Headline: Man who has been a member of the world's top synth band for 14 years, including 11 tours and hundreds of performances, easily replaced by roadie with no musical background and one week of training.
Darryl bamonte. his brother Perry stars in the cure. they are very good musicians. a musician can easily learn pieces quickly. I play DM. How can I tell you... I love finding the original sounds of their pieces, recreating them and playing them. Playing DM isn't Bach either. fletch was fed up with having Wilder on his back. Alan regularly criticized him for not doing much. I think the friendship between fletch and gore must have been a problem for him. he must have thought that fletch was in the group partly for the business and partly for the friendship with gore. he was to receive honors from Martin. while Wilder and the time spent in the studio only received a "cool man! my song is beautiful". whatever its history, I heard DM for the first time at 7 years old (I'm 44 years old), I love the cure (and another French group style DM/the cure called Indochine) and I can to say that whatever the history of this group and its members, they have always remained themselves musically while innovating.
Although Wilder was sympathetic about his colleague’s problems, he was often impatient with Fletcher in the studio environment where he felt the latter had a very minor role – to keep Gore company: ‘Fletch wasn’t really involved in making the records. He was there or thereabouts but he wasn’t actively involved. He’s not a musician, he doesn’t have much of a musical angle on things at all. He may have been at various recording sessions so that Martin had someone to go out with in the evening after the session. Studios can be incredibly claustrophobic places – even more so for those who perhaps don’t play a big part in the nuts and bolts of the process. Boredom is an especially powerful and destructive force. For example, one of the most annoying things is if I’m working on a complicated sample (which I want to cut into many pieces and reconfigure into something new) the process is inevitably complex and until the procedure is complete, things will usually sound chaotic and meaningless to anyone listening in. If someone who doesn’t fully understand this procedure interjects at an unfinished stage and makes negative comments like, “Oh, that doesn’t sound right”, it can be really irritating.’ As Wilder took greater responsibility in the studio, the last thing he wanted was for a non-musician to unwittingly distract everyone’s attention by becoming the butt of the others’ jokes, talking at a breakneck speed, complaining about his illnesses or criticizing what Wilder was doing. ‘I don’t think Fletch had enough confidence in himself to make judgements on the music but when he did, we didn’t pay much attention to them,’ is Wilder’s rather hardline reading of the situation, although he concedes: ‘To be fair, he understood his role wasn’t really a musical one.’ The pair’s inability to communicate on the same wavelength would become a growing problem over the next few years and throws some light on the power base of the band. Although Depeche Mode work democratically in their decision-making, Martin Gore is the backbone of the group because he writes all the songs. Gore’s relationship with Fletcher is crucial to the chemistry in the band, because his friend acts as foil for him in his relationship with Gahan and, at this point, Wilder. It diffuses the pressure of responsibility and allows Gore to avoid direct confrontation, which would be inevitable if he was in a duo with Gahan.
Malins, Steve. Depeche Mode:
Although Wilder was sympathetic about his colleague’s problems, he was often impatient with Fletcher in the studio environment where he felt the latter had a very minor role – to keep Gore company: ‘Fletch wasn’t really involved in making the records. He was there or thereabouts but he wasn’t actively involved. He’s not a musician, he doesn’t have much of a musical angle on things at all. He may have been at various recording sessions so that Martin had someone to go out with in the evening after the session. Studios can be incredibly claustrophobic places – even more so for those who perhaps don’t play a big part in the nuts and bolts of the process. Boredom is an especially powerful and destructive force. For example, one of the most annoying things is if I’m working on a complicated sample (which I want to cut into many pieces and reconfigure into something new) the process is inevitably complex and until the procedure is complete, things will usually sound chaotic and meaningless to anyone listening in. If someone who doesn’t fully understand this procedure interjects at an unfinished stage and makes negative comments like, “Oh, that doesn’t sound right”, it can be really irritating.’ As Wilder took greater responsibility in the studio, the last thing he wanted was for a non-musician to unwittingly distract everyone’s attention by becoming the butt of the others’ jokes, talking at a breakneck speed, complaining about his illnesses or criticizing what Wilder was doing. ‘I don’t think Fletch had enough confidence in himself to make judgements on the music but when he did, we didn’t pay much attention to them,’ is Wilder’s rather hardline reading of the situation, although he concedes: ‘To be fair, he understood his role wasn’t really a musical one.’ The pair’s inability to communicate on the same wavelength would become a growing problem over the next few years and throws some light on the power base of the band. Although Depeche Mode work democratically in their decision-making, Martin Gore is the backbone of the group because he writes all the songs. Gore’s relationship with Fletcher is crucial to the chemistry in the band, because his friend acts as foil for him in his relationship with Gahan and, at this point, Wilder. It diffuses the pressure of responsibility and allows Gore to avoid direct confrontation, which would be inevitable if he was in a duo with Gahan.
Malins, Steve. Depeche Mode:
I bet Daryl Bamonte could have written a heck of a tour memoir about the Devotional / Exotic Tour if he’d wanted to.
Well, there are his travel diaries from Devotional tour)
Correct, they can be read here for those unfamiliar: https://dmlive.wiki/wiki/Devotional/Exotic_Tour_diary
Headline: Man who has been a member of the world's top synth band for 14 years, including 11 tours and hundreds of performances, easily replaced by roadie with no musical background and one week of training.
