2023 Memento Mori

Смущает, что почти все треки по 3-4 минуты, еще на GA заметил, что нет проигрышей и короткий трек, думал в альбомных версиях хотя бы по 5-6 будет, как например на Ультре, где треки по 5-7 минут. Больно уж лаконично в этот раз) Видимо, как и в концертных версиях новых песен, только песня началась, а вот уже и закончилась

О чем вообще речь если на Ghosts Again и My Favourite Stranger даже припевов нет - сплошной куплет с бесконенчо повторяющимся ритмом и бассом. Про Wagging Tongue я вообще молчу - по креативу сопоставима эта песня только со всеми любимым Esque-ом. Никаких Painkiller-ов, Easy Tiger-ов и The Darkest Star-ов нам больше не видать, к сожалению. Будем надеятся, что скопившиеся за 6 лет менее попсовые песни, не попавшие на альбом, будут выпущены в форме EP типа Only When I Lose Myself или как MG².

The album as a whole sounds dynamic and unusual for the old guard, but it's Depeche Mode.... I do what I want! There are raisin in the headphones.... Respect to Marta! To Martin, Dave and the whole team who had a hand in the album!

Guys! Soon everything will be! I liked how Depeche Mode ages young.

Single ...bang... bang...

Marta Salogni, sound engineer in the Depeche Mode team

The joy of the producer: «An honor to be part of their world»

He is now part of the team. Much more than an occasional collaborator: a constant and necessary presence in the control room. This represents Marta Salogni for Depeche Mode, who in recent days have framed her investiture by going far beyond the customary thanks for the highly anticipated new album of the band, «Memento mori» , to be released on March 24 on the wave of the success of single «Ghosts again».

A very eighties comeback, with their unmistakable trademark, but also clear and contemporary wide-ranging sounds that owe so much to the talent of the now adopted Londoner from Brescia, born in 1990, sound and mixing engineer , awarded as the best producer in the United Kingdom for the year 2022 by the MPG (Music Producers Guild) Award. «We wanted Marta Salogni, an Italian, very good, as a sound engineer - Martin Gore, one of the most inspired electro-pop authors of all time, had anticipated at the time of the announcement of the album -. Marta will also do the mixing. It's great to have her around."

And so it was, operating in a virtuous context of excellent musicians: enlisted in the band the highly confirmed Peter Gordeno on keyboards and bass, Cristian Eigner on drums. Fundamental, then, the role of the other producer of the album James Ford and for the design and images a star always alongside the DMs, Anton Corbijn . «With my iPhone I sent ideas played badly on the guitar to Martin, who did the bulk of the work with producers Ford and Salogni», added Dave Gahan, champion of frontmen for over forty years, always at the launch of the album . Gahan who expanded the concept on the occasion of the promotional interviews on the sidelines of the performance as super guests on the final evening of the Sanremo Festival.

«We have built a great team: me, Martin, James Ford, Marta Salogni - the words of the voice of Depeche Mode -. We used our skills to work on the sound: sometimes an amplified piano, sometimes a guitar line, a lot of analog electronics, the drum machine. James is a great multi-instrumentalist, Marta has a very special creative strength . The four of us together make a great team. There was a lot of production work, we've always done this. James and Marta together really took our songs to the next level."

A recognition that makes Marta Salogni happy. «I saw Dave's interview, yes, and I thank him very much. His words made me very happy. It was nice to work together, we found affinity and alchemy in a project that aims to enhance the musical legacy of Depeche Mode. At the same time, Martin and Dave never get tired of looking ahead and exploring, they have a cult of beautiful sound and experimentation is their thing ». The DMs, explains Marta, «are attentive, meticulous, they always look for different ways to express themselves and it is an honor for me to accompany them on this path, being part of their vision, of their world. The commitment shared with James Ford was precisely this: to give Depeche Mode's songs a form that corresponded to their ideas». Objective achieved.•.

Depeche Mode discuss their 'Memento Mori' album, tour, and more

Dave Gahan and Martin Gore from Depeche Mode joined KROQ morning show host Kevin Klein to talk about the band's upcoming album & tour, plus Klein breaks the news to the band that their song is featured in 'Cocaine Bear.'

Album Review: Memento Mori depechemode.sk: Ladies and gentlemen ... I've been waiting for this album for 25 years!!! And every subsequent listening to "Memento Mori" only confirms me in this.

It's not the pool cool of the setting California sun ("Exciter"), it's not the harsh, halicinogenic noise echo ("Playing the Angel"), nor the distant cosmic musical coolness ("Sounds of the Universe"), electronic ("Delta Machine") blues, or even a sharp political manifesto ("Spirit"). "Memento Mori" is an epic musical work not only worthy of its name, but especially worthy of the name DEPECHE MODE.

