The Posters Came from the Walls + Q & A Prologue
Despite a punishing schedule as my assignment at Southwark wraps up – we’re talking looooong days but only three weeks to go – I’ve managed to book a few more events in the run up to Christmas including something a little different, a documentary on the fan obsession surrounding synth pioneers Depeche Mode which they’ve mysteriously called The Posters Came From The Walls that is screening at the Clapham Picturehouse tomorrow evening. Normally I could wait to catch this but the prospect of seeing Alan Wilder, the exiled central member of the bands success in the mid eighties to nineties in Q&A after the screening is simply unmissable for an old school Mode-Head. Here is probably his most instrumental (if you’ll forgive the pun) achievement to the bands success, embedding is disabled so here is another, weirder version:
I’m vaguely hoping that the documentary will be more than a mere hagiography of the band and bleed out into a wider examination of fan obsessions that are achieving critical mass these days (Twilight anyone?) but since I’ve just read that it’s a record label sanctioned and financed piece I’m not holding my breath. I’m seeing Depeche Mode at the O2 in a couple of weeks, I’ll incorporate my thoughts on the film into my gig review after that. Meanwhile here is some fan derived nonsense from a bored Monday night, starting with some of Alan’s solo stuff, far more esoteric than the usual DM stuff he contributed to but a fine stroll down memory lane for yours truly:
Vaguely embarrassing by todays standards, but fun nonetheless:
Just a little to early for me – I started with the World Violation tour in 1990 – but I’ll always love this gig opening:
And one of my favourite tracks that they are still playing on certain dates:
Finally, in a patently weak effort at some sort of context, here’s a link to the brilliant Synth Britannia documentary that aired on BBC4 recently, one of the best music docs I’ve seen for ages and another exemplary example as to why I pay my licence fee. I loved the JG Ballard references, the cultural contexts and mirage of archive material that the BBC excel at fusing together to construct something that no-one else could make – outstanding.