Black Celebration
Template:Short description Template:Use dmy dates Template:Use British English {{safesubst:#invoke:Unsubst-infobox||$params=italic_title,name,type,longtype,artist,cover,border,alt,caption,released,recorded,venue,studio,genre,length,language,label,director,producer,compiler,chronology,prev_title,prev_year,year,next_title,next_year,misc|$extra=italic_title,longtype,border,caption,language,director,compiler,chronology,year,misc|$aliases=italic title>italic_title,Italic title>italic_title,Name>name,Type>type,image>cover,Cover>cover,Border>border,Alt>alt,Caption>caption,Longtype>longtype,Artist>artist,Released>released,Recorded>recorded,Venue>venue,Studio>studio,Genre>genre,Length>length,Language>language,Label>label,Director>director,Producer>producer,Compiler>compiler,Chronology>chronology,Misc>misc|$flags=override|$B={{#ifeq:{{#invoke:Is infobox in lead|main|[Ii]nfobox [Aa]lbum}}|true|{{#if:Template:Has short description | |{{#if: Template:Start date | Template:Short description}}}}}}{{#invoke:Infobox|infobox}}Template:Template otherTemplate:Category handlerTemplate:Main other{{#invoke:Check for unknown parameters|check|unknown=Template:Main other|preview=Page using Template:Infobox album with unknown parameter "_VALUE_"|ignoreblank=y|italic_title |type |name |image |cover |border |alt |caption |longtype |artist |released |recorded |venue |studio |genre |length |language |label |director |producer |compiler |prev_title|prev_year|next_title|next_year|chronology|year|misc}}{{#if:{{#invoke:String|match|error_category=Music infoboxes with Module:String errors|A|1=Catching Up with Depeche Mode1985Greatest Hits1987studioBlack CelebrationDepeche Mode - Black Celebration.pngDepeche ModeTemplate:Start dateNovember 1985 – February 1986* Westside and Genetic (London)
- Hansa Mischraum (Berlin)* Synth-pop<ref>{{#invoke:citation/CS1|citation
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- industrial<ref>{{#invoke:citation/CS1|citation
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- post-punk<ref>{{#invoke:citation/CS1|citation
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- Gareth Jones
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Black Celebration is the fifth studio album by the English electronic music band Depeche Mode, released on 17 March 1986 by Mute Records in the UK and Sire Records in the US. Recorded in London and West Berlin, it was produced by Depeche Mode, Daniel Miller and Gareth Jones. At the prompting of Miller, the band recorded the album using the "live the album" ethos inspired by the film director Werner Herzog, which led to considerable tension between the band and both Miller and Jones, resulting in neither being involved in the production of subsequent Depeche Mode albums.
The album was promoted by the singles "Stripped", "A Question of Lust", and "A Question of Time". In the US, "But Not Tonight" was released as a single instead of "Stripped". In support of the album, Depeche Mode embarked on the five-month-long Black Celebration Tour across Europe, North America, and Japan, which ran from early to mid-1986.
Black Celebration is considered by critics as the start of a four album series of well-regarded Depeche Mode albums, continuing with Music for the Masses (1987), Violator (1990) and Songs of Faith and Devotion (1993). Three years after its release, Spin ranked it as the 15th-greatest album of all time,<ref name="Spin">Template:Cite magazine</ref> and the UK's Radio X in 2011 cited it as one of the most influential albums of the 1980s.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Nine Inch Nails' Trent Reznor later cited Black Celebration as a source of inspiration for his album debut, Pretty Hate Machine (1989).