When I first heard what was written in the introduction, I was afraid that the enthusiasm would wear off very quickly, but the opposite was true. Since then, I haven't stopped the album for any reason or missed a single track. I don't have the strength or the appetite. It's such a strong emotional and sound stream that I missed so much in the post-Wilder period of the band. It's sad to see it again in the post-Fletcher era, but fate meant it and I humbly accept it.

Mature men have not only crossed the imaginary threshold of life when the scepter is handed over to the younger, but on Olympus, where they enjoy glory for the fifth decade, they have risen to its very highest point, from which one can only leave for eternity. If this is to be their final (one never knows), then it's perfect. The circle has closed, and if something else should come, it will already be something diametrically opposed. But back to the top...

Such a well-balanced album, sonically, melodically and lyrically, you just can't hear it. All those statements that Martin and Dave delivered to the fans through the provided interviews, these were no cliches, they spoke openly and told the truth. Yes, those songs are about death (as well), but not in the way that maybe many imagined. They are about absolute reconciliation with life, love, the world, at the end of which there is only one... yes, they are about the way to the last day, which, however, may not come tomorrow, or in a few years.

Simply put, Martin and David (and Richard Butler) openly, yet secretly, in metaphors, beautifully described the inner processes of a person who has reached the limit of life's maturity. No more unnecessary fuss, no misunderstandings, no aimless explanations, only the desire to be alone with yourself, calm, contemplate, connect with the universe and enjoy the full sips of the mental balance that a person actually seeks all his life. After all, with the opening "My Cosmos is Mine", Martin makes it clear to the world that he does not really want to share his inner world with anyone, and especially explain it.

After all, everyone understands his world in their own way and in a completely different way than he understands it himself. In " Wagging Tongue, "she even tries to argue with David about it, but in" Don't Say You Love Me, "she makes it clear that having another relationship with someone doesn't really make any sense, culminating in" My Soul with Me, " which is a kind of farewell to this world, but feels incredibly satisfying, literally irritating. The lyrical world of Depeche Mode has once again moved to another level, where David moves cautiously, especially in the final "Speak to Me".

Much better and more interesting it is at the musical level itself. Is it Depeche Mode? Is it a cover / revival band? Is it Depeche Mode? These are questions that resonate with me all the time on this album, but in a positive way. I have not heard such layered songs from their production for a very long time, although I am convinced that among the listeners there will be those who will not agree with me after the first hearing of the album.

The uniqueness of this work, however, lies in the fact that you begin to notice the individual layers only with each subsequent listening, and perhaps with the tenth, fifteenth listening, you suddenly realize the sound Majesty, albeit well hidden. It's like a game of hide and seek that you can't stop playing. And the magic of these layers is that they often have a completely different rhythm than the carrier that you focus on when listening to the first. Many will surely be pleased by the fact that electronics really has the main word, and guitars are pushed into a barely recognizable position. Most people are not even aware of their presence.

Yes, electronic Depeche Mode is back in full glory. Moreover, the construction of some songs is very reminiscent of recoil melodic structures (especially from the periods of "bloodline" and "unsound methods"), e.g. "Don't Say You Love Me". Alan Wilder, even the one from Depeche Mode, "smells too much" from this song :) the recoil smell is also characteristic of "My favorite Stranger", but in it it already collides with Bowie's"earthling "period and it's all boiled over with electroclash roughness, just like in"Never Let Me Go".

Depeche Mode Weekend / Bratislava

Well, after the sound booth, "Memento Mori" is like an absolute tribute to the legendary Kraftwerk, the eternal inspiration of all past or surviving members of Depeche Mode. Except perhaps for the opening "My Cosmos Is Mine", Kraftwerk screams from each song so strongly and forcefully that I have great doubts about "People Are Good" whether it already borders on copyright infringement. But incredibly, it fits Depeche Mode, and if someone in the past claimed that Depeche Mode in the morning brought Kraftwerk to the dance floor, so spoke to the wind. This happened only after 42 years on the album "Memento Mori".

Simply put, Depeche Mode once again breathes soul into the album, and perhaps most of all it is felt in the atypical, but for Martin so typical "Soul with Me". Martin takes you with him to a nightclub in the 1970s, where the dancers have already left the stage, the regulars are singing from the last one, and a strange guy sits on the stage behind a Moog synthesizer and plays his space melodies that no one even listens to. I can imagine that many will twist their noses at this song, but this is the real Martin, as he showed it on "Sounds of the Universe" In "My Little Soul" and also no one believed him :)

I can't blame the melodic side of the album because it's one big rollercoaster ride. At the moment when you feel for a microsecond that enough is enough or the song begins to be boring, pride takes an unexpected turn and the song takes a completely different direction. And you can say that about every one of those 12 songs. Martin, David, James and Marta have carefully composed the album to the smallest detail. They did not leave anything to chance, they did not create a single empty place on it, and most importantly, the album from the first second, until the last, gradates. And just as it begins by closing in on the inner universe, so in the end it seems to fly away into the outer universe.

