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Resenha: Delta Machine, do Depeche Mode


Thiago Sales é um apaixonado por sintetizadores, conversas profundas e música em geral. À frente da banda de um homem só Yanna Lee, criou refrões grudentos e batidas incrivelmente estranhas e familiares. Em sua primeira colaboraçāo no Play, ele escreve sobre o novo disco do Depeche Mode. 

O testamento de uma amizade Melville dizia que entre amigos o sujeito pode ficar calado a contemplar o silêncio das coisas. Gahan e Gore parecem amigos desse tipo. Em grande parte, a beleza do Depeche Mode incide nos descompassos e reencontros dessa amizade que atravessa décadas. Gahan é a pessoa que pode dizer a Gore: “There’s too much confusion, I can’t get no relief”. Gore acha a voz de Gahan linda. Gahan vê em Gore sua voz interior traduzida em versos e melodias. Hoje em dia, passado tantos álbuns, ninguém sabe mais quem é Gore e quem é Gahan porque ambos estão em simbiose profunda. E o Delta Machine? É isso também?

Há duas hipóteses aqui: ou o Depeche Mode tá rindo de nossa cara, ou, ao contrário, está brincando de ser genial. Qualquer uma das duas hipóteses sugere as mesmas conclusões: Martin Gore já está tão à vontade no ofício de compositor que pode sambar pelos sintetizadores de maneira abusada e tranquila. Gore deixou a música encarnar no seu corpo a tal ponto que já nem sabe mais se é música ou se é gente. Ou melhor, se ele é Dave Gahan, se Dave Gahan é ele, se os sintetizadores são ele, se ele é o produtor convidado, se ele é a verdade sobre a música eletrônica, ou se ele é, enfim, apenas um “blues man” perdido numa indústria desativada nos subúrbios de Berlim que acabou de encontrar um “moog estiloso” – um moog de plástico. A guitarra de Martin Gore é feita de teclado. O teclado de Gore é feito de guitarra. Quando ele desce os dedos nas teclas ele pensa numa guitarra. Quando ele dedilha a guitarra ele pensa num teclado.

Seja como for, Delta Machine é uma brincadeira. Aquela coisa que a gente não pode falar mal, porque isso desvela a incapacidade do ouvinte de entender a piada, e nem pode falar bem, porque acusa o ouvinte de carecer de senso crítico – é uma charada bem mais acertada que o irmão Exciter. Delta Machine é tão engraçado que inicia o disco a convidar o sujeito que já se sente convidado “Welcome to My World” – cantarola o Sir. Gahan. O ouvinte desse álbum é como um poeta que entra numa casa de ópio: ora, todo mundo que vai numa casa de ópio sabe o que tem numa casa de ópio, ou seja, ópio. E mesmo assim, o viciado vai lá ouvir. Mas, quando entra naquele troço… Tudo é mágica. Tudo vira “fumaça”.

Aos poucos o sujeito está mesmo no céu – como sugere a terceira faixa. E Gore, que agora é Gahan, sabe que o ouvinte é um amigo: “I dissolve in trust”. A coisa é tão segura, que ele dá “bye bye” na última faixa e “welcome” na primeira. Claro, isso poderia ser pueril, mas trata-se de velhos conhecidos seus, seus amigos de outrora, sujeitos que te acompanharam na mudança de valores – lembram como foi difícil aquela transição de 80 para 90? E depois? Lembram-se daquela patifaria de guitarrices e electros por todo lado? E hoje? E o mundo hoje? Você está seguro nesse mundo de hoje? Não, né? Então ouça o Delta Machine.

Delta Machine é um testamento de amizade. Se o fã chegou até ali, mergulhado no universo da dupla mais irreverente de todos os tempos, G&G, Gore and Gahan, terá paciência para vacilos, cansaços, asneiras, divagações, declarações piegas de amor, timbres exagerados, riffs manjados, melodias previsíveis e, enfim, um belíssimo álbum para dar mais Depeche Mode para quem gosta de Depeche Mode. Fã de Depeche Mode, ouça Depeche Mode.

Fonte: Sergio Augusto

Jimmy Kimmel Live! (Full Show)

Broken in Studio

Nota do blogueiro: Não consigo parar de ouvir....