Background
After touring through July 1985 in support of their previous album Some Great Reward (1984),<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Depeche Mode released two compilation albums in late 1985, The Singles 81→85 in the UK in October, and Catching Up with Depeche Mode in the US in November. Both albums included two new tracks which were both issued as singles, "Shake the Disease" (single released April 1985) and "It's Called a Heart" (single released September 1985). On a personal level, singer Dave Gahan married his partner Jo Fox, while songwriter Martin Gore was still living in West Berlin with his girlfriend Christina Friedrich.Template:Sfn However, after their exhausting year of touring and recording, the band found themselves at odds when they reunited.Template:Sfn Tensions within the band and their producer Daniel Miller had already come up during recording sessions earlier that year for "Shake the Disease".Template:Sfn Said Gahan, "If we were ever going to split up the band it was at the end of 1985. We were really in a state of turmoil. Constant arguing. Very intense. We weren't really sure where to go [musically] after Some Great Reward, so we decided to slow things down. But it left us with too much time on our hands. So we spent most of our time arguing. Sometimes, it seems incredible that we came out of that period with the band and our sanity intact."<ref name="bsixteen">Template:Cite magazine</ref> The inter-personal conflict within what was normally a tight-knit group led Gore to hide away with a friend at a farm for a week, with Gore later saying "I freaked out. I had to go away for a few days."Template:Sfn Ultimately, the band agreed to reconvene in London in November to try to record their new material.Template:Sfn
Recording
Production
Depeche Mode entered Westside StudiosTemplate:Efn in London in the first week of November 1985 to start recording their new album.Template:Sfn In starting to work on the new album, producer Miller said that he "was a bit frustrated because [he] couldn't get the guys to think about working in different ways," and to that end, Miller asked the band to attend the studio every day to work on the production to "live the album", wanting "a kind of intensity".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Miller was inspired by the history of German film director Werner Herzog, saying that Herzog had made historical films "and [the people involved in production of the movies] really lived the films, and it was a very intense way of working."Template:Sfn The band agreed to this approach, and Gore moved back to London from West Germany, where he had been living since the Some Great Reward recording sessions of 1983–84.Template:Sfn
Typical of Depeche Mode's previous few albums, Gore arrived at the sessions with demos of new songs for the album,Template:Sfn and, determined to make their new album "a lot heavier, harder and darker [than their previous album]", brought in demos that were less structured and formal than he had in the past.Template:Sfn Miller and the band's label, Mute records, upon hearing the demos, were concerned about the morbid, slow demos, and worried that they lacked any radio-friendly singles.Template:Sfn<ref name="Lindsay">Template:Cite magazine</ref> After a week-long standoff, Miller and the label relented, allowing the band to "make the record you want to make."Template:Sfn This stand-off preceded a tense 120 days in the studio, with the band and producers working 14 hours a day to complete the album, with few days off.<ref name="GoodEnough" /> Adding to the tension was that both Miller and Gareth Jones returned in their production roles from the band's previous album,Template:Sfn but alongside them was now Alan Wilder, who had grown into production responsibilities for their music over the past few years.Template:Sfn With three co-producers sharing space at the production desk, Miller said "Alan [Wilder] was becoming very adept in that studio-bod role which I'd filled before. That left my own position less defined but I still had a very strong point of view. I think that created a lot of tension."Template:Sfn In addition, the entire group worked under tight timelines, intending to finish recording and mixing all their material, as well as completing all artwork for their album and singles, by Christmas 1985, although they missed this deadline and ended up working into the first few months of 1986.<ref name="GoodEnough">Template:Cite AV media</ref> Years later, Miller remembered that the Celebration sessions "turned in a nightmare ... There was definitely tension in the studio" as a result of the "live the album" ethos of recording.<ref name="GoodEnough" /> Alan Wilder said that the way the album was made, combined with Miller's brooding and Gore's dark songs, resulted in an "underlying darkness" in the material they created.<ref name="GoodEnough" /> In an attempt to cope with the stress of the album's production, the band and production crew smoked a lot of marijuana while recording the album, and this instilled a feeling of paranoia in the sessions.Template:Sfn
