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A Cerveja dos Devotees

Foto: Luana Leader DM

Tumblr da Maria

Gostaria de indicar aos amigos devotees o Tumblr da Maria, devotee colaboradora deste blog:

Temas Para Google Chrome

Para todos os Devotees que usam o navegador Google Chrome, alguns  presentes, nossos próprios temas:



Martin Gore live in Los Angeles 06.05.2003 (Full Concert)

Crédito: @Uselink97

Mesmo Atrasado - Happy Birthday Bomb the Bass


Essa não dá pra passar em branco: Tim Simenon, um dos heróis da acid house britânica, fez 44 anos na quinta, 21/6. Com apenas 20 anos e sob o codinome Bomb The Bass, o então jovem DJ britânico estourou a muralha de samples Beat Dis em 1988, chegando ao número dois no paradão inglês de singles. Músico e produtor aplicado, Simenon produziu o subestimado Unknown Territory de 1991 e é desse álbum a música mais bonita do Bomb The Bass: "Love So True" (vídeo abaixo). Com uma lista invejável de nomes produzidos ou remixados por ele (Depeche Mode (álbum ULTRA), Neneh Cherry, Primal Scream e David Bowie entre eles), sua influência, importância e contribuição para a música - não só a de pista - é enorme. Salve, Tim!

"Love So True": se o Massive Attack não tivesse lançado Blue Lines em 1991...


Matéria Clonada com autorização do Blog And Now?

It's No Good - Chevelle (Cover)

Crédito: @pablitomode

Smallville - Precious

Crédito: @pablitomode

Torcedores Irlanda Euro 2012


Sou obrigado a fazer uma piada: Chupa U2! rsrsrs
Crédito: Maria

Synthpop de Primeira Qualidade


Acqua Di Gio Essenza Giorgio Armani

A presença de trilhas do Depeche Mode no mundo da moda já é mais que confirmada, agora a vez de Giorgio Armani:

Crédito: Maria

The Bottom Line - Live

Crédito: Maria

MTV Music Awards - Los Angeles 7.9.88

Crédito: Maria

Radio 1 Live Lounge Covers: Pixie Lott

Crédito: Maria

Late Bar Synth Power - Você Não Pode Perder!




Hoje Foi o Lendário Show 101


O Depeche Mode não para, 1988 lançam 101, uma das mais ambiciosas turnes pelos EUA, tocando em inúmeros estados para um publico recorde de mais de meio milhão de pessoas. Eles decidem portanto, registrar isso em forma de filme e contratam D. A. Pennebaker, responsável por filmar grandes nomes como Bob Dylan e o festival Monterey Pop, para a direção do longa metragem. O registro e do 101º show da banda, encerrando assim a mega-turne no dia 18 Junho de 1988. Paralelamente, mostra um grupo de jovens que atravessam o pais para ver a apresentação do grupo. 101 foi lançado no Festival Internacional de Berlim e obteve bastante sucesso, principalmente pelo lançamento do álbum duplo de mesmo nome. Apresentação realizada no Rose Bowl Stadium, em Los Angeles, para um publico de quase 70 mil pessoas. Nele estão registrados os maiores sucessos da banda ao vivo num só show memorável e inesquecível, com grandes momentos de emoção e uma atuação impecável da banda, o Depeche Mode em total acensão no mercado americano tem registrado um dos shows mais marcantes da história da musica. Um dos destaques é a banda de abertura da parte americana da tour, o Front 242, que junto com o Tragic Error são os maiores expoentes do na época novo estilo New Beat.

Abaixo a entrevista de Andrew Fletcher para a extinta Revista Bizz na época do lançamento do Álbum 101:

Por que um disco ao vivo? Seria algum tipo de retrospectiva? Nunca pensamos no disco como o final de uma fase, fizemos centenas de shows nos últimos 8 anos, só na Europa existem 35 discos piratas do DM, achamos que tinha chegado a hora de lançarmos o nosso, não é que queríamos acabar com a pirataria, mas também queríamos ganhar um pouco nessa.