There are few stars that I would give to an album. I can't even pick his best song. "Ghosts Again "grew into a beauty on it, doesn't disturb, fits beautifully into the line," Carolines Monkey", despite the strange name, belongs to the strongest points of the album, along with the heavenly" Before We Drown", and that's how I could write about every single song. Even in such electroclash or even electropunk "Never Let Me Go" there is much more than it seems at first glance. None of these songs can be said to have "live" potential, as many have already been convinced by "My Favourite Strange", which will surely surprise on the album :) Depeche Mode are reborn, mature, reconciled with themselves and life, but most importantly ready and determined to enjoy the remaining time to the fullest. Feel it from the album, feel it from them ...

"Memento Mori" is one of the best they've ever released ... I am not afraid of such a strong statement. Maybe it's because I've reached an age where I'm starting to look more at myself than at myself ...

Thank you guys, Andy would be incredibly proud...

Album Review: Memento Mori depechemode.cz: Depeche Mode. For the vast majority of us, this is a concept that accompanies us from childhood or early youth.

Still those words have that unique smell and uniqueness, as in the days when we scribbled them on school notebooks and on the walls. At that time there were four names: Alan, Andy, Dave and Martin. When Alan left, it was a huge turning point, but Depeche Mode were able – despite Dave persuading Charon to pull the strings-to return in 1997 with Ultra, which fans and critics alike rank among the best albums they've ever made. After that, they continued on in threes, and the pain of losing Alan in the band sometimes bubbled more, sometimes less.

The band stuck firmly to their established customs and rituals, recording and touring every four years. And somehow with age, or if you will with aging, we all become comfortable in our positions. Depeche Mode always assigned us a pretty brand new collection of songs that some people liked more, some less, but in the end we all gathered under the stage to be with them for a while. Depeche Mode decided to stick more and more to their interpretation and understanding of the blues on their records, which was appreciated by critics, and I think this effort culminated in the recording of Delta Machine in 2013. The Crystal purity of synthesizers was on the decline. Depeche Mode seemed to be trying to get as close musically as possible to their favorite musicians, which isn't necessarily a bad thing, but the very essence of Depeche Mode seemed to be wearing off. Fans at one time were happy for a little discovered melody, for the occasional nice synthesizer line. They were still great records, of course, and the last one, called Spirit in the Scum songs or in the final coda of the crowd-written Cover Me, showed a sharp flash of exceptional genius that only Depeche Mode are capable of.

Just since the release of this last record in ten days, six years have passed. The covid pandemic, whether due to a virus from a monkey, a lab or a dumbass, cruelly played with the lives of all of us, so it is not surprising that it stopped the rhythm of the production machine of musicians from Depeche Mode.

Martin L. Gore, the songwriting genius of the band, during a worldwide pandemic, in the face of the destruction that the media portrayed every day, fully realized the fragility of human life and adapted the theme of his composing to it. At the same time, he broke all his internal or rather intimate rules of songwriting, began to put together songs with someone else, even outside the band, with Richard Butler of Psychedelic Furs. Dave and Andy had no idea.…

Dave also composed, already with his traditional partners Christian and Peter. But when Depeche Mode finally decided to go back into the studio together, tragedy struck. Andy John Leonard Fletcher has died. Dave and Martin decided to move on. And after all the familiar classic backdrops: press conference, interviews, television appearances, they present this month to their audience a new album called Memento Mori. The realization that they are presenting this album primarily to their audience is absolutely crucial

Listening to anything new from Depeche Mode is a totally unique moment. It can't be compared to listening to the band members ' solos or some collaborations, it can't be compared to listening to anything else.

I always sit back and watch ...

The dense, heavy, rolling power comes as the intro of the opening track My Cosmos Is Mine, contrasted with Dave Gahan's otherworldly-sounding vocals. Yes, it does, his vocal sounds like The Voice of a Supreme Being, or actually maybe an egotistical person who thinks he's the master of his own destiny, as he sings, "Don't mess with my world, don't mess with my mind, don't question my space-time," and so beautifully and calmly Dave's voice cuts through the song before Martin confronts him, "no more war, no more, no more fear..." and as they fly through Gahan's space-time, Dave sings, "Don't mess with my space-time, don't mess with my space-time, don't mess with my space-time, don't mess with my space-time, don't mess with my space-time, don't mess with my space-time, don't mess with my space-time, don't mess with my space-time, don't mess with my space-time, don't mess with my space-time, don't mess with my space-time, don't mess with my space-time, don't mess with my space-time, don't mess with my space-time, don't mess with my space-time." Bladerunner synths, you wonder where those guys got this, stashed away for so long. Like the ending of the song, which feels like a reference to Depeche Mode back when they could still play. This is a great introduction by Martin Gore. This song will certainly open the concerts of the next tour. But that's already wagging Dave's tongue, and the introduction of Wagging Tongue, a song that Dave leads in a beautifully narrative way of singing, backed by synthesizers and distinctive drums, including the bombastic "middle eight," a delicacy whose melody is very catchy, and you can't get it out of your mind. "I won't be persuaded, Kiss your doubts goodbye, Everything seems hollow, When you watch another angel die." A wonderful introduction is followed by the first single Ghosts Again, which, despite its more pop sound, suddenly fits perfectly on the album. And although at first I had a tendency to skip it to enjoy those songs that were new, I quickly returned it to the playlist, as the story of the album would not be complete without it.