The band continued to use new, bespoke sampled sounds while recording Black Celebration, fed into the Synclavier the band had used on their previous two albums.<ref name="GoodEnough" />Template:Sfn Andy Fletcher said "we had this theory at the time that every sound must be different and you must never use the same sound twice."Template:Sfn
By the end of their recording sessions, the band and producers Jones and Miller had moved back to Hansa Studios in West Berlin,<ref name="n1">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> where they had recorded and mixed parts of their previous two albums.<ref name="dmdt">Template:Cite book</ref>Template:Sfn In partially explaining the move back to Berlin, singer Dave Gahan said the reason was "the atmosphere. There are no distractions [here at Hansa] like in London. I can't work in England anymore."<ref name="n1" /> Despite all the tension, Wilder later said that "the album's claustrophobic feel was probably down to the tension. I think it did add a chemistry to the sound of the record, more than any others we have done. It's one of my favourite records we have ever made."Template:Sfn
Songs
One of the first songs the band recorded was "Stripped", which, according to Wilder, was one of the few songs that was "easy" to record for the album.<ref name="GoodEnough" /> "Stripped" incorporated the sound of Gahan's idling Porsche 911 and of a bottle rocket, as they were recording "Stripped" on Guy Fawkes Night (5 November every year).<ref name="GoodEnough" /> For the sound of the fireworks, they launched the rockets horizontally so that several microphones, set up in sequence, could capture the sound of the firework fizzing by.<ref name="GoodEnough" />
Wilder spoke about the way they approached sampling for the album, using the track "It Doesn't Matter Two" as an example: "There are a lot of choir samples on that. It would have been very easy to take just one sample and play it back polyphonically. But instead, we took a different sample for each choir note, so each note is slightly out from the others. It gives it a very realistic feel. We spent a long time getting that to work, so that it sounded human. That goes for all the stuff we do, not just that one track."<ref name="bsixteen" /> Lyrically, Gore summarized "It Doesn't Matter Two" as a "very desperate [song]. Very very morbid."<ref name="n1" /> Of "Sometimes", he described it as "about someone who questions their surroundings and ends up becoming tiring and embarrassing and over apologetic."<ref name="n1" /> "Fly on the Windscreen", which was the b-side to Depeche Mode's previous single, "It's Called a Heart" (1985), was deemed by the band to be "too good" to remain just a b-side, so it was re-mixed and included on the album.<ref name="GoodEnough" /> Title song "Black Celebration" starts with Miller's distorted voice saying the phrase "A brief period of rejoicing", taken from Winston Churchill's 8 May 1945 speech after the surrender of Germany to end World War II in Europe.Template:Sfn
By 19 November 1985, the band was recording "A Question of Lust", one of four Gore-sung songs on the record, an all-time high for any Depeche Mode album to date.<ref name="GoodEnough" /> Alongside "Lust", Gore sang lead vocals on "Sometimes", "It Doesn't Matter Two" and "World Full of Nothing", saying "we've noticed that my voice is more suited to the softer and slower songs than Dave's [Gahan]".Template:Sfn After a single day off for New Year's Day 1986, the band returned to the studio, and on 14 January 1986 they had mixed the album track "World Full of Nothing" as well as recorded and mixed one of the album's B-sides.<ref name="GoodEnough" /> Miller said that, for their album Speak & Spell, the band had recorded so many songs that they just picked a few to be the B-sides for their singles.<ref name="GoodEnough" /> For Black Celebration, they wrote their B-sides separately.<ref name="GoodEnough" /> Said Jones, "There was never a sense that a B-side was a throwaway."<ref name="GoodEnough" /> In addition, the band deliberately wanted to move away from just doing "simple extended version[s]" of their singles, instead opting to record the experimental "Black Day" and "Breathing in Fumes", which were based off of album tracks "Black Celebration" and "Stripped", respectively.<ref name="GoodEnough" /> Because the B-sides were often recorded quickly (sometimes in just one day), Jones called their production "refreshing" after the weight of the other album track's recording sessions.<ref name="GoodEnough" /> The album continued to be a transition album for Wilder, whose final songwriting credit with the band was the instrumental B-side "Christmas Island"; after Black Celebration Wilder continued to transition to spend more time arranging and performing songs and producing and engineering the band's sound.Template:Sfn Years later, Wilder said he stopped songwriting for the band because it didn't come naturally to him, and he struggled with the lyrics, saying "My interest is more about atmosphere and production and editing and all the other things."<ref name="awyt">Template:YouTube</ref>