Pode não ser retrospectiva mas nele se encontram muitos hits da banda? É verdade quando lançamos uma coletânia com nossos hits " The Singles 81-85 " ali sentimos o final de um ciclo, com o 101 não sentimos isso por que foi uma turnê de 8 meses e nos estamos nos concentrando em estúdio para o nosso próximo disco e não tivemos tempo para pensar nisso, na verdade estamos olhando para frente e não para trás.

Vamos olhar para trás um pouco o q mudou nós últimos 8 anos? Ficamos mais ricos ( risos...). É difícil dizer acho que como grupo nos apaixonamos mais, é quase uma família, não só nós 4 mas todas as pessoas que trabalham com nos durante muito tempo.

No mundo pop onde fica o Depeche Mode? Humm.... Junto com Kraftwerk, New Order, Talk Talk, Nitzer Ebb e Front 242.

Sem duvida o Depeche Mode foi o responsável pela ascensão dos belgas do Front 242, quando os convidou para abrir seus shows em 87, como o Depeche Mode vê o New Beat e todas as bandas belgas pós 242? É estranho o cenário belga, até uns 2 anos não tínhamos vendido nada por lá, e derepente fomos tocar lá e foi inacreditável. A imprensa de lá até nos criticava por tocar musica eletrônica, mas o que ouvi do New Beat não me soa tão familiar é perigosa essa rotulação, nós nos classificamos como uma banda pop, e tenho certeza que o Front 242 não quer ser conhecida como uma banda de New Beat.

E o Acid House? É ótima para nos por que a base é eletrônica, é ótima para dançar mas não tem melodias, não há canções, é bom para discotecas, mas é o tipo de musica que nunca será ouvido dentro de casa, o House é empolgante, pelo menos é uma nova direção.

Muitas pessoas vêem o Depeche Mode como uma banda de Dance Music, no bom ou mau sentido? Não gostamos desse rotulo, a maior parte do nosso material é dançavel, não fazemos aquilo que tradicionalmente é dance music, fazemos música para a sala e para o quarto, se são tocadas nas discotecas ótimo nunca entendemos isso. Não é nosso foco.

Mas a musica de vocês funciona bem em uma pista de dança? É verdade mas isso coloca uma certa pressão em cima de nós, por que nem tudo que compomos é dançavel, como Stripped, quando lançamos nos EUA não vendeu nada bem. Por que nossa popularidade lá é baseada nisso, e ai quando vamos lançar algum compacto a pressão é grande nesse sentido, nos obrigando a resistir a tentação.

Qual o interesse de vocês no World Music? Ouvimos muito por que sampleamos muita coisa étnica, como musica Indonésia, por exemplo. Chamamos o Alan, nosso homem-etnico, por que ele adora esse tipo de musica. Mas sempre resistimos entrar nesse campo por que somos uma banda européia branca. Seria desonesto tacar uma rumba, não temos essas raízes.

Como surgiu a idéia do filme? Há ultima vez q filmamos um filme foi em Berlin em 1984, os fãs ficaram perguntando se seria lançado em vídeo, ai decidimos fazer isso com o 101, nos EUA com uma perspectiva totalmente diferente. A banda começou em 1981, estávamos em 88 e queríamos mostrar a cultura jovem americana, os jovens que vão herdar os EUA nos próximos 20 anos. No filme ha um grupo de jovens que atravessa o pais até Pasadena, é importante ouvir o que eles tem a dizer, nunca tinham saído de New York antes; foi por causa dessa nova perspectiva que convidamos Pennebaker, sentimos que ele seria um diretor interessante, foi bom ele nunca ter ouvido falar na gente antes, assim não tinha uma idéia preconcebida, ele tem 60 anos, num corpo de 40 e uma mente de 10 ( risos...) acho que ele se divertiu.

Vc assistiu o filme Rattle and Hum do U2 ? Não.

O q vc achou? Rattle é um filme de show mostrando poucas cenas por trás dos palcos, nesse ponto muito diferente do que vi em 101, sem duvida as cenas de palco são apenas um terço do filme, nosso objetivo era mostrar um pouco mais de nossas personalidades, e as coisas cômicas que acontece fora do palco. E ficou muito bom, a diferença do nosso filme e o do U2 é que o deles foi feito pela Paramout com um orçamento de 6 milhões de libras e o nosso foi financiado pela gravadora e custou umas 400 mil libras, o que representou um risco financeiro grande para nós. O U2 filmou todos os shows de sua turnê, nós só poderíamos filmar um. E era o ultimo show a pressão era enorme em cima de nós.

