The Ten Best Depeche Mode Remixes
the-ten-best-depeche-mode-remixes
March 05, 2013
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# The Ten Best Depeche Mode Remixes
From their earliest days, [**Depeche Mode**][1]{: target="_blank"} have
understood the transcendent power of a good remix. At the beginning of
their career, the form presented an opportunity to open up their sound
to DJs, converting their chart-friendly synth pop into dancefloor
tender. Throughout the years however, these interpretations became more
creative and experimental, with remixes commissioned from a disparate
range of underground artists as much as established names, reaching the
point where they effectively function as a barometer of current tastes
within electronic music. Need proof? "Heaven" features reinterpretations
by [**Matthew** **Dear**][2], **[Thomas Fehlmann][3],** and
[**Blawan**][4]{: target="_blank"}. Oh, and they've spawned [two][5]
[dedicated][5] remix albums.
We rifled through the swathes of Depeche Mode remixes out there (trust
us, there's a lot) to pick our ten favorites, so you don't have to. It's
deconstruction time again.
**"Suffer Well" (M83 Remix)**
2005's *Playing the Angel *threw up a number of reworkings by
well-regarded underground acts at the time, including the **[Robag
Wruhme][6]** (see below) and [**M83**][7], who were flush with accolades
from their *Before the Dawn Heals Us *LP. The original track is taken in
a new direction with washes of sci-fi synthesizer and Anthony Gonzalez's
otherworldly falsetto.
/
**"Useless" (The [Kruder & Dorfmeister][8] Session)**
The Austrian downtempo pioneers smooth the edges off this *Ultra *cut,
turning it into piece of medicated, heavy-lidded pop ideal for
soundtracking the bumpiest of comedowns. Spoiler: features
predominant wah-wah pedal.
/
**"Lillian" (Robag Wruhme Slomoschen Kikker)**
Germany's meister of glitch and erstwhile Wighnomy Brother decompresses
the midrange chug of the original with his characteristic insectoid
percussion, gentle guitar picking, and pastoral synth.
/
**"Master and Servant" (An ON-U Sound Science Fiction Dance Hall
Classic)**
[**Adrian Sherwood**][9] flexes his well-defined industrial dub muscle
for this distorted take on the band's eleventh UK single "Master and
Servent" from 1984. Sherwood would later refine---if that's the right
word---this abrasive, metal-on-metal style with work for **Ministry**,
**KMFDM**, and Nine Inch Nails.
/
**"World in My Eyes" (Daniel Miller Mix) **
This was the final release from the king-making *Violator*, and adding
some spit and polish to the band's crown is [**Daniel Miller**][10]. The
Mute boss and regular DM co-producer adds a different synth sound and
some subtle alterations---it's more a case of careful tailoring than
obvious repurposing.
/
**"Dream On" (Dave Clarke Acoustic Version)**
The first Exciter is given an acoustic makeover from
idiosyncratic techno bod **Dave Clarke**, earning a place on our list
for the sheer unexpectedness.
/
**"Painkiller" (Kill The Pain Depeche Mode vs DJ Shadow)**
Guitar scree, boom bap, and snatches of blues samples contribute to **DJ
Shadow**'s impressionist take on "Barrel of a Gun" B-side "Painkiller".
The anomalous original is an instrumental featuring kettle drums and
cruddy electronics. DJ Shadow takes those foundations and stretches them
until breaking point.
/
**"Something To Do" (Black Strobe Remix) **
*Construction Time Again *is, arguably, one of the greatest early
Depeche Mode albums. The record takes **Einstürzende Neubauten**'s heavy
duty industrialism and renders it chart-friendly, thus pulling off an
audacious act of pop nous. Here noughties French producers **Black
Strobe** preserve the urgency of "Something to Do"'s refrain and whack a
boisterous electrohouse beat under it. What did you expect?
/
**"Halo" (Goldfrapp Remix)**
Forget "Enjoy the Silence"---opener "Halo" is the real star of
*Violator*. **Will Gregory** and **Alison Goldfrapp** strip the bombast
out of the song revealing the vulnerability at its core. Dave Gahan's
resonant baritone feels naked against a backdrop of harp, Alison
Goldfrapp's fragile, breathy version of the chorus, and the closing
drifts of her soprano voice.