Luxúria, Culpa, Pecado e Salvação = Delta Machine

“Delta Machine” é o nome do décimo terceiro álbum dos Depeche Mode, editado no mês passado. Gravado entre Santa Barbara na Califórnia (onde reside Martin Gore) e Nova Iorque (onde mora Dave Gahan), este trabalho foi produzido por Ben Hillier e misturado por Flood. Para além da edição normal de “Delta Machine”, existe uma edição deluxe com 4 faixas extra acompanhadas por um booklet de 28 páginas que inclui fotografias do colaborador oficial Anton Corbijn.

A luxúria, a culpa, o pecado e a salvação são temas recorrentes do universo Depeche Mode que mais uma vez permeiam o trabalho da banda de Basildon.

«Welcome to my world» abre o álbum com a voz de Gahan a soar lacónica e pura, apoiada por um baixo áspero, um contraste com uma sensibilidade pop que se desenrola com o auxílio de harmonias como só estes rapazes conseguem criar e que curiosamente se voltam a ouvir na última música do álbum – «Goodbye» (premonitório?), homenagem a «Personal Jesus» servida por arpeggios, claps e coros épicos.

Com este registo os Depeche Mode regressam às suas raízes na música electrónica de forma mais esotérica, com músicas ricas em camadas e Ben Hillier a realizar um trabalho brilhante de mistura, deixando as músicas respirarem: veja-se o caso do primeiro single «Heaven», uma viagem emocional com as vozes de Gore e Gahan a complementarem-se, suportadas por uma batida minimal e uma linha de baixo cativante.

Também voltamos ao blues psicadélico e perverso que já ouvimos a banda abordar antes, com Gahan a emprestar toda a sua sensualidade à música «Slow», o sentimento familiar que persiste em «Broken», uma canção pop alternativa, e em «The Child Inside», a balada amarga já esperada em cada álbum dos DM, quando Gore chama a si o protagonismo, rodeado de sinos, synths lo-fi e floreados de percussão electrónica.

Por falar em revisitar algo, «Secret to the end» tem um cheiro a passado, mais concretamente do período “Violator” mas com um toque moderno e o charme ingénuo de «Soft Touch / Rawnerve» bem que poderia ser um outtake de “Black Celebration”.

«Should Be Higher» (um dos pontos altos do álbum) também podia seguir por esse caminho com os seus tons industriais e falsetes, elementos tradicionais que nesta música soam a fresco e que continuam presentes em «Alone», mas num registo mais frágil.

Crédito: Rua de Baixo

Novo Disco do Depeche Mode Contém Todos os Ingredientes para Agradar Fãs


Lançado recentemente no Brasil, álbum Delta machine será acompanhado de uma longa turnê mundial. Tudo indica que o retorno deles ao Brasil ocorra no início de 2014

Circula nas redes sociais uma foto dos três integrantes da veterana banda inglesa Depeche Mode segurando placas com os dizeres: “Nesta turnê, nós não tocaremos qualquer material pré-86.” Montagem de fã ou realmente um recado para eles, a frase faz todo o sentido para uma banda que se dá ao luxo de não viver do passado. A imagem em questão é uma das várias utilizadas para divulgar Delta machine, o 13º álbum de estúdio do trio formado por Dave Gahan, Martin Gore e Andy Fletcher.
Lançado recentemente no Brasil, Delta machine será acompanhado de uma longa turnê mundial. A primeira parte europeia começa em 4 de maio, em Nice, França, e termina na Bielorrússia no fim de julho. Depois, a banda segue para a América do Norte. Tudo indica que o retorno deles ao Brasil, quase 20 anos após a primeira e única passagem da banda por aqui, ocorra no início de 2014.
E o novo trabalho do trio inglês tem todos os ingredientes de que os devotos (como são conhecidos os fãs do Depeche Mode) gostam: é soturno, pesado, distorcido, carregado de simbologia e letras que falam de sexo, solidão, dor e melancolia. Heaven, o primeiro single, pode não ter um apelo pop radiofônico de antigos sucessos da banda, mas é daquelas músicas que já nasceram clássicas. “Heaven é uma das razões de eu ainda fazer música”, relatou o vocalista Dave Gahan em entrevista.

Delta Machine
13º álbum de estúdio do trio inglês Depeche Mode.
Lançamento: Sony Music
Preço médio: R$ 29,90.

