alex 82

I will take care of it.

Brian was absolutely convinced that the figure needed to turn its back to the camera, because otherwise the face would capture all the attention, while Griffin's intention was to highlight the grain in the foreground, the dark horizon, and the rain-laden sky that loomed over the entire scene. The red handkerchief was perfect as a chromatic contrast against the sky, and the shot was taken in just a few minutes. Griffin and his assistants then waited for sunset to take more photographs, one of which, the most dramatic, was later used on the back cover. The photo then landed in the hands of Martyn Atkins, who added the band’s name and the album title. For the lettering of the songs and the title, Ching Ching Lee was brought in, who handwrote the necessary words. The final touch for a cover that marked the beginning of a triptych of artworks representing "the tenacity of mountain people" (“Construction Time Again”) and the industrial universe (“Some Great Reward”). It goes without saying that the cover contained ten tracks of sublime “soviet synth pop.”

Brian decided to head to the countryside near Cambridge to find the perfect location and rode his motorcycle for several hours before discovering the ideal spot for the cover photo. The choice fell on a wheat field near the museum dedicated to the RAF, in the village of Duxford. The season was perfect, the wheat was fully ripe, and the chosen September day for the photo shoot felt like an ideal autumn day. The sky had been painted by the hand of God, lightning on the horizon sliced through the air, the wind swept across the wheat fields, and heavy rain began to pour just as Griffin's team started to set up the scene. Unfortunately, there was only that day to take the photo, and everyone began to wait for the rain to stop pouring down in torrents. As soon as the rain began to ease, three lights were set up: one in front, one to the side, and one above the model. In this way, a section of the field was brightly lit while the rest of the scene maintained the colors of the storm sweeping across Duxford. Griffin got straight to work, knowing that it would be a very brief respite.

Brian Griffin, the photographer chosen for the cover shot, was at that time particularly enamored with German and Soviet art, art that managed to express Stalinist communism tied to industrial or rural images. It was therefore decided to immortalize, in a photographic shot, the sweat and muscular strength of men and women fighting against the harsh weather just to gather enough grain for the rigid Soviet winters. Jacqui Frye was the stylist hired to create the costume. An element of great importance, considering that it is precisely the dress and the scythe brandished in the air that evoke Soviet iconography. Iconography meticulously crafted in the shapes of the dress and the red scarf covering the head of the reaper. The beauty of the dress created by Jacqui can be admired in its entirety in the photo used on the back cover, which aimed to convey, thanks to the scythe in the model's hand, a sense of death waiting. Indeed, at the beginning of the eighties, Griffin had become infatuated with the paintings of Caspar David Friedrich, a German painter of the early 19th century, who loved to depict death by portraying solitary figures at sunset or dawn against infinite horizons. Caspar placed his figures at the edges of the paintings, almost to signify the fleeting nature of life, a life represented by endless fields of grain.

Excerpt from 013, excerpt from B. Griffin: >>> In the early eighties, Depeche Mode became, with just one album, the standard bearers of synth pop, paying attention to every detail: covers, looks, concert scenery, and video clips. It was therefore natural to expect a grand cover from their second LP, released in 1982 and titled “A Broken Frame.” Depeche Mode did not disappoint expectations and released a record contained in an absolutely epic, monumental, and historic cover. In fact, at first glance, one might dismiss the photo of “A Broken Frame” with a sense of indifference and superficiality, but upon closer inspection, its extreme perfection can be appreciated, from the subject to the landscape, from the horizon to the threatening sky. No detail was digitally retouched, as became common practice in the nineties, but a dress was specifically made for the “model” portrayed, a location was sought out, and “luck” played its part with a perfectly leaden sky. The cover was created by Martyn Atkins, who met with the band to gather sufficient input to develop an idea that reflected Depeche’s vision. The group was fully aware of the graphic imagery that synth pop bands were dragging along, and they wanted to tie their music to an iconography of Soviet influence. An iconography that had become fashionable right at the beginning of the eighties, thanks to dozens of independent bands. An iconography that, in its essence, expressed strength, tenacity, and determination, but also an undeniable sweetness.

I'll tell you the story of the cover (anyway, breathing, another good review, but wilder didn't actually lift a finger on this album).

in fact, like this

Eldritch-like atmospheres, but also in terms of voice: they resemble each other A LOT. I haven't listened to much yet, but off the top of my head, I slightly prefer the Sisters of Mercy.

votes, pardon

Ah ah ah Ringo, well done! I've been telling anyone who asks me about SM to get and listen to this record right away. Citizen is really good too, Carnival (do you hear it in the playlists of alternative venues? I do, a lot, Factory, and I also don't mind Scar. You're right, this is where the future new wave works (3) of Kerr and company come from. You can tell.