2017 Spirit (88985411xxx)

Я с Володей согласен абсолютно.

А я нет И майн после последнего альбома Камов ...ну я не знаю...тем более сравнить ЭТО с ДМ...

Join Martin Gore, Dave Gahan and Andy Fletcher in conversation with Jon Pareles, the chief popular–music critic in the arts section of The New York Times as the trio discuss their thirty six year journey together, the ups and downs of being in one of Britain’s most beloved bands, and their upcoming album "Spirit ", released on March 17th on Columbia Records. Don't miss this rare opportunity to hear iconic, multi-platinum selling musical pioneers discuss the timely topic of humanity and how their their latest album speaks to their place in the world.

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Мы с разным ДМом сравниваем. Есть ДМ 80-х и есть 21 века. Это разные группы.

Ну для меня лично это одна группа. И она меняется. И это здорово.

Если хорошо попросить Владимира, то мы услышим ремиксы на новый альбом Депешей и на Майн))) в соответствующей теме! Ну а потом можно и сравнить данные коллективы!!!)))

Track-By-Track: Depeche Mode – Spirit

by Michael Hubbard | first published: 28 Feb 2017 in spotlights

Read more at

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Dave Gahan, Martin Gore and Andy Fletcher return this spring with Depeche Mode‘s 14th album and second for Columbia, Spirit. Four years on from the chart-topping success of Delta Machine, the new work sprawls across 12 tracks that were produced by James Ford, aka half of Simian Mobile Disco, whose previous production credits include albums by Arctic Monkeys and Florence And The Machine.

At the album’s London playback on bespoke speakers at new Kings Cross bar Spiritland, Ford was on hand for introductions. He describes the “bleak, dystopian demos” presented to him, and points out that he’d never made albums with people who’d made more albums than he has. He hopes the finished work is a “bold, powerful, direct” album.
It’s certainly a politically engaged one, with serious attempts to tackle in broad brush strokes the politics of the age, even as every day they get stranger, but there’s space for relationship break-ups and even a lullaby of sorts too.

Going Backwards

“We have opinions, we have not evolved, we have no respect, we have lost control, we’re going backwards,” mulls Gahan, quite the preacher of doom on an opener which sets the scene for a more than usually political record from the Basildon trio, and one which does not mince words. Over a backgrounding piano he asks, “Are you counting the casualties?” It’s a direct response to a news cycle that has rarely seemed wilder in these post-Brexit referendum, post-Trump election days.

Where’s The Revolution

The first track from the new album to break cover, Where’s The Revolution continues the political theme. “You’ve been kept down, pushed round, lied to, fed truths. Who’s making your decisions, you or your religion, your government, your country, you patriotic junkies. Where’s the revolution”.

The Worst Crime

By now it’s clear that Ford’s production sheen doesn’t detract from the Mode’s sound, though Gahan is installed well within, rather than on top of, the mix for the most part. It’s also clear that politics remains to the fore on what’s transpiring to be the Mode’s most political album yet. This slower piece mentions “misguided leaders” and “uneducated readers”. “For whatever reason we now find ourselves in this, we are all tried for treason… how could we commit the worst crime,” sings Gahan, quite the portent of doom. It’s not a track that immediately grabs, but its sincerity is not in doubt.

Scum

Gahan’s vocals (or is it Gore?) are distorted heavily here, making the lyrics difficult to hear, and while the tempo is hardly frenetic this does tilt towards the sort of dance music Ford mentioned. A lyrics sheet would be handy.

You Move

Another inauspicious start that goes for mysterious but sounds like it’s not sure what it’s about. “We don’t have that life no more,” sings Gahan, articulating words that suggest the first of several tracks which sound as though they’re about a break-up.

Cover Me

One of the album’s better tracks, it recalls the slide guitars and atmospherics of Pink Floyd’s Breathe before giving way to a second half that’s much more intriguing, featuring synthy arpeggiations. The lack of vocals thereon marks this one out as space for a costume change in a live set, but the music holds its own.

Eternal

This one sounds like Gahan singing a lullaby to a child. It’s very short, but no less sweet. “Oh little one I will protect you,” he promises, “surround you with my love as well as any man can, as well as any man could.”

Poison Heart

Break-up is back on the agenda here, and so is a beat, albeit a mid-tempo one. It has a sense of the unfinished about it, with a bluesy guitar-led feel that aims a few tequilas on from Personal Jesus. “You have poison in your heart, you know we have to break up,” Gahan says.

So Much Love

This one’s a proper banger, with correspondingly proper synthy beaty urgency about it. “There is so much love in me,” implores Gahan, sounding like he’s singing an obvious single and crying out for attention on more than one level. It sports a classic singalong chorus, a classic song structure and lovely, lovely synths – and even a mic drop conclusion. Undoubtedly one of the album’s two best tracks.