Crédito: Diário de Pernambuco

Entrevista com Andrew Fletcher - Delta Machine

Dave Gahan Talks About Depeche Mode’s ‘Delta Machine’

David Gahan is the lead vocalist and co-songwriter for the Alternative Rock and New Wave band Depeche Mode that just released their 13th album Delta Machine.


So why Delta Machine for a title? What’s your association?
Delta being the influence of the blues and Machine obviously, because we use machines to interpret that.

Like a classic genre interpreted in a modern way – using lots of technology?
Yeah, I mean that pretty much sums up Depeche Mode. I think if there was one record that kind of portrayed musically what we’ve been doing for the last 30 years then this is it. It’s kind of: welcome to my world and goodbye. (chuckles)

Turning the blues upside down?
Yeah, I mean, to a certain extent. I mean, I wouldn’t dare to claim that it’s a blues record. But it definitely has those influences – musically for sure and lyrically as well. It’s expressing the way you feel, and removing it from yourself by repeating it. And that’s what the blues is. It’s a riff on top of riff. Just churning. And that’s kind of how this album was built.

With Martin as one of the most underrated blues guitarists or guitarists out there?
I don’t know about under-rated. But he is – I think – a very talented guitar player. And he plays the guitar as a means to get an idea. But I think when it comes to making music, he enjoys the process a lot more than developing that into something kind of extraordinary for him. With using modular electronics you can play the guitar and then send that sound through an amplifier. Then resend that amplified sound through a modular synthesizer and clip it and cut it. And affect the attack of release and maybe take a small part of that guitar riff and sequence it. And run it live and then record it again. So, there’s quite a process that goes on from the moment the idea leaves Martin’s fingers to when it ends up on a record.

How comes this album echoes Violator and Songs of Faith and Devotion in at least in two or three songs?
Well, I think it echoes those albums in quite a few ways. Certainly musically and influence wise, being blues and gospel, both the influences on both those records. I think the really only relationship it has is that predominately it’s driven by those influences.

With “Slow” being a song from that era, an unrecorded song from that time?
I think it was a song from even earlier than that maybe. Maybe it was a song that was written for Songs of Faith and Devotion. I don’t really remember. It might be Songs of Faith and Devotion it was written for. But at the time… as soon as I heard it, I said to Martin: That’s an old song. And he said: Yeah, I needed to reinterpret it. He’d kind of reworked it. When Martin was demoing before, I seem to remember sitting in a meeting when we listened to the demos, and Alan kind of not getting it, just kind of… well, out of songs that we were going to record it just wasn’t chosen at that particular time. So I guess Martin put it away, and it fits really well with everything we’re doing now. Because of its blues influence, and I think Martin pulled from that school a lot more on this record. And the same with me as well. It’s not something we talked about, but we were kind of both writing from the same sort of place.

How comes the songs you bring to Depeche Mode are never written by Martin and you, but with an outside person? Are you afraid of working with Mr. Gore, or what is it?
No. (chuckles) There is a song on this album that we wrote together called Long Time Lie, but I like to work with different musicians. The people that I’m not familiar with. Because it challenges me. At the end of this record Martin and I did talk about that. And Ben Hillier brought it up, the producer. And he said to Martin: You know, how would you feel about – like we did with Long Time Lie? Like Martin gave me an idea and I took it away and came back with the lyrics and the vocal melodies written over the top of some of the chords that he had played. And we ended up with Long Time Lie. Ben said: Maybe in the future you guys could do that more. And Martin asked me if I’d be interested in doing that. And I said: Yeah. If I’m writing with anybody, what I say to them is: If you have any ideas, if you have any guitar lines or atmospheric ideas, they don’t have to be formulated, it doesn’t have to be, it just has to provoke an idea in me. And the less you do, the more likely I’ll be excited about doing something to it. Like for instance when I wrote the songs with Rich Machin from Soulsavers, he would send me a guitar line or something he played at the organ or on the piano with a very rough sketch or bass line. And it just provoked me to write words and melodies.

