What do you think?
Rate this book
Halo: The Story Behind Depeche Mode's Classic Album Violator
Eventually selling 7.5 million copies, ‘Violator’ gave British band Depeche Mode the critical acclaim they finally deserved and spawned classic tracks such as ‘Personal Jesus’, ‘Enjoy The Silence’, ‘Policy Of Truth’, ‘World In My Eyes’, ‘Halo’ and ‘Waiting For The Night’.
‘Halo’ goes behind the scenes of Depeche Mode’s ‘Violator’ era – a biography and oral history from those who were there in the studio, working behind the cameras, producing sleeves, appearing in the videos, support acts, tour managers, publicists and, of course, the fans.
‘Halo’ goes behind the scenes of Depeche Mode’s ‘Violator’ era – a biography and oral history from those who were there in the studio, working behind the cameras, producing sleeves, appearing in the videos, support acts, tour managers, publicists and, of course, the fans.
- GenresMusicHistoryNonfiction
365 pages, Kindle Edition
First published September 29, 2022
17 people are currently reading
48 people want to read
About the author
Kevin May
7 books6 followersKevin first visited the island of Key West in the 1980s, became entranced by her fantastical allure and funky charm, leaving him with the dream of someday making that tropical paradise his home. The decades to follow were a blur of business and pleasure, accompanied by the responsibilities such escapades demand. Growing weary of the high life, Kevin dropped from the radar to pursue the freedom that can only be found in the simple life. Today, his longing fulfilled, Kevin lives in Old Town Key West and is a naturalized citizen of the Conch Republic.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 7 of 7 reviews
June 15, 2023
Has some great insights from some unexpected folks in the orbit of the band during the creation, promotion and tour for this seminal album. The book is in serious need of a good editor.
November 14, 2022
Not trying to tell you anything you didn’t know when you woke up today
HALO is written in a clear and simple style, making it accessible to readers with any level of interest in or knowledge of Depeche Mode. The personal accounts from producers and engineers include enough detail without getting overly technical. The personal reflections of fans are generally well formulated. The authors manage to offer readers “unique and exclusive accounts” from interesting people on what are perhaps lesser-known aspects of Violator as an album and all of the elements around it.
I imagine it is difficult to tackle such an influential album and band and get the balance right (no pun intended) for knowledgeable fans and non-fans alike. The repetition of dates and career achievements that are well known to Depeche fans, combined with unnecessarily fluffy explanation at moments, can come across as a bit pedantic in HALO. As some reviewers have suggested, fans with extensive knowledge might feel as though much they know is being re-hashed. Some might be of the opinion, unfortunately, that peripheral perspectives on the band or album are not worthwhile.
While the authors make an effort to contextualise Depeche Mode’s Violator period with contemporaries of the time period, they fail to document the dates of their own interviews with the cast of contributors to the book. Furthermore, there does not seem to be a list of references to the many reviews, articles, interviews or whatever other resources they used in their research. As a book that contributes to the historical record on Depeche Mode, these seem like odd, if not irresponsible omissions.
For example, rather interestingly, labour unions are mentioned by three of the contributors and not necessarily always in a good way. It would be useful to know when these comments were made in order to, hopefully, better understand the sentiment expressed. Labour and unions are of course tangents that go beyond the scope of the book’s subject. However, that unions are mentioned by three interviewees hints at the ugly power dynamics of the creative and entertainment industries and that, yes, even one of your favourite alternative bands (and all the people that work for them) are in the game.
Related and a similarly disappointing is the lack of women’s perspectives in HALO given the extensive creative and commercial machine that is Depeche Mode. There is but one female fan account, seemingly included because she is affiliated with a male fan contributor. She describes her emotional connection to the band as “difficult to put into words” (maybe just try?) and mostly describes it, unfortunately, as an “addiction”.