Uma das melhores cenas do vídeo é aquela discussão nos bastidores entre os organizadores sobre o dinheiro do show? É uma cena cínica. A industria cinematográfica americana é baseada em só uma coisa: dinheiro. Queríamos mostrar as coisas como acontecem, de um lado você vê o show. De outro uma monte de contadores trancados em um trailer discutindo quanto ganharam com a venda de camisetas, tudo isso também se encaixa na letra de Everthing in Counts.

No press realse do 101 há referências insistentes á musica eletrônica usada a serviço do pop, o que vocês pensam quando trabalham uma musica que está veio sair em compacto, essa vai tocar bem no rádio? É uma
boa pergunta Martin já escreveu 8 musicas do próximo disco, eu estava ouvindo em casa e pensei, "gostaria que essa sai-se em compacto". Quando você procura um hit singles vai atrás de uma faixa que seja mais acessível que o resto, por que quer atingir mais gente. Qual o sentido de lançar um disco que será comprado por uma centena de pessoas, o Martin escreve pouca coisa comercial, no ultimo só Strangelove era comercial, e invés de ir atrás do que é comercial vamos atrás da melhor musica do disco.

O que faz uma musica ser comercial? Uma boa batida, uma boa melodia e uma letra acessível...

Deixando de lado o aspecto comercial vocês pensam em como o produto final vai ser usado? Pensamos mas estamos sempre errados. Por exemplo a musica que gravamos como dance music não faz sucesso algum nas discotecas ( risos...). E quando fizemos Strangelove achamos que funcionaria bem nas rádios, mas chegou ao topo nas dance charts. Agora nós concentramos em fazer o disco e depois vemos o que acontece.

Quem escreve boas canções pop hoje? ( longo silêncio ) Sempre há muito poucos compositores bons, Vince Clarke escreve ótimas canções pop, sempre escreveu, Robert Smith é um gênio, e Morrissey é claro, só consigo pensar neles três no momento.

Existe propriedade no pop. Vocês sampleiam musicas de outros? Temos nossas regras, nós sampleamos sons e nunca musicas, é o que chamamos de "sampling criativo", podemos samplear uma bateria ou um sax mas sempre usamos acoplado em outro para formar um terceiro. Nunca sampleamos um riff.... Mas se fizerem isso com a gente não ligaremos seria muito hipócrita da nossa parte.

A imprensa inglesa insistem em ver o Depeche Mode como 4 garotos bonitinhos fazendo musica para adolescentes? No ultimo disco recebemos criticas favoráveis, mas ums 2 meses depois lembro de um critico ter dito que aquele mês foi muito fraco por isso o Depeche Mode recebeu boas criticas (risos....). Mas as pessoas vivem mudando de opinião... Agora o quente é ouvir Soul Americano, musica negra, esses negros de House Music se dizem influenciados por nós e isso consequentemente influência as pessoas por aqui. Lembram de Acid House no verão, uns 2 meses depois as discotecas não queriam nem saber de Acid, e começaram a tocar Soul. É sempre assim...

Faixas do Album:

Disco 1

1. Pimpf
2. Behind the Wheel
3. Strangelove
4. Sacred
5. Something to Do
6. Blasphemous Rumours
7. Stripped
8. Somebody
9. Things You Said

Disco 2

1. Black Celebration
2. Shake the Disease
3. Nothing
4. Pleasure Little Treasure
5. People are People
6. A Question of Time
7. Never Let Me Down Again
8. A Question of Lust
9. Master and Servant
10. Just Can't Get Enough
11. Everything Counts


Abaixo você pode ver o registro feito por D. A. Pennebaker e material do DVD 101:

Coincidência? Ou Clip Novo, Amigos Antigos...


Ainda surgem algumas informações de todos os lados sobre as gravações de um novo clip do Depeche Mode, a mais nova noticia pode ser uma coincidência, ou não:

1 - A cunhada do Vince Clarke, Tonya Hurley, escritora, roteirista, diretora de cinema, e televisão  informou em seu Twitter que gravará um vídeo nas catacumbas de Paris ainda no próximo mês.