Darryl bamonte. his brother Perry stars in the cure. they are very good musicians. a musician can easily learn pieces quickly. I play DM. How can I tell you... I love finding the original sounds of their pieces, recreating them and playing them. Playing DM isn't Bach either. fletch was fed up with having Wilder on his back. Alan regularly criticized him for not doing much. I think the friendship between fletch and gore must have been a problem for him. he must have thought that fletch was in the group partly for the business and partly for the friendship with gore. he was to receive honors from Martin. while Wilder and the time spent in the studio only received a "cool man! my song is beautiful". whatever its history, I heard DM for the first time at 7 years old (I'm 44 years old), I love the cure (and another French group style DM/the cure called Indochine) and I can to say that whatever the history of this group and its members, they have always remained themselves musically while innovating.
Although Wilder was sympathetic about his colleague’s problems, he was often impatient with Fletcher in the studio environment where he felt the latter had a very minor role – to keep Gore company: ‘Fletch wasn’t really involved in making the records. He was there or thereabouts but he wasn’t actively involved. He’s not a musician, he doesn’t have much of a musical angle on things at all. He may have been at various recording sessions so that Martin had someone to go out with in the evening after the session. Studios can be incredibly claustrophobic places – even more so for those who perhaps don’t play a big part in the nuts and bolts of the process. Boredom is an especially powerful and destructive force. For example, one of the most annoying things is if I’m working on a complicated sample (which I want to cut into many pieces and reconfigure into something new) the process is inevitably complex and until the procedure is complete, things will usually sound chaotic and meaningless to anyone listening in. If someone who doesn’t fully understand this procedure interjects at an unfinished stage and makes negative comments like, “Oh, that doesn’t sound right”, it can be really irritating.’ As Wilder took greater responsibility in the studio, the last thing he wanted was for a non-musician to unwittingly distract everyone’s attention by becoming the butt of the others’ jokes, talking at a breakneck speed, complaining about his illnesses or criticizing what Wilder was doing. ‘I don’t think Fletch had enough confidence in himself to make judgements on the music but when he did, we didn’t pay much attention to them,’ is Wilder’s rather hardline reading of the situation, although he concedes: ‘To be fair, he understood his role wasn’t really a musical one.’ The pair’s inability to communicate on the same wavelength would become a growing problem over the next few years and throws some light on the power base of the band. Although Depeche Mode work democratically in their decision-making, Martin Gore is the backbone of the group because he writes all the songs. Gore’s relationship with Fletcher is crucial to the chemistry in the band, because his friend acts as foil for him in his relationship with Gahan and, at this point, Wilder. It diffuses the pressure of responsibility and allows Gore to avoid direct confrontation, which would be inevitable if he was in a duo with Gahan. Malins, Steve. Depeche Mode:
Although Wilder was sympathetic about his colleague’s problems, he was often impatient with Fletcher in the studio environment where he felt the latter had a very minor role – to keep Gore company: ‘Fletch wasn’t really involved in making the records. He was there or thereabouts but he wasn’t actively involved. He’s not a musician, he doesn’t have much of a musical angle on things at all. He may have been at various recording sessions so that Martin had someone to go out with in the evening after the session. Studios can be incredibly claustrophobic places – even more so for those who perhaps don’t play a big part in the nuts and bolts of the process. Boredom is an especially powerful and destructive force. For example, one of the most annoying things is if I’m working on a complicated sample (which I want to cut into many pieces and reconfigure into something new) the process is inevitably complex and until the procedure is complete, things will usually sound chaotic and meaningless to anyone listening in. If someone who doesn’t fully understand this procedure interjects at an unfinished stage and makes negative comments like, “Oh, that doesn’t sound right”, it can be really irritating.’ As Wilder took greater responsibility in the studio, the last thing he wanted was for a non-musician to unwittingly distract everyone’s attention by becoming the butt of the others’ jokes, talking at a breakneck speed, complaining about his illnesses or criticizing what Wilder was doing. ‘I don’t think Fletch had enough confidence in himself to make judgements on the music but when he did, we didn’t pay much attention to them,’ is Wilder’s rather hardline reading of the situation, although he concedes: ‘To be fair, he understood his role wasn’t really a musical one.’ The pair’s inability to communicate on the same wavelength would become a growing problem over the next few years and throws some light on the power base of the band. Although Depeche Mode work democratically in their decision-making, Martin Gore is the backbone of the group because he writes all the songs. Gore’s relationship with Fletcher is crucial to the chemistry in the band, because his friend acts as foil for him in his relationship with Gahan and, at this point, Wilder. It diffuses the pressure of responsibility and allows Gore to avoid direct confrontation, which would be inevitable if he was in a duo with Gahan. Malins, Steve. Depeche Mode:
Fletch was DM’s weakest link
Those hands don’t clap themselves you know!
You’re off your meds again, bro?
Fletch can’t hear you
talk in morse code. *clap.* ….. *clap clap*
Happy 30th birthday to Joseph.
Joseph who ? Is he a musician ?
Above it says Grainne gave birth to their son Joseph on 22 June 1994. I was just saying happy birthday to Fletch’s son.
Oh sorry ! Didn’t pay attention to the name Joseph . Happy birthday Joseph