Martin and Richard Butler wrote Don't Say You Love Me. Tarantino and Kill Bill are the first to come to mind, followed by Angelo Badalamenti and David Lynch. This is a movie track. Probably the most cinematic song Depeche Mode have ever done, although they talk about it on every album. Don't Say You Love Me is absolutely perfect, and definitely needs listening. Davy's voice in a mature position, as a contrast to the nineties-sounding Dave in My Cosmos Is Mine. Perfect instrumentation and did Depeche Mode really put their Lonely Shepherd interpretation into the interplay? Wow. Just a beautiful piece that not everyone immediately appreciates after the first listen, but this is perfection itself...and that conclusion... " you'll be the killer, I'll be the corpse, you'll be the laugh, I'll probably be the punch line."These guys are really funny and sarcastic and dark, and that's the whole album.

We are moving from the film world to the Gothic one. Wear black, because in paranoid My Favourite Stranger, from the opening bass line, you get the feeling that the musicians named after the German Fine Art School of 1919 suddenly come to life. And the sounds in the background sound to me like the best of The Cure Pornography, ripped and sampled and Dave's young eighties vocals: "my favorite stranger, standing in my mirror, putting words in my mouth, all broken, bitter."Another beautiful song that your mind can play over and over again.

Soul with Me, that's the name that looked most unlikely when the album tracklist first appeared. But behind it lies a wonderful ballad about dying and death, sung by Martin: "I see beauty when the leaves begin to fall, I follow the light towards the voices that call me, I go where the Angels hide, and I take my soul with me".

But it's time to hide the handkerchiefs. Or maybe not. Carolines Monkey is a song about addiction, about drugs, cocaine: "Drives like a demon through Carolines tears", refers directly to David Bowie and his Station to Station. Carolines Monkey is also one of the highlights of the album, which sometimes sounds funky, and sometimes "clean", with excellent rhythm and synthesizers.

Moving on, "Before We Drown" has an electro intro that at first hints at a fast track to come, but the song's medium tempo suits it perfectly. Gahan's sublime voice and Martin's perfect backing vocals culminate in a chorus that clearly evokes Moby's We Are All Made of Stars. A style that Moby learned from the early Depeche Mode. After a few listens to another of the highlights of the album, while after the First Listen I had it in the last place. Electronic beauty.

People Are Good. From the first listen, for me an absolutely shocking highlight of the album. Because the title clearly said it was going to be some, excuse the expression, bullshit. But it's an amazing groove, complemented in one single track by all the elements that make Depeche Mode. Dense electro drums, imaginative synthesizers, go through the whole composition. Perfection. People aren't good, but Depeche - even in 2023-is. And funny, too.

The song is always pure electronics, which along with Ghosts Again is probably one of the most pop on the record, but could easily be the next single. "My love, the worlds upside down, my love, no solid ground, my love, there are no more facts, my love, realities cracked."(My love, the world is upside down, my love, no certainty, my love, there are no more facts, reality is broken).

If I could pick a single, it would be " Never Let Me Go." A lot of" dkure " introduction. One of the faster songs that will be great to sing live, full of guitars, a song that maybe they could have Placebo in their portfolio (). But the guitars, they're rather sampled, the whole song is brisk, imaginative. I don't know, but when I listen to this, it's probably something that would fit right in with The Songs Of Faith and Devotion era.…

Speak to Me, a song written by Dave, Christian, Marta and James. If I had to describe this song in one word, it would be requiem. It is the suffocating depeche of the mass: "speak to me, I will follow you, I heard you call my name", Dave sings slowly over the keyboard melody, exactly in the middle of the song the first electronic Bustle appears, but Dave continues: "I would be grateful, I would follow you, all around, I listen, now I'm here, I'm found". Electronic rumblings intensify, the rhythm of the heartbeat is added, the crackling, the electronic mess is added, but the rhythm of the heart continues to HOLD, HOLD, HOLD, until suddenly it subsides. Is konec....Je end of the album Memento Mori.

Когда уже сольют...?

То, "Добро пожаловать в мой мир", а теперь "Не лезь в мой мир"