Until the End of the World is a definite contender for best motion picture soundtrack of the 1990s. With a lineup that includes Talking Heads, Lou Reed, R.E.M., Nick Cave and the Bad Seeds, Depeche Mode, U2, and others all providing original songs or new covers, it's an absolute joy. Interspersed with Graeme Revell's haunting ambient score, virtually every pop/rock track works perfectly as part of a cohesive whole. "Sax and Violins," recorded during the dying days of Talking Heads, might be the band's most confident moment, as a jazzy background shuffle and keyboards provide compelling momentum underneath David Byrne's sarcastic vocals. Crime & the City Solution could have made an entire career out of the emotional yet existential "The Adversary." R.E.M. and Depeche Mode both contribute touching ballads. "Fretless" is one of the most beautiful tracks to be found in R.E.M.'s discography, documenting a wounded relationship with subtle grace. "Death's Door" is one of those sad numbers Depeche Mode fans have grown to love, with Martin Gore handling the vocals.

There was a time when you could walk into your average record store and find the singles section by spotting the big block of black rows. These rows signaled the whereabouts of the Ds and tended to eat up a disproportionate space of the singles section. In 2004, the Mute label condensed all of these releases into Remixes 81-04, which itself was ironically (or fittingly) presented in multiple versions. This particular version is a triple-disc set that attempts to function as a representative sampling of Depeche Mode's innumerable remixes. It does an admirable job, making a point to highlight glorified extended versions and radical reworkings alike.

Touring the Angel was a 2005/2006 concert tour by English electronic group Depeche Mode in support of the act's 11th studio album, Playing the Angel, which was released in October 2005.
Pioneering English band Depeche Mode took the underground electronic club sounds of the early '80s and expanded them to stadium-sized levels within a decade, becoming one of the best-selling international groups in the process. One of the first acts to establish a musical identity based completely around the use of synthesizers, they debuted with a bouncy electro-pop spirit which gradually developed into a darker, more dramatic synth-rock style that ultimately positioned them as one of the most quintessential alternative bands of their era.

NoCut present "Music For Constructions - A Tribute For Depeche Mode", a Compilation full of musical variety that pays a respectful tribute to one of the most important and influential bands of the last 40 years! 40 years of Depeche Mode, if that is not a reason to celebrate. For this reason, NoCut invited 31 bands, including MONO INC, MajorVoice, Crematory, Heimataerde, Psyche Plastic Noise Experience, Beyond Obsession, DMK, Evo-Lution and many more, to celebrate a fabulous "40 Years of Depeche Mode Party" with them! All bands submitted rare tracks, most of them specially recorded for this compilation. The result is an impressive collection of songs that all aspects of Depeche Mode's 40-year history, from rock to electronic reinterpretations. We warmly invite you to celebrate this party with us! Let's have a Black Celebration!

Consider this a primer, because there is no way a career spanning 25 years can be summarized justifiably within the cramped space of an 80-minute disc. The Best of Depeche Mode, Vol. 1 takes a very selective skip through the group's past, and it leaves no room for anything off Black Celebration - an album many fans (albeit the most depressive ones) cite as a favorite. While the relatively thorough Singles 81>85 and Singles 86>98 can be seen as the proper entry route, they don't have the benefit of covering 2001's Exciter or 2005's excellent Playing the Angel, so this disc - as of 2006, at least - is very nearly the best possible way to get a feel for the whole daunting discography. Tending to stick to the singles that made the greatest impact on the mainstream and club charts, the selections do signify that the group hasn't lost any traction…

The unexpected American success of "People Are People," which remained the band's biggest U.S. hit until the start of the '90s, prompted this stateside-only compilation, very much a dog's breakfast of new and old songs alike. Earlier album cuts such as "Pipeline" and "Told You So" appear here, but the four new tracks understandably received the biggest attention. The title track itself, though the bandmembers have long since expressed embarrassment over it, still sounds like what it became, an engaging, instantly memorable pop hit - if the lyrical sentiments are among Martin Gore's most naïvely sociopolitical before or since, David Gahan delivers them strongly, with Gore providing a fine counterpoint vocal…

The saying "never trust a synth pop band over 30" goes out the window as the arena-filling Depeche Mode present the 2014 film Live in Berlin, a career-spanning set that breathes new life into old numbers, while tackling new tunes with the same power and commitment. Thank lead singer and hyped showman David Gahan for all the power, as on this soundtrack, he growls, cries out, and full-bodied croons these soul-bearing lyrics, including the Delta Machine newbie "Should Be Higher," which soars about three or four stories higher that its studio version. Gahan takes the verses as if he's Leonard Cohen, and then belts the chorus like he's Freddie Mercury crossed with Trent Reznor, but in the case of fan favorite "Enjoy the Silence," he's often off the mike, allowing the audience to take over the singing with a couple "come on!"'s in support…

Collecting nearly four decades of material in one stylish package, Depeche Mode delivers their most comprehensive studio collection to date with the MODE box set. A whopping 18 discs' worth of music, MODE charts the band's evolution from their debut studio recording (the pulsing synth-pop "Photographic" from the 1981 Some Bizzare Album compilation) all the way to an electronic-washed cover of David Bowie's "Heroes" recorded live during their Spirit era…

101 is a live album and documentary by Depeche Mode released in 1989 chronicling the final leg of the band's Music for the Masses Tour and the final show at the Pasadena Rose Bowl. Group member Alan Wilder is credited with coming up with the name; the performance was the 101st and final performance of the tour (and coincidentally also a famous highway in the area).

Vitamin takes on the brood and sway of Depeche Mode with this string quartet tribute, running through nine of the band's songs with the aid of violin, cello, acoustic bass, viola, and a bit of percussion. Like most string interpretations of pop music, the album can grow tedious over the long haul. However, there's plenty to like incrementally, especially for fans. Highlights include "Personal Jesus," with its hint of mouth percussion during the breakdown, and the violins aping the tradeoff vocals of "Master and Servant." There are a few glaring omissions – "Everything Counts" and "Policy of Truth" among them. Even still, Depeche Mode completists should get a kick out of the novelty and slight decadence of this collection.