2 - E há algum tempo atrás o Vince anunciou em seu Twitter que está trabalhando em um remix de "Fly on The Windscreen". Acho que isso não é coincidência!

Crédito: Sherlock Maria Holmes :)

Comercial da Seleção Irlandesa para EURO 2012

Crédito: Maria

Vocês Conhecem Esse Clip?

Com certeza mais uma referência, depois do Coldplay é a vez da banda finlandesa The Rasmus:

Crédito: Maria

The Light The Dead See - Soulsavers Interview Part 4


Crédito: Maria

Parece que sim Novo Clip Será Filmado em Agosto

O Webmaster do Depeche Mode, publicou em seu twitter um link para a  Agencia Paris, onde menciona a seleção de modelos para gravação de novo clip do Depeche Mode conforme post anterior, o que praticamente torna a noticia oficial, ficamos na expectativa:


Clip em Agosto?

Segundo informções que estão circulando na internet a Agência Paris teria sido contata para seleção de modelos/bailarinos-brunetk, Ruivas, e Loiras para filmar clip do Depeche Mode. 
As modelos devem ter 18-28 anos e os modelos entre 20-30... O clip será filmado nas Catacumbas de Paris. nos dias 1 e 2 de Agosto. Vamos aguardar mais informações.
Fonte. Depechemode.cz
Crédito: Maria

Dave Gahan - Miracles

Voil Tage - Behind The Wheel

Live in Munich 17.10.1990 (Full Concert)


Crédito: Maria

R. Machlin and Dave Gahan on Their Unflinchingly Y Personal New Record



“IT’S way more liberating than any drugs I ever took, put it that way. Or almost all of them!”

Dave Gahan is talking about the power of music; or more precisely, the disconnection involved in the writing process, specifically on the new album he’s recorded with Soulsavers, The Light The Dead See. As featured vocalist throughout, Gahan contributed vocal melodies and lyrics to the album, but even he’s not sure exactly where they came from.

“In some ways I don’t feel that I can take full credit for it,” he admits. “Somehow there was something going on that was guiding my pen, if you like! And I know that when you write stuff like that it sounds a bit weird, and we all get a bit weird around stuff that’s outside of our own control. I’m certainly a big advocate of trying to control everything, but life becomes really miserable when you do, actually. No matter what that is.”

“Some of the times when you’re writing, you don’t really know why you’re writing these things. I’m not really the kind of writer that sits down and, you know, writes down a little story about an event that just happened to me, like I got in a fight with the wife or something. I don’t write like that, I kind of write from a very… out-of-this-world place, or something. When I was a kid one of my biggest influences was David Bowie, and now I realise that was because I felt that he really wasn’t of this earth. He was writing and making music that seemed to speak to me, and I identified with it, like a lot of other misfits that used to show up at the concerts. Same with the whole punk thing. So for me the Soulsavers record is very cinematic, and when I listen to it now, it actually tells me something. I identify with the person. Of course, it’s me, and the words that I wrote; but sometimes when you’re writing those words, it’s like I’m not writing them for a purpose, and I don’t see that purpose until after it’s finished. You’ve just got to follow what comes through you somehow. That’s the only way that I can explain it.”

The Depeche Mode frontman hooked up with Soulsavers when they were the opening act on the band’s massive Tour Of The Universe in 2009-2010. “It was one of those things where once we started talking I kind of knew something was going to happen,” Gahan says. “I didn’t know what exactly, or whether it was going to work, but it wasn’t one of those conversations where you’re like, ‘yeah, yeah’, and nothing ever happens; I actually thought, well this is going to happen, we’re really going to do something together.”

Formed around the turn of the century by Stoke record shop employees Rich Machin and Ian Glover, Soulsavers utilised the emerging possibilities of home recording technology to create music inspired by film soundtrack composers like Ennio Morricone and Angelo Badalamenti, as well as classic rock, blues and gospel sounds. Over the course of three albums the pair moved from electronic soundscapes to more organic textures, and built up an enviable cast of collaborators, most notably Mark Lanegan, who was featured vocalist on 2007’s It’s Not How Far You Fall, It’s The Way You Land and 2009’s Broken. But Soulsavers’ fourth album is their most collaborative yet, with Machin and Gahan sending ideas back and forth over the course of 18 months, recording as they went.