/
**"Behind the Wheel" (Vince Clarke Remix)**
In a pleasing, if circuitous, act, original Depeche Mode member **Vince
Clark** finally got round to remixing one of their tracks in 2011.
The *Music for the Masses *single "Behind the Wheel". This reworking
showcases his affinity with driving, muscular techno (which was
actualized conclusively in his [**VCMG**][11] project with, yup,
**Martin Gore**).
[1]: http://www.electronicbeats.net/artist/depeche-mode/
[2]: http://www.electronicbeats.net/artist/matthew-dear/
[3]: http://www.electronicbeats.net/artist/thomas-fehlmann/
[4]: https://twitter.com/Blawan
[5]: http://www.discogs.com/Depeche-Mode-Remixes-8104/release/339234
[6]: http://www.robag.fm/
[7]: http://ilovem83.com/
[8]: http://www.electronicbeats.net/tag/kruder-dorfmeister/
[9]: http://www.electronicbeats.net/artist/adrian-sherwood/
[10]: http://www.electronicbeats.net/artist/daniel-miller/
[11]: http://www.electronicbeats.net/artist/vcmg/
---
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title: 'The Ten Best Depeche Mode Remixes'
date: 2013-03-06T00:01:56+01:00
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slug: the-ten-best-depeche-mode-remixes
teaser_image: legacy/the-ten-best-depeche-mode-remixes/Depeche_Mode_Remixes_Electronic_Beats.jpg
contents:
-
type: text
text: '<p>From their earliest days, <a href="http://www.electronicbeats.net/artist/depeche-mode/" target="_blank"><strong>Depeche Mode</strong></a> have understood the transcendent power of a good remix. At the beginning of their career, the form presented an opportunity to open up their sound to DJs, converting their chart-friendly synth pop into dancefloor tender. Throughout the years however, these interpretations became more creative and experimental, with remixes commissioned from a disparate range of underground artists as much as established names, reaching the point where they effectively function as a barometer of current tastes within electronic music. Need proof? “Heaven” features reinterpretations by <a href="http://www.electronicbeats.net/artist/matthew-dear/"><strong>Matthew</strong> <strong>Dear</strong></a>, <strong><a href="http://www.electronicbeats.net/artist/thomas-fehlmann/">Thomas Fehlmann</a>,</strong> and <a href="https://twitter.com/Blawan" target="_blank"><strong>Blawan</strong></a>. Oh, and they’ve spawned <a href="http://www.discogs.com/Depeche-Mode-Remixes-8104/release/339234">two</a> <a href="http://www.discogs.com/Depeche-Mode-Remixes-8104/release/339234">dedicated</a> remix albums.</p><p>We rifled through the swathes of Depeche Mode remixes out there (trust us, there’s a lot) to pick our ten favorites, so you don’t have to. It’s deconstruction time again.</p><p><strong>“Suffer Well” (M83 Remix)</strong></p><p>2005’s <em>Playing the Angel </em>threw up a number of reworkings by well-regarded underground acts at the time, including the <strong><a href="http://www.robag.fm/">Robag Wruhme</a></strong> (see below) and <a href="http://ilovem83.com/"><strong>M83</strong></a>, who were flush with accolades from their <em>Before the Dawn Heals Us </em>LP. The original track is taken in a new direction with washes of sci-fi synthesizer and Anthony Gonzalez’s otherworldly falsetto.</p><p>/</p><p><strong>“Useless” (The <a href="http://www.electronicbeats.net/tag/kruder-dorfmeister/">Kruder & Dorfmeister</a> Session)</strong></p><p>The Austrian downtempo pioneers smooth the edges off this <em>Ultra </em>cut, turning it into piece of medicated, heavy-lidded pop ideal for soundtracking the bumpiest of comedowns. Spoiler: features predominant wah-wah pedal.</p><p>/</p><p><strong>“Lillian” (Robag Wruhme Slomoschen Kikker)</strong></p><p>Germany’s meister of glitch and erstwhile Wighnomy Brother decompresses the midrange chug of the original with his characteristic insectoid percussion, gentle guitar picking, and pastoral synth.</p><p>/</p><p><strong>“Master and Servant” (An ON-U Sound Science Fiction Dance Hall Classic)</strong></p><p><a href="http://www.electronicbeats.net/artist/adrian-sherwood/"><strong>Adrian Sherwood</strong></a> flexes his well-defined industrial dub muscle for this distorted take on the band’s eleventh UK single “Master and Servent” from 1984. Sherwood would later refine—if that’s the right word—this abrasive, metal-on-metal style with work for <strong>Ministry</strong>, <strong>KMFDM</strong>, and<strong> Nine Inch Nails</strong>.