That must have been very refreshing for you. I mean, you didn’t take the holiday you deserved after an 18 month tour, but went straight into recording the Soulsavers album, followed by Delta Machine. So, in what way did this collaboration stimulate you for Depeche Mode then?
Well, it was one led to the other. And then Soulsavers record led me to continue writing with Kurt. Kurt was working with me in the studio, engineering and recording the vocals for me for Soulsavers. Once I’ve written the idea I would go into the studio in New York and Kurt recorded all my vocals for that record. And whilst we were recording, we started to play around with ideas. He said one day: “I have this kind of melody idea”. And I said: “Well, give it to me and let’s see what happens”. And really it was something that he, it was just going to be for himself. He goes under the name Captain Kurt. And it’s instrumental based electronics. And he’s done some remixes – I think – for me in the past and also for the band. We’re friends and he gave me this thing. And I wrote a song to it, and we recorded it. And so in between doing Soulsavers things we began demoing songs. Really after three or four, I said: You know, I think, I know you wanted to maybe use this for your own project. But if you’re interested I’d like to play some of these songs to my band. And so that’s what happened.

There is this line in “Should Be Higher”: your lies were more attractive than the truth. Is that about your drug experiences in the 90s? Is that still haunting you?
Well, it’s really in the present actually. It’s reflecting on my interest quite often initially in something that is not necessarily real. (chuckles) And can quite often get me in trouble. But I’m still quite often attracted to this, the other side of things I think influence the optimistic side of my head. But sometimes I do find that the line is basically, saying initially how you might, something seems more exciting that could be quite dangerous for you. But the truth takes longer to achieve. But it ultimately is more rewarding. Cause the line that follows that line is: you should be higher. I’ll take you higher. And I’m referring to something that I feel quite often in life, which is life itself – which is just a beautiful thing. But you have to work a little harder to be part of it. And I also follow those lines with the line: Love is all I want.

In the sense of stability?
Well, whatever stability is.

Or warmth?
A sense of belonging, you know. Which comes in different forms. Sometimes sense of belonging can come from feeling like needed. And that doesn’t often satisfy what it is you’re really looking for. To be needed is a nice thing, but only initially. Because like everything that’s needed at some point it’s not needed anymore. (chuckles)

Meaning: You ́re still fighting an inner battle or conflict?
I think everybody has that. But I don’t know. Sometimes I need to work it out. And working it out through songs is certainly more healthy than some of the ways I used to.

So what’s your survival strategy then – 17 years after being declared clinically dead for two minutes?
Just one day at a time really.

Can you actually recall that moment in late May 1996 when you overdosed at the Sunset Marquis Hotel in LA? What was being considered dead like?
Well, it ́s nothing to brag about really – in the sense that I ́d be proud of it or anything like that. And it wasn ́t a spiritual experience either. All I can recall, but I recall that vividly, is total blackness. Like diving into black water or paint and feeling a sense of total calmness. But then – all of a sudden – there is all that light, my head aches, I notice my hands are cuffed to the bed that I am in, and a police officer reads me a warrant for illegal substance use. I mean, that is not glamorous at all, is it? It was more like being hit by a hammer.

Have you told your kids about it?
About what?

The guy you used to be.
Oh, my kids are not so much kids anymore anyway. Apart from daughter, but I have a 25 and a 21 year old son. So, they’re young men and they have their own lives to lead. They don’t sit around thinking about their father’s life. I mean, hopefully they learned from the mistakes that I made. That they don’t have to take the same path. But I don’t worry about that. They’re strong in character.

Say, starting out in 1980 where did you think you would be in 2013? And is this what you expected it to be, 33 years later?
I don’t know. When you’re a teenager you don’t think about it much really. You think you’re thinking about a lot of stuff. Everything and nothing is important. And today, for me it’s simpler. I know what’s important to me, and I’m starting to realize what’s not important to me as much anymore. And it’s a nice place to be, it feels good.
I’m asking because Andy McCluskey from OMD said if they had known in ́78 that the future of rock music would be Mumford & Sons they would have quit straight away.
Well, I don’t know why he would say that other than feeling jealous or something that nobody cares about who Andy McCluskey is anymore. (laughs) I don’t know what that really means. I think Mumford & Sons are a great band actually. I think they write great songs together and have a great spirit. I don’t know how that relates at all to me.
It was in the context of starting out as a synthie pop band with the intention to kill Rock ́n ́Roll – which, of course, never happened.
Well, I heard that Andy McCluskey writes really terrible pop songs for real young pop bands that are infiltrating all the radio stations of the world today. So, I would take Mumford & Sons any day over some of the shit that he probably writes.
There’s an interesting development in the perception of Depeche Mode over the years: At first you were regarded as being very un-cool, then you were the band everybody covered, and now you ́re everybody’s role model, it seems. Is that an inspiring, interesting concept?
I don’t know. It’s flattering of course. But I don’t work out of that, it’s not something that you think about when you’re working. When you’re working on new music, you’re trying to challenge yourself and challenge what you’ve done before in the past. And try and create something new. I think if you continue to do that, people will identify with it. You can’t live in the past. You can use it to do something new. But, the past is over and you have to move forward. You can’t live in a sort of envy or jealousy or resentment. Otherwise you are just really pissing all over the present. (chuckles)