Poorman

Following the full throttle of the track before, this one eases back a little, and back to politics, with a plinky plonky piano opening underpinning gospel vocal harmonies, the sum augmented by stabby synths. “There’s no news, Still got the blues… Corporations get the breaks, keeping almost everything they make. Tell us how long it’s going to take, when will it trickle down.” It’s a curious theme to be warming to when you’re signed to a major label division of one of the planet’s largest entertainment companies, but there they stand. Is it directed at Sony, or at corporations more generally?

No More (This is the Last Time)

“Repeat the process, repeat the line, you go your way, I’ll go mine.” Here lies another entry in the break-up canon. “Reach the top, slowly fade away… Last time I say goodbye… You don’t mean a thing to me no more.” Harsh, but is it about more than the disintegration of a relationship between two people? Is this a parting of ways on a larger scale?

Fail

Martin Gore takes lead vocals, and his voice sounds more baroque than ever, with an increasing distance between his output and that of Gahan. That a song called Fail ends the album scarcely leaves a sign pointing to positivity. Instead it underlines a sense of foreboding that runs right through this most serious of Depeche Mode albums.

Depeche Mode - Spirit

A politicised return, unafraid to look afresh at the band's sound and approach...

Mat Smith

Reviews

28 · 02 · 2017

“We’re fucked,” sings Martin Gore on ‘Fail’, the final track on the new Depeche Mode album ‘Spirit’. It’s not exactly the uplifting, elegiac ending to an album that one is badly in need of by the end of ‘Spirit’, but as a summary of the prevailing mood, that lyric sums it up perfectly.

This is not an album to listen to if you are remotely worried about the state of the world right now. Lead single ‘Where's The Revolution?’ signalled this, but it didn't quite prepare you for just how bleak a picture Depeche Mode were planning to paint. From the off, with the edgy, slow-building opener ‘Backwards’ – with its trademark bass-heavy rhythms and edgy, nagging melody befitting of a classic Depeche Mode set piece – it's clear that ‘Spirit’ is going to be a challenging listen.

And so you get lyrics dealing with how mankind is ignoring the warning signs, regressing instead of progressing, destroying the planet via undeniable satellite evidence that some would no doubt decry as ‘fake news’, reminds us painfully of how bad race intolerance got with a story about a public lynching, takes a swipe at politicians and public figures with ‘Scum’ and bemoans the devious tactics of major corporations. It's bold, direct and in most cases perfectly reflective of public opinion, even if call-to-arms lyrics like “it’s time to pull the trigger” (‘Scum’) are probably not exactly helpful with a Republican in power.

Fortunately, it's not all doom and gloom. Some of ‘Spirit’ manages to avoid politics or societal damage completely. ‘Move’ nods back to the sleek, sexy grooves of ‘It’s No Good’ (used as the unlikely music to an unlikely pole-dancing scene in Friends, fact fans) with a slightly off-kilter rhythm. ‘Cover Me’ is one of those redemptive songs that Depeche Mode are so good at, with that slow climb out of misery toward some sort of anguished optimism. The track includes an extended analogue middle section that feels like the coda from ‘Violator’s ‘Clean’ expanded into a full song. It's reverential, but fresh at the same time. Some of this can be attributed to producer James Ford from Simian Mobile Disco, who manages to encourage a certain wonkiness and roughness to the modular synth sections where these have felt a little too formulaic on recent Depeche Mode albums.

Politics aside, it is easy to approach ‘Spirit’ as nothing especially new in the almost forty year legacy of this band – especially when tracks like ‘Eternity’ and ‘So Much Love’ feel like a band covering themselves. But listen closely and something has altered; the bluesiness that seemed to dominate recent records is here transformed into a much more soulful sound, with Martin Gore’s guitar largely absent and Dave Gahan’s frontman swagger played down ever-so-slightly. One of the most interesting songs here, ‘No More’, sounds like a late 80s pop song filtered through a distinctly Depeche lens, while ‘Poison Heart’ sounds like a Motown anthem pushed through cavernous distortion. These are tender, if bittersweet moments that offset the negativity elsewhere.

That soulfulness amid the misery is the key to making sense of ‘Spirit’. Something about Martin Gore’s summation of the state of the world on ‘Fail’, with its finger-pointing, ‘shame-on-you’ air evokes the same mood as Marvin Gaye’s ‘What's Going On’ album. Drawing a comparison between a late-period Depeche Mode LP – that some might cynically view as nothing more than a reason for yet another mega-tour – and a classic, politicised Motown album seems sacrilegious somehow, but weirdly apt. This is the kind of album that is necessary for shining a light on our basest traits and for encouraging us to think differently all over again; in that sense, for the first time in a long time, Depeche Mode have judged this just right.

7/10

Words: Mat Smith

Мне сказали, что первый трек бомба, по круче революшена будет. Посмотрим.

Читать впечатления от музыки других людей, это что смотреть на лица пробующих новые блюда.