chosen in memory of Craig Gill of Inspiral Carpets, who took his own life as a consequence of anxiety and depression brought on by his tinnitus.
STUMM433 ships on 4 October 2019, but the strictly limited edition box set is available for pre-ordering now.
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