“I would take a sketch or doodle and leave it with Dave, and see what that got going in him,” says Machin. “Then he would write some words, and his own vocal melody, and throw it back to me, and that would usually be the point where I’d go, okay, how would this weave around that? We had the luxury of time when we were making this record, and listening back to it I can hear the freedom and the relaxed atmosphere that it had. We went into studios and did things when they needed to be done, but most of the other stuff was done at peoples’ homes, either here, or Dave did a lot of stuff at his home… And it’s a really great way of working. It’s not something we intended on doing. It’s not something if you explained it to me in advance I would ever believe could work. But I’m so glad we did do it that way. And I can really feel the benefits that had when I listen back now.”

“What I loved about the things Rich sent me [was that] they were very simple, they were very direct and they were very uncluttered,” Gahan says. “It was just a guitar line or something that had a really interesting atmosphere around it, plugged into an amp with some fucked-up sound… It just immediately created a visual space, and that’s where I like to work. I felt really freed up to do things with my voice that I maybe wouldn’t have taken the risk with before.”

“Dave’s contribution was equal to mine,” Machin insists. “I didn’t give him any guidance as to what I was looking for; I would just give him something without any nudge at all and he would come back with something as though I’d told him what I wanted. And there was never a point at which, during that whole year-and-a-half, either one of us turned around and said ‘You know what, I’m not really into what you’ve done there’, or ‘I don’t get this’. And chemistry like that on a record like this is very rare, and I think when it happens you’ve just got to go with it.”

Gahan agrees. “Rich was constantly very supportive; I don’t know if it was because he identified with what I was writing and somehow it was speaking to him, but he was always just like, ‘Wow, just continue, I’m going to send you another piece of something that I’m working on, and while you’re doing that I’m going to start working out what you’ve just done and building some stuff around it, because I know where you’re going. He was always on the same page as me. We didn’t ever struggle where it was like, ‘I’m not sure what you’re getting at here’. There was never that conversation, which is unusual.”

Unlike many albums that are assembled by a producer with a guest vocalist, The Light The Dead See feels like a remarkably coherent body of work. Lyrically in particular, the album’s themes remain consistent and even seem to develop from one song to the next.

“I think that you probably hope for that,” Gahan says. “In fact, the order of the songs as you hear them is not that far from the way they were written. It wasn’t till about six songs in that I listened back to what I’d done, and I would listen to [the songs] in order, and I was like, ‘Oh, it’s making sense. It’s making sense to me.’”

It also seems like a very personal, introspective record, almost unforgivingly so.  As well as giving some of the best vocal performances of his career, Gahan really seems to be baring his soul here, wrestling with issues of faith and mortality, depression and personal futility. I asked the singer if this was an accurate reflection of the state of mind he was in when writing, and also whether there was a point at which he  stepped back and thought, ‘I’ve exposed myself a bit too much here, I’ve given away more than I intended to’.

“I did feel like that a little bit,” he admits. “Before I started working on the Soulsavers stuff I’d just finished a big Depeche Mode tour, and it was another one of those periods where I was feeling a little bit like, you know… and I always go through this, after a tour you’re kind of exhausted and feel like, ‘I don’t know if I want to do this anymore. It’s been great, but I’m not sure if I can do it anymore and all this kind of stuff’. [You wonder if] you really even enjoy making music anymore. All those kind of crazy questions pop into your head. But Rich sent me a couple of pieces of music to work on, and somehow it was the answer.”



When it became apparent how personal and open Gahan’s lyrics were, Rich Machin also began to feel an enormous sense of responsibility to present them in the right way.

“When you really started to look at what he was putting down, there was a pressure of, ‘This is so good, I’ve got to do right by him by making this as good as it can be’,” Machin says. “He’s really raised the bar with what he’s done here, and he’s really put himself out there, like really bare, and that is such a mad thing to do. I certainly couldn’t comprehend it at all, doing what he did. He’s really putting this out there, and it is so good that I can’t be the one that fucks this up.”