While the stories from the other women in this book reveal lesser-known aspects of the Depeche creative machine at this time, they also feel a bit flat and unexplored, as mere providers of services (which, I guess technically they were) to the main attraction. The exception is the personal account of Billie Ray Martin, lead singer for Electribe 101, a support band for European dates of the World Violation tour. Straddling between creative contributor to the tour, artist and music fan herself, she briefly alludes to “male behaviour” from crew and the generally male atmosphere that made this an isolating and lonely experience for her and led her to drinking. The poor treatment she and her bandmates faced from fans of Depeche Mode is an embarrassment to read as a Depeche fan yourself.
And yes, as other reviewers have noted, typographical errors are scattered throughout HALO. I have read the digital version, so if there is something different about that version, perhaps that explains it. Most errors and omissions are minor and will not impede your comprehension of the story, so perhaps just give two indie publishing authors a break this time around.
Two last things: I don’t understand labouring the point of certain bands becoming stadium acts around this time period and which bands filled which stadia before this band or that band. What greater significance does this have beyond being a barometer of commercial success of a band? And, Anton Corbijn is several times referred to as “Dutchman” or in combination with a descriptor like “lanky” or “quirky”. Nobody else in the story was caricatured by their nationality or physical characteristics, so why him?
Finally, a disclosure: I am acquainted, to varying degrees, with the authors and I’m almost certain that at least one of them despises me. So, although this review is long and most likely coming across as overly critical, I suppose that is also a compliment of sorts - even if from a superficial nobody fan like me. I have looked forward to reading this book for many years because the subject matter has a special place in my own history and memory. I’m glad it was enjoyable to read and interesting to think about.
HALO is written in a clear and simple style, making it accessible to readers with any level of interest in or knowledge of Depeche Mode. The personal accounts from producers and engineers include enough detail without getting overly technical. The personal reflections of fans are generally well formulated. The authors manage to offer readers “unique and exclusive accounts” from interesting people on what are perhaps lesser-known aspects of Violator as an album and all of the elements around it.
I imagine it is difficult to tackle such an influential album and band and get the balance right (no pun intended) for knowledgeable fans and non-fans alike. The repetition of dates and career achievements that are well known to Depeche fans, combined with unnecessarily fluffy explanation at moments, can come across as a bit pedantic in HALO. As some reviewers have suggested, fans with extensive knowledge might feel as though much they know is being re-hashed. Some might be of the opinion, unfortunately, that peripheral perspectives on the band or album are not worthwhile.
While the authors make an effort to contextualise Depeche Mode’s Violator period with contemporaries of the time period, they fail to document the dates of their own interviews with the cast of contributors to the book. Furthermore, there does not seem to be a list of references to the many reviews, articles, interviews or whatever other resources they used in their research. As a book that contributes to the historical record on Depeche Mode, these seem like odd, if not irresponsible omissions.
For example, rather interestingly, labour unions are mentioned by three of the contributors and not necessarily always in a good way. It would be useful to know when these comments were made in order to, hopefully, better understand the sentiment expressed. Labour and unions are of course tangents that go beyond the scope of the book’s subject. However, that unions are mentioned by three interviewees hints at the ugly power dynamics of the creative and entertainment industries and that, yes, even one of your favourite alternative bands (and all the people that work for them) are in the game.
Related and a similarly disappointing is the lack of women’s perspectives in HALO given the extensive creative and commercial machine that is Depeche Mode. There is but one female fan account, seemingly included because she is affiliated with a male fan contributor. She describes her emotional connection to the band as “difficult to put into words” (maybe just try?) and mostly describes it, unfortunately, as an “addiction”.
While the stories from the other women in this book reveal lesser-known aspects of the Depeche creative machine at this time, they also feel a bit flat and unexplored, as mere providers of services (which, I guess technically they were) to the main attraction. The exception is the personal account of Billie Ray Martin, lead singer for Electribe 101, a support band for European dates of the World Violation tour. Straddling between creative contributor to the tour, artist and music fan herself, she briefly alludes to “male behaviour” from crew and the generally male atmosphere that made this an isolating and lonely experience for her and led her to drinking. The poor treatment she and her bandmates faced from fans of Depeche Mode is an embarrassment to read as a Depeche fan yourself.