Adding further tensions in the studio, Jones and Miller fretted over the album's final mix, taking three weeks to mix the album over and over, before the band finally staged an intervention to force a final mix.<ref name="GoodEnough" /> The completed mix included, according to Jones, "more reverb" and various echo effects to add to the "mystical" quality of the recording.<ref name="GoodEnough" />Template:Sfn
Image and relationship with the press
The band had been actively trying to shed the teenybopper image that they had acquired in their earliest years,Template:Sfn and knew Black Celebration was going to be a big change for fans looking for songs like from their popular debut album Speak & Spell.<ref name="n1" /> Depeche Mode, and their label, were working to combat their perceived bias by music journalists, who, at the time, did not consider electronic music "real" music.<ref name="sbdm">Template:YouTube</ref> Andy Fletcher said that "We had a real mission to prove to people that electronic music was a valid type of music," noting that Depeche Mode often incorporated guitar into their songs, but typically subverted its sound to make it unrecognizable.<ref name="GoodEnough" /> He elaborated, saying that, earlier in their career, "we were treated a bit unfairly in Britain because we were on an independent label without a manager ... and we was very young. I think we were naive."<ref>Template:YouTube</ref> Wilder said that with Black Celebration, the band was likely "alienating some of the teen market but gaining more respect [among the press]."<ref name="n1" /> Lyrically, Gore described his writing style for his songs as "[creating] the right atmosphere, which is an attempt to get away from contemporary pop."<ref name="n1" /> For this album, their look, which was becoming darker, evolved naturally and the band claimed it was not contrived.<ref name="GoodEnough" /> Despite the album's rough beginning, the band's dark image and the brooding songs, by the time the band was promoting the album, the four members of the band were jovial, friendly and "normal" in everyday life.<ref name="GoodEnough" />
Artwork
Martyn Atkins returned to design the album cover for Black Celebration, as he'd done for all of Depeche Mode's album covers since A Broken Frame (1982).Template:Sfn Originally, he had designed a physical miniature building, draped in black banners and inspired by totalitarian imagery, to be photographed for the cover.<ref name="GoodEnough" /> However, the band was not happy with the original design and so the cover was re-designed to include only a cropped, close-up of the original photograph and they instead emphasized the logos around the image, which the band paid to have embossed on initial pressings of the album.<ref name="GoodEnough" /> Despite the changes, the album cover still only garnered mixed opinions from the band and label.<ref name="GoodEnough" />
On the album's back cover is the phrase "Life in the so-called Space Age", which was a phrase from Gore meant to mean that despite all the advances in technology in the world, "nothing is changed. People are still emotionally numbed by material possession."<ref name="n1" /> In keeping with the "black" theme of the album, Black CelebrationTemplate:'s first two singles, "Stripped" and "A Question of Lust", both featured black as the dominant color, and only the final single, "A Question of Time" had an "optimistic" white cover.Template:Sfn
Title
The title "Black Celebration" was not a reference to Black mass<ref>Template:YouTube</ref> or rituals of the Occult, but rather, it was meant to "[describe] the daily boredom of a dreary life without climaxes or hope for improvement."Template:Sfn Said Gore, "Our songs from Black Celebration capture the idea: Make the most of what you have, and find consolation whereever you can."<ref name="bsixteen" /> Gahan elaborated, "it's a common thing: at the end of a working day you go out and drown your sorrows no matter how shitty you feel or how bleak your future looks."<ref name="n1" />
Release and promotion
