Gore found that voice on two sensational singles in '83, "Get the Balance Right" and "Everything Counts." "Balance" has a deeper, richer sound than earlier Depeche - much less rinky tinky - and a darker tone and theme: pondering one's responsibility to the world and acknowledging that all actions have consequences. This change was akin to Bruce Springsteen's move from the adolescent summer of Born To Run to the young adult autumn of Darkness On the Edge of Town.

"Everything Counts" weaves sonically within a carnivalesque setting between the queasy dark of the fun house and the cotton candy light of the carousel, while the lyrics question the ethics of materialism. Albums Construction Time Again and Some Great Reward continued the shift toward introspection and deeper, darker music. "People Are People" reached an industrial-like clanging murkiness, making the fact that it was the band's first U.S. pop hit all the more noteworthy.

Miller is extremely proud of his work with the band. "We were all learning at the same time, and there was a really steep learning curve. Eric [engineer Radcliffe] helped us to become more creative with samplers and synthesizers. We felt that we were pretty much on the cutting edge of electronic music at the time. We were making records that sounded really different, and that, combined with very strong songs and great live performances, was very exciting."

While this was unfolding, Miller became more and more absorbed in running his label. What started as a vehicle for his own electronic noodlings, became among the most successful indie labels in the U.K. with a roster that has included - in addition to the aforementioned acts - Nick Cave and the Bad Seeds, Cabaret Voltaire, Einsturzende Neubauten, Inspiral Carpets, Moby, Nitzer Ebb, Renegade Soundwave, Sonic Youth, Throbbing Gristle, Wire, and many others.

By the time of Depeche's Black Celebration in '86, Miller was a label owner trying to find the time to produce. "Black Celebration wasn't an easy record to make," says Miller. "At the end of it we all said, 'I think we should get somebody else to produce.' I remember when the sessions for Music For the Masses started with Dave Bascombe - I went down to the studio to see how it was going on the first day, and when I left the studio I felt elated that I was no longer responsible for making the record."