You can stick the patch by iron on but but if you stick the patch by sewing (just only critical area it such as corner or angle), it will be stick on you fabric for long life 

Size: 2 3/8" x 3.5" or  6.0 x 8.9 cm.

Depeche Mode are an English electronic music band formed in Basildon, Essex, in 1980. 

Rise of popular electronic music

Main articles: Electronic rock, Synth-pop, Electropop, Electro music, and House music

See also: Progressive rock, Krautrock, Space rock, and Contemporary electronic music

In the late 1960s, pop and rock musicians, including the Beach Boys and the Beatles, began to use electronic instruments, like the theremin and Mellotron, to supplement and define their sound. In his book Electronic and Experimental Music, Thom Holmes recognises the Beatles' 1966 recording "Tomorrow Never Knows" as the song that "ushered in a new era in the use of electronic music in rock and pop music" due to the band's incorporation of tape loops and reversed and speed-manipulated tape sounds.[126]

Also in the late 1960s, the music duo Silver Apples and experimental rock bands like White Noise and the United States of America, are regarded as pioneers to the electronic rock and electronica genres for their work in melding psychedelic rock with oscillators and synthesizers. The 1969 instrumental "Popcorn" written by Gershon Kingsley, a German-American composer who released two albums with the French electronic musician Jean-Jacques Perrey, became a worldwide success due to the 1972 version made by Hot Butter.

By the end of the 1960s, the Moog synthesizer took a leading place in the sound of emerging progressive rock with bands including Pink Floyd, Yes, Emerson, Lake & Palmer, and Genesis making them part of their sound. Instrumental prog rock was particularly significant in continental Europe, allowing bands like Kraftwerk, Tangerine Dream, Can, Neu!, and Faust to circumvent the language barrier. Their synthesiser-heavy "krautrock", along with the work of Brian Eno (for a time the keyboard player with Roxy Music), would be a major influence on subsequent electronic rock.

Ambient dub was pioneered by King Tubby and other Jamaican sound artists, using DJ-inspired ambient electronics, complete with drop-outs, echo, equalization and psychedelic electronic effects. It featured layering techniques and incorporated elements of world music, deep basslines and harmonic sounds. Techniques such as a long echo delay were also used. Other notable artists within the genre include Dreadzone, Higher Intelligence Agency, The Orb, Ott, Loop Guru, Woob and Transglobal Underground.

Dub music influenced electronic musical techniques later adopted by hip hop music when Jamaican immigrant DJ Kool Herc in the early 1970s introduced Jamaica's sound system culture and dub music techniques to America. One such technique that became popular in hip hop culture was playing two copies of the same record on two turntables in alternation, extending the b-dancers' favorite section. The turntable eventually went on to become the most visible electronic musical instrument, and occasionally the most virtuosic, in the 1980s and 1990s.

Electronic rock was also produced by several Japanese musicians, including Isao Tomita's Electric Samurai: Switched on Rock (1972), which featured Moog synthesizer renditions of contemporary pop and rock songs, and Osamu Kitajima's progressive rock album Benzaiten (1974). The mid-1970s saw the rise of electronic art music musicians such as Jean Michel Jarre, Vangelis, Tomita and Klaus Schulze who were significant influences on the development of new-age music. The hi-tech appeal of these works created for some years the trend of listing the electronic musical equipment employed in the album sleeves, as a distinctive feature. Electronic music began to enter regularly in radio programming and top-sellers charts, as the French band Space with their 1977 single Magic Fly.

In this era, the sound of rock musicians like Mike Oldfield and The Alan Parsons Project (who is credited the first rock song to feature a digital vocoder in 1975, The Raven) used to be arranged and blended with electronic effects and/or music as well, which became much more prominent in the mid-1980s. Jeff Wayne achieved a long-lasting success with his 1978 electronic rock musical version of The War of the Worlds.

Film soundtracks also benefit from the electronic sound. In 1977, Gene Page recorded a disco version of the hit theme by John Williams from Steven Spielberg film Close Encounters of the Third Kind. Page's version peaked on the R&B chart at #30 in 1978. The score of 1978 film Midnight Express composed by Italian synth-pioneer Giorgio Moroder won the Academy Award for Best Original Score in 1979, as did it again in 1981 the score by Vangelis for Chariots of Fire.

After the arrival of punk rock, a form of basic electronic rock emerged, increasingly using new digital technology to replace other instruments. The American duo Suicide, who arose from the punk scene in New York, utilized drum machines and synthesizers in a hybrid between electronics and punk on their eponymous 1977 album.

Synth-pop pioneering bands which enjoyed success for years included Ultravox with their 1977 track "Hiroshima Mon Amour" on Ha!-Ha!-Ha!, Yellow Magic Orchestra with their self-titled album (1978), The Buggles with their prominent 1979 debut single Video Killed the Radio Star, Gary Numan with his solo debut album The Pleasure Principle and single Cars in 1979, Orchestral Manoeuvres in the Dark with their 1979 single Electricity featured on their eponymous debut album, Depeche Mode with their first single Dreaming of Me recorded in 1980 and released in 1981 album Speak & Spell, A Flock of Seagulls with their 1981 single Talking, New Order with Ceremony in 1981, and The Human League with their 1981 hit Don't You Want Me from their third album Dare.

The definition of MIDI and the development of digital audio made the development of purely electronic sounds much easier, with audio engineers, producers and composers exploring frequently the possibilities of virtually every new model of electronic sound equipment launched by manufacturers. Synth-pop sometimes used synthesizers to replace all other instruments but was more common that bands had one or more keyboardists in their line-ups along with guitarists, bassists, and/or drummers. These developments led to the growth of synth-pop, which after it was adopted by the New Romantic movement, allowed synthesizers to dominate the pop and rock music of the early 1980s until the style began to fall from popularity in the mid-to-end of the decade. Along with aforementioned successful pioneers, key acts included Yazoo, Duran Duran, Spandau Ballet, Culture Club, Talk Talk, Japan, and Eurythmics.

Synth-pop was taken up across the world, with international hits for acts including Men Without Hats, Trans-X and Lime from Canada, Telex from Belgium, Peter Schilling, Sandra, Modern Talking, Propaganda and Alphaville from Germany, Yello from Switzerland and Azul y Negro from Spain. Also, the synth sound is a key feature of Italo-disco.

Some synth-pop bands created futuristic visual styles of themselves to reinforce the idea of electronic sounds were linked primarily with technology, as Americans Devo and Spaniards Aviador Dro.

Keyboard synthesizers became so common that even heavy metal rock bands, a genre often regarded as the opposite in aesthetics, sound and lifestyle from that of electronic pop artists by fans of both sides, achieved worldwide success with themes as 1983 Jump by Van Halen and 1986 The Final Countdown by Europe, which feature synths prominently.

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