"Stripped", the first single released from the album, was made available on 10 February 1986 in non-US territories.Template:Sfn Black Celebration was released a month later on 17 March, 1986 by Mute Records in the UK, Sire Records in the US, and Intercord Records in Germany.Template:Sfn In the UK, the LP was given catalogue number STUMM26, and in Germany, INT 146.818.Template:Sfn In Sweden, the Scandinavian Music Club included Black Celebration in a box set with the band's previous albums where the band's name was mis-spelled several times as "Best of Depech Mode" (catalogue number 15 6505).Template:Sfn A promotional single for "Breathing in Fumes" was released in the UK (catalogue number RR12BONG10) and distributed exclusively to clubs to play on the dance floor.Template:Sfn Despite Mute's concerns about the songs and the album, Black Celebration became Depeche Mode's best-selling album to date.Template:Sfn
A month after the album's release, on 14 April 1986, the album's second single, "A Question of Lust" was issued, followed by "A Question of Time" on 11 August.Template:Sfn Also in August 1986, Wilder released 1 + 2 under the name Recoil, a collection of sampled Depeche Mode sounds that he originally didn't intend to make public until Miller persuaded him to turn the project into an album.Template:Sfn Said Wilder, it was "an experiment, an improvisation that I had recorded in my home studio using really simple equipment."Template:Sfn In September 1986, the movie Modern Girls was released, which included Depeche Mode's song "But Not Tonight" on its soundtrack.Template:Sfn "But Not Tonight" was released as a US-only single on 22 October 1986, as US label Sire Records had decided to release it instead of "Stripped" in that region.Template:Sfn
Black Celebration was remastered and re-released on CD and vinyl in 2007.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Tour
The Black Celebration Tour began with a UK leg, starting in Oxford, England in late March 1986 and finishing a month later in London.<ref name="bct">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> A European leg continued from April through May, followed by a North American and Japanese leg in June and July that concluded with three shows in Japan.<ref name="bct" /> In August, the tour began a second run of European shows, starting in Fréjus, France.<ref name="bct" /> The group performed additional dates in France and two shows in Italy before wrapping up the tour in Copenhagen in mid-August 1986.<ref name="bct" /> The band typically played larger venues than they had on previous tours, including in front of 20,000 fans in West Berlin.Template:Sfn Of the tour, Wilder said "we always try to go for quite an elaborate stage design, with the lights and the whole show. We've been using video screens on this tour, as well, to try and get the whole look of the whole thing across for the people right at the back."<ref name="sbdm" /> Staging, like the album cover design, was inspired by 1930's German authoritarian imagery.Template:Sfn They relied on Gahan's stage presence to help liven up their show, since most of the band spent most of their time behind their keyboards.<ref name="sbdm" /> Although the album wasn't a strong seller in the US, only hitting a high of number 90, the US leg of their tour was strongly attended.Template:Sfn Gore noted that "We were playing to more people [in concert] than we were selling records to in the States. We could sell out everywhere we played."Template:Sfn Wilder suggested that, to American audiences, Depeche Mode were "clean enough to crossover but subversive enough to push a few boundaries at the same time."Template:Sfn Following the heavy marijuana use in recording the album, the band drank a lot on tour, especially Gore.Template:Sfn Said Wilder, Gore "was always a big drinker. When he's drunk he's the exact opposite to the shy person he is in everyday life. ... the next morning he's back to quiet Martin again."Template:Sfn
Book of Love joined the tour as the opening act on 29 April in Hanover, West Germany, and continued for the rest of the first European leg and throughout all tour dates of the North American leg (ending on 15 July).<ref>Template:Cite magazine</ref>
Critical reception
Template:Music ratings Contemporaneous reviews for Black Celebration in the British press were mixed. Panning the album in Melody Maker, Steve Sutherland wrote that Depeche Mode came off as "pussycats desperate to appear perverted as an escape from the superficiality of teen stardom",<ref>Template:Cite magazine</ref> while in Sounds, Kevin Murphy dismissed its songs as "harmless scenes of banality, with no twists and many happy endings."<ref name="Murphy"/> In a more lenient review for NME, Sean O'Hagan, although finding Gore's lyrics "adolescent" and the record's overall mood "dark yet faintly ridiculous", conceded that "within their own parameters, Depeche Mode create a resonant, if undemonstrative techno-pop tapestry" with "a rich textured sheen that is not without a certain depth." He added, "When the songs address topics other than the composer's state of mindTemplate:Nbsp... Depeche Mode sound like a lot more than just a high tech, low-life melodrama."<ref>Template:Cite magazine</ref> Writing for Smash Hits, Chris Heath was impressed by the album's "weirder" approach of mixing "dark, mysterious percussive" songs and "sweet, fragile and rather sinister ballads".<ref name="Heath"/> Betty Page of Record Mirror praised Depeche Mode for their "refusal to follow anything but their own fashion" and "unswerving ability to come up with great, fresh melodies."<ref name="Page"/>