What ́s your favorite Depeche Mode cover then?
I know a few. I mean the one that I’ve heard the most was probably Johnny Cash’s “Personal Jesus”. Which I think is probably purest version of that particular song – and pretty much how the song was written with a guitar and a vocal melody.

Which gives you the chills?
Yeah, it’s a great, I mean it’s Johnny Cash. He was giving people the chills from the moment he opened his mouth. (chuckles)

Has the insurance policy for this upcoming tour risen to something astronomical considering all the accidents you had on the last one?
I’ve got no idea. (chuckles) You’d have to talk to my manager about that.

Have tumors, torn calf muscles, and straining vocal chords made you more aware of your own mortality?
Well, I don’t dwell on my health. I do my best to kind of stay in shape and prepare for a tour like this. But you never know what’s around the corner. You kind of have to deal with it. What I’ve learned over the years is: Some things are out of your control. I certainly am not going out of my way to destroy myself these days. Which is a good thing. But sometimes, like before the last tour, just before we were about to begin, it was out of my control. So you have to learn to deal with these things. But I fully intend to get through it and get to the other side. And try and enjoy it as much as I can. But it ́s one gig at a time, one day at a time, one city at a time.

Are you in boot camp right now – preparing for the tour?
Like I said, I take care of myself as much as possible. And I know what is expected from me and from my band. And if you sing for two hours onstage every night, if you’re lucky enough to be able to do that, you’ll know what I’m talking about. Just if I stood still and sang for two hours that would be pretty exhausting within itself. But it ́s a lot of emotions, a lot of feelings, it’s a lot of energy that comes from the stage and comes from the audience. So you got to be in shape.

How are you going to mix the old with the new this time around? What can people expect from this upcoming tour?
Well, we’re obviously promoting a new record, Delta Machine. And we’ll be playing a bunch of songs from that record. And everything is sort of built around that and the guys come to me to try and… We sit down together first of all and we write out maybe like, 100 songs. And from that we have to reduce it to maybe 20, 22, 23, whatever, so two hours of music. And they leave that up to me really, because I understand the flow of a set. So once we’ve got it down to say 30, we rehearse those songs. And so we’re prepared to play any of those songs. But once we lock into a set, what we’re going to try and do on this tour is change up every other night. So, we’ll have one set which we stick to. But then, on alternate nights we’ll be able to maybe switch 5 or 6 songs if we want to. Because we’ve rehearsed other songs as well, and they all kind of fit in the show. The show has to work. It starts and it has to go through a… you know, it’s like when you’re sitting in the movies for two hours. You know, after two hours – I don’t know about you – but I start getting a big fidgety. No matter how good it is.

So your show won ́t be as long as The Hobbit?
No, I haven’t seen The Hobbit, but my son went to see it and my daughter. And they said they were bored. (laughs)

It was just celebrated the 40th anniversary of Pink Floyd ́s Dark Side Of The Moon. How important is that album to you? And in what sense?
It’s a great album. I mean, it was quite a record.

Atmosphere wise or how do you mean?
Of the album? Everything about it: The songwriting, the atmosphere, the musicianship, the timelessness.

Nota do blogueiro: Amigos peço desculpas pelos últimos posts não estarem traduzidos, o tempo anda curto assim que possível voltarei a postar traduzido.

Crédito: Static Multimidia

An interview with Depeche Mode’s Andrew Fletcher

Following our recent interview with Dave Gahan, we present a special interview with Depeche Mode’s Andrew Fletcher, originally published in German four years ago in 2009—on the occasion of Depeche Mode‘s album Sounds of the Universe—for Die Welt newspaper and conducted by our editor-in-chief Max Dax. It’s reproduced here in English for the very first time. Photo by Luci Lux.