The Light The Dead See feels like the kind of album that somebody might listen to if they were going through some difficult times; not to wallow, but to help them pull through. Because although it’s very dark, it’s all about rising above and surviving. There’s a sense of needing to change and grow in order to avoid stasis or death, symbolic or otherwise.

“I think that’s very accurate,” Gahan agrees. “And I’m glad you said that, because for me that is what I get from listening to the record. And it sort of surprises me, to be honest. So therefore I know it’s something that I’m feeling, and like you said… it could have come off really hokey, put it that way. When you get really real about what it is you’re thinking and feeling and questioning, other people don’t necessarily want to hear that. Especially with music, a lot of people [just think] ‘Ah, I don’t want to hear that, it’s kind of depressing’ or whatever. For me that’s not the case. I’ve always listened to music that has made me want to question things, and question my place here, and stuff like that, ever since I was a kid. I’ve always asked questions.”

I think a lot of people feel that way, but for some reason there seems to be less of that kind of music around. “I think there is, I think you’re right. I’m dying to hear something that just moves me. You know, I’m listening to the new Spiritualized album a lot at the moment, which I really like. I’m listening to it and I’m like, ‘Yeah, I know what you’re getting at’. And I’m laughing at stuff that I think to some people would be like, ‘That’s really depressing’. I just identify with it, and I love the way that he’s put some stuff there against this backdrop of music that in a way is very uplifting or jolly or sort of a bit ragtime in places, you know. And that comes with experience. I really respect that, and I respect that he’s wearing his feelings on his sleeve. Because you’re right, not a lot of people do it, they make up some bullshit, you know. If I’m listening to Johnny Cash, I believe the guy. If I’m listening to Nick Cave, whether he’s fabricating an idea or not, I believe him. And the same happened to me with all those years with Bowie. I believed him. So I’m always trying to do that with my voice, even if I haven’t written the song.”

Gahan also feels that the experience of making the Soulsavers record has re-energised him for recording Depeche Mode’s new album, the process of which is already underway.

“I’m working in the studio with my band at the moment, and a lot of the stuff Martin’s written, it’s actually speaking to me,” he says, referring of course to Martin Gore, Depeche Mode’s chief songwriter. “I feel like, once again — it hasn’t happened for many years, he’s written some great songs, but there was a time around Violator, Songs Of Faith And Devotion, where I felt like — I even said to Mart, ‘Are you writing these songs about me!? Or using me as your muse’ or something? I mean it wasn’t that obvious, and I was a lot younger then, but now there’s songs that he’s written for this particular project that we’re working on right now, there’s a few of them where I’m right in there. We seem to be really clicking right now, which is great. And it could just be that I’m in a place where I can hear something. I feel like I’m singing better as well. Like I’m singing in a different way with a lot of these songs that I’m working on now, and a lot of that came from the Soulsavers record.”

Gahan and Machin are still writing together whenever they can find the time, sending ideas and recordings back and forth, meaning that a second Soulsavers album with Dave Gahan is more than likely.

“We’ve a couple of songs there on something else,” Machin says. “We just enjoy writing together, and I’m sure it’ll end up being for another record. I think we’ve both acknowledged it’s a given that we will do another record together at some point in time. When things work the way they did, you don’t just walk away from them. It may be something that was just a time and place; we may get certain songs three-quarters of the way and then be like, ‘You know what, it’s nowhere near as good as we did before, let’s just leave it’. But I don’t think that’ll be the case. The ideas we’re kicking around at the moment I think are better than anything we’ve done. And it’s because we’re really getting to know each other quite well. I certainly know him considerably better than when we started it. That was years ago now really, that’s the thing. I certainly feel a lot more in tune with him.”

“What it’s doing for me is it’s making me way more enthusiastic about going back to my band and coming into the studio full of excitement about making music,” Gahan says. “I don’t feel like I’m stuck in my day job, if you know what I mean! And believe me, I have the best day job in the world, but it’s amazing that we’re still making music together and still talking about going on these enormous tours together after 30 years.”

And what about the possibility of Gahan and Soulsavers playing live together?