And yes, as other reviewers have noted, typographical errors are scattered throughout HALO. I have read the digital version, so if there is something different about that version, perhaps that explains it. Most errors and omissions are minor and will not impede your comprehension of the story, so perhaps just give two indie publishing authors a break this time around.
Two last things: I don’t understand labouring the point of certain bands becoming stadium acts around this time period and which bands filled which stadia before this band or that band. What greater significance does this have beyond being a barometer of commercial success of a band? And, Anton Corbijn is several times referred to as “Dutchman” or in combination with a descriptor like “lanky” or “quirky”. Nobody else in the story was caricatured by their nationality or physical characteristics, so why him?
Finally, a disclosure: I am acquainted, to varying degrees, with the authors and I’m almost certain that at least one of them despises me. So, although this review is long and most likely coming across as overly critical, I suppose that is also a compliment of sorts - even if from a superficial nobody fan like me. I have looked forward to reading this book for many years because the subject matter has a special place in my own history and memory. I’m glad it was enjoyable to read and interesting to think about.
October 27, 2022
An engrossing and extraordinary look at the creation of a seminal album.
Taking interviews from producers, managers, pluggers, engineers, and fans as its mainstay (but not from the band members themselves), the authors have created a tour force - giving amazingly rich insights and perspectives into a small but tasty slice of the music business.
Though they describe themselves as uber fans of the band, the authors have not let their potential obsession turn this into a dreary homage. It is quite the contrary - and I am not dedicated fan of the band.
Their treatment leaves the reader with a fascinating insight into the profound impact a record can have on the lives and careers of all those involved.
A great read (even for non Depeche Mode fans).
Taking interviews from producers, managers, pluggers, engineers, and fans as its mainstay (but not from the band members themselves), the authors have created a tour force - giving amazingly rich insights and perspectives into a small but tasty slice of the music business.
Though they describe themselves as uber fans of the band, the authors have not let their potential obsession turn this into a dreary homage. It is quite the contrary - and I am not dedicated fan of the band.
Their treatment leaves the reader with a fascinating insight into the profound impact a record can have on the lives and careers of all those involved.
A great read (even for non Depeche Mode fans).
July 17, 2024
I love these guys and was so bummed their concert I had tickets too was cancelled last summer due to a wind storm! Violator is easily my favourite DM album, with Enjoy the Silence and Policy of Truth right up there for all time fav singles. It was so sad to hear of Fletch's passing, while their music lives on for the ages. I even recently bought a rereleased vinyl version!
"...Let me show you the world in my eyes..."
"...Let me show you the world in my eyes..."
April 27, 2023
Did anyone edit this book? Interesting facts but many problems with the text.
April 16, 2025
Expected more from this.
June 7, 2023
halo – die Geschichte hinter Depeche Modes Albumklassiker Violator / Kevin May & David McElroy
29.8.1989 – zwei Tage vor meinem 18. Geburtstag bringen Depeche Mode ihre neue Single „Personal Jesus“ raus. Ich war zu der Zeit tief in der Gruft – schwarze Klamotten, schwarze Haare (gefärbt, sonderbar hochstehend, mit Unmengen von Haarlack in Form gebracht) - und auch wenn meine absoluten Helden eine Kapelle war/ist, die in dem Jahr mit „Pictures of You“ eines der schönsten Lieder aller Zeiten veröffentlicht hat, habe ich auch stets dem Quartett aus Basildon sehr viel abgewinnen können.
„Personal Jesus“ hat mich sofort begeistert, ein grandioser Vorbote auf das am 19.3.1990 veröffentlichte 7. Studioalbum „Violator“, auf dem sich mit „world in my eyes‘“, „enjoy the silence“ und „policy of truth“ zeitlose, geniale, immer wieder hörbare Lieder befinden. Ein Album, das einen Meilenstein in der Geschichte von Depeche Mode darstellt und von vielen Menschen als ihr bestes Album bezeichnet wird.