Andrew Fletcher, your singer Dave Gahan once said, “I’m only famous, I’m not a musician.” What exactly is your job with Depeche Mode?
If you ask that way, then I’m the opposite of Dave. I’m a musician but on the street nobody will recognize me. Within the band, I contribute the element of pop. Martin L. Gore, who writes most of the songs, loves American blues and country. And Dave has discovered jazz for himself. I, however, will probably eternally feel loyal to the simple pop melodies and the lightness they stand for. My kids also like pop.

As a pop star, can you sleep longer than the average guy? Or do your kids wake you up each morning?
I have always been an early bird. When we’re not touring with Depeche Mode, at home I go to bed regularly around 7pm while my wife rarely goes to bed before 1am.
It’s a pity for those who do not drink, as when they wake up in the morning that is the best they are going to feel all day.
I just like the scent of the morning. Nothing can beat a coffee before sunrise, when everybody in the house is still sleeping.

And what happens if you go on tour with Depeche Mode?
Then the clock turns. I feel attracted to good hotel bars, after all.

What defines a good hotel bar?
That the elevator to your room is close. One drinks and you know you only have to get in the elevator to fall into your bed. So you have another drink, knowing you’re already home, practically.

Studies say that every member of a successful band—from U2 to The Beatles—within decades gets reduced in the public awareness to a pattern, an image. Does one become a cartoon-character, being a rock star?
I heard about this thesis. Firstly, I want to add that the media life, starting with the promotion you are doing, up to the interviews, somehow allots a role to every rock star in a band, in which one grows into. Therefore you become a caricature of yourself someday. But I suppose this is normal.

Who are you?
The tall guy in the background, without whom this international corporation called Depeche Mode would never work. There is this big misunderstanding that in guitar bands real men are working real instruments—evening after evening—while in a synthesizer band like Depeche Mode nobody works, because it’s all machines. But that’s bullshit.

What is so specifically different?
The ambiguity. Apart from the singer, the audience doesn’t really know which role which musician has within the group. But bands like Kraftwerk or Depeche Mode actually work as divisions of labor collectives. The contribution of each individual remains invisible. And because I don’t push myself to the fore, many mistake me for the fifth wheel.

Do you think that you and your share in Depeche Mode are perceived wrongly?
Sometimes it’s frustrating not to be taken seriously. After all, you could also say my job is the most important; without me there would be no band anymore. But it’s the same in big corporations—the people that do a good job in the background don’t get as much attention as the ones who’d get onto the microphone and announce the good quarterly figures.

Is Depeche Mode a band or a corporation?
A band, of course. But I understand what you mean. As far as I’m concerned, you can call Depeche Mode also a corporation.

Corporations communicate via a corporate identity with the public. Also, Depeche Mode have fine tuned their public image for two decades now by photographer and director Anton Corbijn. What does he have that others don’t?
He made us ‘cool’ in 1989—by exposing our comic features. Before that we were just another electro band. But with his help, we became rock stars. He’s one of the few who has understood the very special humor in the band right from the start. I would declare him a full value band member.

Don’t you find it irritating that he’s also responsible for the public image of the other huge stadium acts of the ’80s, such as U2?
No, it simply shows that he’s thinking in other categories and that he has left the small-scale behind him. He can communicate with masses, across cultural borders. By the way, it was him who made U2 to what they are today.

You called your new album Sounds of the Universe, the tour is titled Tour of the Universe. Is this an example of the special humor you were talking about before?
Exactly. We wanted to come across as a bit arrogant, but in a funny way. It’s the same sense of humor in titling one of our albums Music for the Masses 22 years ago.

About your hometown Basildon, you once stated that whoever grows up there, “steals cars and goes to church on Sundays.” Is that also a glimpse of that humor?
Well, we all basically had protected childhoods in Basildon. I was born-again Christian, so I went to church each Sunday. Only Dave Gahan’s youth was a bit fragmented. There was something with his father.

Would you say a good band is like an outlaw gang in a western? I ask, because Martin L. Gore says so.
As a rock star, you are a king for one night whenever you enter a town—especially in the States. For one night, we’d own the saloon, the gambling tables, the alcohol, and the girls. And the next evening another city was at our feet.