“I’m sure we’ll try and do something,” Machin says. “That’s one of my things about trying to do a second record; this record is great, I’m really happy with it, but it’s 45 minutes long; doing a show, the money that you have to charge people… if we’ve got two records to pull from then I’d feel a lot more comfortable about being able to charge people. We’ll be able to play for an hour-and-a-half then, I’ll feel a little bit more like we can give [people] something that’s worth coming out to see.  So if we can find the time and diaries line up, then there’s no reason why we wouldn’t do something.”

“Honestly, I feel like I’m blessed to be able to do this, and I’m having a good time doing it at the moment,” Gahan says. “I’m so proud of this record, and I’m glad that you’re feeling it too, because it is going to be one of those records I think that is going to be a slow burn. It’s going to be from people talking to each other; you’re not gonna suddenly hear a song on Radio One or in a club or something like that. It’s an album that I wanted to make, in an old-school sense, and I think we managed to do that.”

Fonte: thestoolpigeon.co.uk
Crédito: Maria

CLR Podcast - Martin Gore




Em 19 de Dezembro de 2011 ficamos muito felizes em receber Martin L. Gore pela primeira no podcast CLR. Martin é amplamente conhecido por suas composições e musicalidade na banda Depeche Mode. 
Ele compôs hits como "Personal Jesus", "Enjoy The Silence" e "I Feel You" e está também desenvolvendo trabalhos de sucesso como uma DJ de música eletrônica e produtor. Juntamente com Vince Clarke ele gravou um álbum Techno sob o nome de projeto VCMG, Martin também fez uma colaboração com os pioneiros do Techno MOTOR, como vocalista do primeiro single do seu próximo álbum "Man Made Machine". Esse ótimo artista como convidado no nosso podcast significa muito para nós e nós esperamos que você aproveite o show. Para obter mais informações, visite: www.martingore.com .

Tracklisting:

Robert Swart - The Summit Blues
Bobby Dowell - Shift
Akris Elwood, Bryan Corr - Blind Faith
Oliver Huntemann - Delirium
Jarvis - Sidewinder
Koen Groeneveld, Arturo Silvestre - Dordogne
Langer - Sensitive
A. Trebor - Dark Outside
Byetone - Telgramm
Dominik Eulberg - Teddy Tausendtod-Stephan Bodzin Mix
Motor-Man Made Machine - Black Asteroid Mix
VCMG - Spock
Piet Bender - Liquid Sky
Umek, Beltek - Out Of Play
Redshape - Bonus Beatz