Black Celebration has since been reappraised in retrospective reviews. AllMusic critic Ned Raggett considered it a transitional work for Depeche Mode, moving away from their earlier "industrial-pop" sound and towards "a path that in many ways defined their sound to the present: emotionally extreme lyrics matched with amped-up tunes, as much anthemic rock as they are compelling dance, along with stark, low-key ballads."<ref name="Raggett"/> Danny Eccleston from Mojo said that it marked the start of the band's "post-industrial" period with its "richer, velvety soundworld", "insinuating melodies", and "positively Stentorian" vocals by Dave Gahan.<ref name="Eccleston"/> Black Celebration was included in SpinTemplate:'s 1989 list of "The 25 Greatest Albums of All Time", at number 15.<ref name="Spin" />
According to Rolling Stone journalist Rob Sheffield, Black Celebration was an "instant classic for the band's fans" which was "utterly ignored by everybody else" at the time of its release.<ref name="Sheffield"/> In 2019, Classic Pop Magazine said that with Black Celebration, Depeche Mode created "a tech-noir future dystopia" that "glitters in the gloom".<ref name="Lindsay"/>
Legacy
The album helped the band turn the corner and move away from the teenybopper image they'd acquired in their early years, and became a cult classic, helping to set the template for "doom-laden alternative rock."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Fletcher later recognised it as a "classic Depeche Mode fan favourite" among the band's albums in the EPK for their 1998 compilation The Singles 86>98, and said he found that "Black Celebration has got a collection of songs on there that's absolutely fantastic."<ref>Template:Cite AV media Retrieved 7 July 2023.</ref> Trent Reznor of Nine Inch Nails cited Black Celebration and its subsequent tour as an influence, saying that it helped inspire him to write the album Pretty Hate Machine (1989).<ref name="nin">Template:Cite magazine</ref> Said Reznor, "DM was one of our favorite bands and the Black Celebration record took my love for them to a new level."<ref name="nin" /> American DJ Shadow cited Black Celebration as an influence,<ref name="Lindsay" /> as did Wesley Eisold of rock band Cold Cave.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Track listing
Template:Track listing Template:Track listing Template:Track listing Template:Track listing
2007 Collectors Edition CD + DVD
Template:Track listing Template:Track listing Template:Track listing
Personnel
Depeche Mode
Technical
- Depeche Mode – production
- Gareth Jones – production
- Daniel Miller – production
- Richard Sullivan – engineering assistance
- Peter Schmidt – engineering assistance
- Tim Young – mastering
- Dave Allen – recording on "Fly on the Windscreen – Final"
- Phil Tennant – recording assistance on "Fly on the Windscreen – Final"
Artwork
- Martyn Atkins – design
- David A. Jones – design
- Mark Higenbottam – design
- Brian Griffin – photography
- Stuart Graham – photography assistance
Charts
Template:Col-begin Template:Col-2
Weekly charts
| Chart (1986) | Peak position | |
|---|---|---|
| Australian Albums (Kent Music Report)<ref>Template:Cite book</ref> | 69 | |
| European Albums (Music & Media)<ref>Template:Cite magazine</ref> | 5 | |
| Finnish Albums (Suomen virallinen lista)<ref>Template:Cite book</ref> | 17 | |
| French Albums (IFOP)<ref>{{#invoke:citation/CS1|citation | CitationClass=web
}} Select "DEPECHE MODE" from the drop-down menu and click "OK".</ref> |
11 |
| Italian Albums (Musica e dischi)<ref>{{#invoke:citation/CS1|citation | CitationClass=web
}} Select "Album" in the "Tipo" field, type "Black Celebration" in the "Titolo" field and press "cerca".</ref> |
9 |
| UK Independent Albums (MRIB)<ref>Template:Cite book</ref> | 1 |
| Chart (2013) | Peak position |
|---|
| Chart (2017) | Peak position |
|---|
| Chart (2025) | Peak position | |
|---|---|---|
| Greek Albums (IFPI)<ref>{{#invoke:citation/CS1|citation | CitationClass=web
}}</ref> |
44 |
Year-end charts
| Chart (1986) | Position | |
|---|---|---|
| European Albums (Music & Media)<ref>Template:Cite magazine</ref> | 24 | |
| German Albums (Offizielle Top 100)<ref>{{#invoke:citation/CS1|citation | CitationClass=web
}}</ref> |
19 |
| Swiss Albums (Schweizer Hitparade)<ref>{{#invoke:citation/CS1|citation | CitationClass=web
}}</ref> |
23 |
Certifications
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Notes
References
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