Das Buch „halo“ blickt hinter die Kulissen und erzählt, wie dieses grandiose Stück Musik geschaffen wurde. Auch wenn die Band sich selbst nicht äußerst, erfährt der Lesende von Wegbegleitern wie Produzenten, Aufnahmeassistenten, Toningenieuren & Co., wie dieses fabelhafte Album entstanden ist, wie es zu dem Kurswechsel im Sound von Depeche Mode kam und welche Einflüsse von außen oder direkt von der Band gekommen sind.
May und McElroy, beide große Fans der Band, lassen auch andere Fans zu Wort kommen. Sie beschreiben, warum sie dieser Band schon lange die Treue halten und was „Violator“ für sie bedeutet. Mir hat hier besonders der Blick in die damalige DDR gefallen, wo es eine große Fanbase für Depeche Mode gab. Seit der Gründung 1980 waren Depeche Mode immer da, haben sich kontinuierlich entwickelt und verändert und sind verdient eine der besten Bands der Welt.
Ein Buch von Fans für Fans, dass mir sehr gut gefallen hat. Es war ein wenig, als ob ich 1989 in den Studios dabei gewesen wäre und erlebt hätte, wie Dave Gahan, Martin Gore, Andrew Fletcher und Alan Wilder dieses Meisterwerk erschaffen.
29.8.1989 – zwei Tage vor meinem 18. Geburtstag bringen Depeche Mode ihre neue Single „Personal Jesus“ raus. Ich war zu der Zeit tief in der Gruft – schwarze Klamotten, schwarze Haare (gefärbt, sonderbar hochstehend, mit Unmengen von Haarlack in Form gebracht) - und auch wenn meine absoluten Helden eine Kapelle war/ist, die in dem Jahr mit „Pictures of You“ eines der schönsten Lieder aller Zeiten veröffentlicht hat, habe ich auch stets dem Quartett aus Basildon sehr viel abgewinnen können.
„Personal Jesus“ hat mich sofort begeistert, ein grandioser Vorbote auf das am 19.3.1990 veröffentlichte 7. Studioalbum „Violator“, auf dem sich mit „world in my eyes‘“, „enjoy the silence“ und „policy of truth“ zeitlose, geniale, immer wieder hörbare Lieder befinden. Ein Album, das einen Meilenstein in der Geschichte von Depeche Mode darstellt und von vielen Menschen als ihr bestes Album bezeichnet wird.
Das Buch „halo“ blickt hinter die Kulissen und erzählt, wie dieses grandiose Stück Musik geschaffen wurde. Auch wenn die Band sich selbst nicht äußerst, erfährt der Lesende von Wegbegleitern wie Produzenten, Aufnahmeassistenten, Toningenieuren & Co., wie dieses fabelhafte Album entstanden ist, wie es zu dem Kurswechsel im Sound von Depeche Mode kam und welche Einflüsse von außen oder direkt von der Band gekommen sind.
May und McElroy, beide große Fans der Band, lassen auch andere Fans zu Wort kommen. Sie beschreiben, warum sie dieser Band schon lange die Treue halten und was „Violator“ für sie bedeutet. Mir hat hier besonders der Blick in die damalige DDR gefallen, wo es eine große Fanbase für Depeche Mode gab. Seit der Gründung 1980 waren Depeche Mode immer da, haben sich kontinuierlich entwickelt und verändert und sind verdient eine der besten Bands der Welt.
Ein Buch von Fans für Fans, dass mir sehr gut gefallen hat. Es war ein wenig, als ob ich 1989 in den Studios dabei gewesen wäre und erlebt hätte, wie Dave Gahan, Martin Gore, Andrew Fletcher und Alan Wilder dieses Meisterwerk erschaffen.
Displaying 1 - 7 of 7 reviews