You talk in past tense.
Everything has changed. We all have family and children now. I’m the only one left in the band who fancies a drink. One vice after the other goes overboard. You can’t pull off that lifestyle for ever.

Sounds of the Universe has a warm tone to it. You must have used analogue gear from the ’60s.
True that. One night Martin had a dream: an orchestra of synthesizers tuning in, like the musicians of a philharmonic orchestra tune their instruments in the pit—this cacophony of string sounds before a classical concert starts. He then dug deep into eBay, swapped his addiction to drink to the internet and purchased hundreds of vintage synthesizers on auctions. Every day a new package gets delivered to the studio, and like little kids we always unwrap these ancient machines, plug them in, and check out how they sound. Every one of them has a very specific sound, you know.

Do Depeche Mode feel forced to present with each new album also a very new sound?
Probably that wouldn’t be possible. Because of our limitations, we are not capable of reinventing ourselves. But what we actually try to do again and again is to develop the sound from album to album a bit further.

Is that the formula of success then?
I think so. I mean, in the course of events, we became the biggest cult band in the world this way.

What do you mean with “cult”?
We are definitively not mainstream. We don’t have the one big hit—and a yawning void behind it. We don’t get beleaguered by paparazzi like Madonna or Michael Jackson.~

Crédito e Entrevista: Eletronic Beats

The Things You Said (Cover) - Some Velvet Morning

Some Velvet Morning é um trio londrino, de nome provavelmente extraído daquela canção imortalizada por Nancy Sinatra (a filha do The Voice) e que virou hit de inferninhos indie com o Primal Scream e Kate Moss em 2002.
E o amigo Carlinhos Kunde do Blog And Now? tinha razão o cover é muito bom um dos melhores que já ouvi de uma canção do Depeche Mode.


Créditos: Carlinhos - And Now?

10 de Abril de 1982


Crédito: Chris Mines

Live Vienna - Full Concert



O Depeche Mode liberou uma apresentação na íntegra de um show realizado no fim de março em Vienna.
O evento serviu como base de lançamento do álbum delta machine em formato pocket, o show teve basicamente o mesmo repertório da apresentação no programa de David Letterman. 

Para ver o show completo basta clicar aqui!

Rock and Roll Hall of Fame: Duran Duran vs. Depeche Mode? VOTE!


O Depeche Mode esta concorrendo contra o Duran Duran, para o Rock and Roll Hall of Fame cerimônia em 18 de abril, então amigos vamos votar no Depeche Mode. 

Live in Chile - 1994

E você amigo devotee fica ai se perguntando por que o Depeche Mode não vem ao Brasil.. Pois bem nesta Tour em 1994 o Depeche Mode passou por aqui e deve ter tocado para umas duas mil pessoas... No Chile em um estádio lotado...
Amigo brasileiro como eu se convença, nascemos em um pais onde o som feito pelo Depeche Mode, não é e nunca será valorizado, as "massas" por aqui não sabem o que é musica e não me refiro apenas ao Depeche Mode, mas observe os muitos exemplos do lixo musical que este pais produz e reproduz.
Bem sei que serei criticado, podem deixar comentários me criticando, mas espero que o Depeche Mode nunca venha ao Brasil seria uma decepção para a banda. E sinceramente não acredito que nenhuma produtora cometerá esta insanidade, prejuízo certo, talvez em um festival onde o valor é diluído em mais partes devido ao publico maior e diversificado.
Na tour passada vi eles na Argentina, de quarenta a quarenta e cinco mil pessoas, e aqui seriam quantas? 
Aposto que menos de quinze mil, não tenho duvidas, e dependendo da cidade nem chegaria aos sete ou oito mil, desculpem mas o Depeche Mode não merece isso. Desculpem o senso de realidade.
Em 2014 o Chile será minha primeira opção.