</p><p>/</p><p><strong>“World in My Eyes” (Daniel Miller Mix) </strong></p><p>This was the final release from the king-making <em>Violator</em>, and adding some spit and polish to the band’s crown is <a href="http://www.electronicbeats.net/artist/daniel-miller/"><strong>Daniel Miller</strong></a>. The Mute boss and regular DM co-producer adds a different synth sound and some subtle alterations—it’s more a case of careful tailoring than obvious repurposing.</p><p>/</p><p><strong>“Dream On” (Dave Clarke Acoustic Version)</strong></p><p>The first <em>Exciter </em>is given an acoustic makeover from idiosyncratic techno bod <strong>Dave Clarke</strong>, earning a place on our list for the sheer unexpectedness.</p><p>/</p><p><strong>“Painkiller” (Kill The Pain Depeche Mode vs DJ Shadow)</strong></p><p>Guitar scree, boom bap, and snatches of blues samples contribute to <strong>DJ Shadow</strong>‘s impressionist take on “Barrel of a Gun” B-side “Painkiller”. The anomalous original is an instrumental featuring kettle drums and cruddy electronics. DJ Shadow takes those foundations and stretches them until breaking point.</p><p>/</p><p><strong>“Something To Do” (Black Strobe Remix) </strong></p><p><em>Construction Time Again </em>is, arguably, one of the greatest early Depeche Mode albums. The record takes <strong>Einstürzende Neubauten</strong>‘s heavy duty industrialism and renders it chart-friendly, thus pulling off an audacious act of pop nous. Here noughties French producers <strong>Black Strobe</strong> preserve the urgency of “Something to Do”‘s refrain and whack a boisterous electrohouse beat under it. What did you expect?</p><p>/</p><p><strong>“Halo” (Goldfrapp Remix)</strong></p><p>Forget “Enjoy the Silence”—opener “Halo” is the real star of <em>Violator</em>. <strong>Will Gregory</strong> and <strong>Alison Goldfrapp</strong> strip the bombast out of the song revealing the vulnerability at its core. Dave Gahan’s resonant baritone feels naked against a backdrop of harp, Alison Goldfrapp’s fragile, breathy version of the chorus, and the closing drifts of her soprano voice.</p><p>/</p><p><strong>“Behind the Wheel” (Vince Clarke Remix)</strong></p><p>In a pleasing, if circuitous, act, original Depeche Mode member <strong>Vince Clark</strong> finally got round to remixing one of their tracks in 2011. The <em>Music for the Masses </em>single “Behind the Wheel”. This reworking showcases his affinity with driving, muscular techno (which was actualized conclusively in his <a href="http://www.electronicbeats.net/artist/vcmg/"><strong>VCMG</strong></a> project with, yup, <strong>Martin Gore</strong>).</p>'
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Chunk #1 (Position: 0)
# The Ten Best Depeche Mode Remixes From their earliest days, [**Depeche Mode**][1]{: target="_blank"} have understood the transcendent power of a good remix. At the beginning of their career, the form presented an opportunity to open up their sound to DJs, converting their chart-friendly synth ...
Chunk #2 (Position: 1)
The original track is taken in a new direction with washes of sci-fi synthesizer and Anthony Gonzalez's otherworldly falsetto. / **"Useless" (The [Kruder & Dorfmeister][8] Session)** . The Austrian downtempo pioneers smooth the edges off this *Ultra *cut, turning it into piece of medic...
Chunk #3 (Position: 2)
The Mute boss and regular DM co-producer adds a different synth sound and some subtle alterations---it's more a case of careful tailoring than obvious repurposing. / **"Dream On" (Dave Clarke Acoustic Version)** . The first Exciter is given an acoustic makeover from idiosyncratic techno bo...
Chunk #4 (Position: 3)
What did you expect. / **"Halo" (Goldfrapp Remix)** . Forget "Enjoy the Silence"---opener "Halo" is the real star of *Violator*. **Will Gregory** and **Alison Goldfrapp** strip the bombast out of the song revealing the vulnerability at its core. Dave Gahan's resonant baritone fee...