Crédito: Maria

Depeche Mode frontman Dave Gahan gets spiritual



(CNN) -- When Depeche Mode chose Soulsavers, the English electronica production team of Rich Machin and Ian Glover, to open for them on their 2009 European tour, they didn't know it would be just the beginning of their musical collaboration.
But, as mutual fans, with front man Dave Gahan enjoying Soulsavers' work with singer Mark Lanegan and Machin's love of the seminal albums "Violator" and "Songs of Faith and Devotion," it was only a matter of time.
Following in their tradition of joining forces with high-profile guest vocalists, Soulsavers turned their attention to Gahan for their latest album, "The Light the Dead Can See."
CNN recently spoke to Gahan about what inspired the soaring new songs, what fans can expect from the new Depeche Mode LP being recorded now and how "Ziggy Stardust" changed his life.
CNN: How did working on this album compare to recording a Depeche Mode or solo record for you? It seems like a big enough task to have one great idea, never mind be able to parcel them out to different projects like you do.
Dave Gahan: It's interesting that you said that about the one good idea. With "Presence of God," for instance, it's one phrase or one sentence and the way I sing that. The notes that I choose to sing will sometimes do it. If I get that one line, I'm like, yes! That leads me somewhere else. That's when things start getting really exciting.
The stuff with Rich was a different process for me. I never sat down and said, OK, I'm writing songs now for this or for that. I wasn't choosing this subject or that subject. It seemed to work with the music and I didn't want to edit that. I didn't want to bend it into a different direction. It was really a pure process, and I think you hear that.
"I Can't Stay" was one of the first things I worked on. When I sent it back to Rich, he was blown away by what I'd done over the guitar chords he'd given to me and it started the process between us. These songs really kind of wrote themselves. I can't describe it in any better way. I just had to get out of the way, really.
CNN: Speaking of blessed, you explore spirituality on this album, especially on "Presence of God," and have said that may make people uncomfortable. Sure, it's more direct than what Depeche Mode usually does, but was it really such a major departure?
Gahan: Not at all. I think that's because Martin [Gore] and I shake from the same hip as well. In the past, especially in the "Violator" and "Songs of Faith and Devotion" period, I felt like Martin was writing songs about me or for me. He wasn't really; I was younger then. But we had those same doubts, and quite often seemed to experience the same weird, dark sense of humor. "Presence of God" is really that understanding that sometimes when you step out of your own shoes and just open your ears and listen to what's going on around you, you get answers to the questions you were asking. The title "The Light the Dead See" works so well because sometimes when you're still and not trying to steer things in a certain way is really when the magic can happen. It's when I'm trying to figure that out for myself that I get into all kinds of trouble.
CNN: It's a delicate balance to explore these subjects in your lyrics and not alienate the audience by coming across as tortured or preachy. How did you manage to pull it off?
Gahan: I'm glad you heard that. There was no torture at all. It really came easy, this stuff. For me, that doubt and that faith are so close. It's impossible to deny that happening around you when you really kind of let go of trying to control things. But it's not hokey in any way. I'm not trying to tell you what to do. It's purely my experience of feeling like I really belong, and then moments of really what the f--k am I doing? We all have that. I tried to keep that as open as possible without directing. I don't want to direct you. I want you to listen and conjure up your own thoughts.
CNN: The album is beautiful -- both melancholy and uplifting at the same time. How did you go about hitting those emotional nerves?
Gahan: I think some of that stuff comes from the way I used my voice. I go to a very visual place when I'm singing. It's very cinematic and I get this feeling of space. I love when music does that. I listened to David Bowie a lot when I was a teenager. The place that he seemed to be singing from is the place that I wanted to go to. I didn't know if that place really existed, but I believed it did. I tried to capture that same magic again on this record. It's a place you go to when you listen, where you just feel a sense of belonging. Or, not feeling a sense of belonging and that being OK.
CNN: Is there any one Bowie line, image or album that was able to transport you more than others?
Gahan: There's many records that have been pivotal for me. If I were to name one, it would be "Ziggy Stardust." It changed my life. The same thing happened when punk rock came along and I heard the Clash for the first time. I was 16 or 17 years old. It made me feel like I belonged to something. Music has always done that and continues to do that for me. Lately, a record that I bought that I'm really listening to a lot is the new Spiritualized album, "Sweet Heart Sweet Light."
There's a sense of humor to me in the combination of his words and his musical styles. It just spoke to me and brought a smile to my face. Some may listen to that record and not get the same feeling, but it's really uplifting and a beautiful record.
CNN: You are currently recording your 13th Depeche Mode album. Can you give us a hint about what we can expect?
Gahan: Martin's been particularly prolific, and myself as well. I was doing the Soulsavers thing and writing demos for Depeche Mode with a friend. Martin got on a writing streak. He's got some really great songs. We usually start a record with six or seven songs; we currently have about 20.
In the studio, we're trying to not over-fuss things. We're trying to not over-produce the sound. If something's working, we're just recording it. We're trying to get the element of performance into the record more. We've already been talking to Anton Corbijn about some ideas we have about where we want to take the record visually and he usually has a pretty great angle.
The songs have a bluesy influence. Obviously, it's not a blues record, but there's definitely some of those influences there. And it has a kind of soulful feel as well. It's still early so it's difficult to tell at this stage. We've been making records for a long time together, but there's always an element of surprise when it comes to the way a Depeche Mode record is really going to sound -- even for ourselves.

Fonte: CNN
Crédito: Maria

Leilão de Microfone Autografado

O microfone utilizado por Dave Gahan no MusiCares, autografado, esta sendo leitoado no eBay com fundos revertidos a caridade, quer dar seu lance, clique aqui:

Crédito: Maria

Metal Gear Rising Revengeace - Wrong


Não é novidade do Depeche Mode estar presente no mundo dos games, mais um exemplo...
Crédito: Depeche Mode.be

SOULSAVERS - Take Me Back Home

Late Bar - Especial Synth Power