Crédito Vídeo: Depeche Mode Tributo Argentino 

Soft Touch/Raw Nerve - Performed Live in the Studio

Novas Datas - World Tour 2013/2014


O Depeche Mode divulgou novas datas dos concertos da tour 2013/2014 as datas divulgadas se referem a segunda parte Européia, e ainda mostra que a Tour da uma parada entre Dezembro e Fevereiro, as datas confirmam que a passagem do Depeche Mode pela América do Sul possivelmente se fará em 2014:

- 23 November: Hannover
- 25 November: Berlin
- 27 November: Berlin
- 01 Dezember: Erfurt
- 03 Dezember: Bremen
- 05 Dezember: Oberhausen
- 04 Februar: Mannheim
- 08 Februar: Wien
- 12 Februar: Dresden

Depeche Mode Mantém-se Fiel ao Estilo, Sem Soar Saudosista

Novo álbum, "Delta Machine", encerra a trilogia de discos produzidos pelo britânico Ben Hillier.

Em tempos de discos "vazados" antes do lançamento, streaming integral de álbuns inéditos e canções liberadas para download do que ainda está por vir, tem se prestado cada vez menos atenção aos videoclipes. Por 20 anos, este foi um produto obrigatório de todo trabalho pop de sucesso. Quem ainda dedica algum tempo a essas produções pode ter uma boa surpresa. Claro, o desafio é doloroso, já que é necessário garimpar bastante em meio aos vídeos de divas do R&B e do pop, rappers desbocados e galãs adolescentes, todos empenhados numa repetição exaustiva de clichês, que matematicamente tende ao infinito.
Um vídeo como "Heaven" está lá para salvar seu dia. Peça promocional do primeiro single do novo álbum "Delta Machine", do Depeche Mode, o clipe foi dirigido por Timothy Saccenti, jovem estrela do mercado fotográfico e audiovisual, com experiência em publicidade e vídeos para artistas. Saccenti registra uma performance do trio inglês numa velha igreja de Nova Orleans (EUA), alternando as imagens da banda com sequências de uma árvore mística e personagens que parecem saídos de uma fusão de ficção científica e fantasia religiosa. Claro, não é uma imagem nova - lembre de "The Sun Always Shines on TV", do trio norueguês a-ha, para ficar em um terreno esteticamente semelhante ao do Depeche Mode.
O que faz de "Heaven" algo a merecer sua atenção é a perfeita sincronia da imagem com a canção. "Heaven" é uma canção belíssima. Daquelas que fazem você repetir uma, duas, três vezes, antes de passar para a faixa seguinte no CD ou no player de MP3. É grudenta, apesar de sua lentidão melancólica e de não ter um daqueles refrões fáceis de sair cantarolando. Os versos evocam imagens religiosas, de gozo e transcendência mística, sem transmitir alegria. Antes, emula uma tristeza crônica. Como no vídeo de Saccenti.

"Heaven" é uma balada que nos ajuda a lembrar da importância do Depeche Mode para a música pop. O grupo surgiu em 1980, integrando a leva de bandas de pós-punk que aderiram à música futurista, com teclados e sintetizadores em primeiro plano. Os roqueiros mais puristas torceram o nariz, atacando o synthpop em benefício de uma música mais "orgânica".

De fato, não faltavam picaretas apertando botões e fazendo música pop de baixa qualidade, mas com apelo popular. Contudo, Depeche Mode, New Order, dentre os poucos integrantes de um seleto grupo, provaram que era possível fazer boas canções, orgânicas, com toda aquela parafernália eletrônica; e que não era preciso tirar o sentimentos das músicas, nem sacrificar o apelo pop desta produção.

"Delta Machine" foi produzido com o mesmo conceito que ajudou o Depeche Mode a criar pérolas como "Enjoy the Silence", "Personal Jesus" e "Strange Love". O disco é uma prova de que o Depeche Mode ainda representa a nata do pop de linhagem eletrônica. É capaz de manter sua identidade ("esse é um disco do DM") sem soar como uma peça saudosista ("voltaram aos bons tempos desse ou daquele álbum clássico").
O disco funciona bem do início ao fim. Da marcha minimalista "Welcome to my World" à dançante "Soothe my soul", passando pelas baladas "Heaven" e "Slow", e o indie rock "Broken". Não é difícil, no entanto, que o conceito do álbum incomode um pouco algumas pessoas. A ideia de Dave Gahan (vocais), Martin Gore (guitarras e teclados) e Andy Fletcher (teclados) era soar melancólicos e sombrios. Fazem isso direitinho, mas não deixam muito espaço para canções dançantes. Absorvido pela beleza de faixas como "Slow", é até difícil reparar nesse defeito.

Crédito: Diário do Nordeste

Vendas de Delta Machine no Mundo