2017 Spirit (88985411xxx)

Depeche Mode "Spirit" 17.03.17

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С каждым выходом нового альбома Depeche Mode происходит это.

В iTunes альбом официально выпустили. Я просто предзаказ ранее делал

Depeche Mode hopes its new CD gets 'people to think a bit'


MARK KENNEDY

Associated Press March 16, 2017

NEW YORK (AP) — Depeche Mode's new album kicks off with a dire warning that we're going backward as a society. Things go quickly downhill from there.

"Spirit" then tells us we've been lied to and advocates revolution, convicts everyone of treason and urges selfish scum to turn their guns on themselves — and that's just the first four songs.

"First and foremost, we wanted to make a fun album," deadpans chief songwriter Martin Gore. "That was a joke."

The gloomy British electronic trio resurfaced this month with its first new music in four years and the timing seems impeccable. The dozen new dark songs seem the perfect soundtrack to a world rocked by Brexit and Donald Trump.

"It's a little bit of a heavy listen," acknowledges lead singer Dave Gahan. "Look, that's what we do. It's about creating these atmospheres with this backdrop of the world we're living in."

"Spirit" continues the band's evolution in alternative-rock under the new guidance of producer James Ford, who has worked with Florence and the Machine and the Arctic Monkeys.

Band member Andy Fletcher said Ford, who also played drums on many of the tracks, managed to "freshen us up a bit." The songs are drenched in dread, slithering synths and strong hooks, exploring everything from trickle-down economics to heartbreak.

Gore, who had a hand in nine of the tracks, said the album might sound like a reaction to recent political and cultural shocks but was actually written in the second half of 2015 and early 2016.

"The world was still in a mess then and it was quite depressing to me. I felt that I couldn't just ignore it. If I was going to actually write and be honest to myself I had to kind of like face it," he said.

"I wanted to say that I feel that we've lost our way a bit, that mankind has lost its way spiritually. I'm not talking from any denomination here. I just mean in a general sense and by pointing that out, maybe it just gets people to think a bit."

Depeche Mode will go on the road — their Live Nation-backed, 28-show North American tour starts in Salt Lake City in August — mixing the new songs with their go-to anchors, including "I Feel You" and "Walking In My Shoes."

"I try and find songs from some other albums that will relate to what we're doing now," said Gahan, who mused that "Everything Counts" would sit nicely with the new tracks. "Hopefully, there will be a couple of little surprises."

Depeche Mode was part of a wave of English pop-synthesizer bands to sweep into America in the 1980s with light-hearted songs like "Just Can't Get Enough." They matured with edgier, socially conscious tunes like "People Are People" and "Blasphemous Rumours" before hitting big success with 1990's "Violator," which produced the singles "Personal Jesus," ''Enjoy the Silence" and "Policy of Truth."

The band found itself this year on the list of potential inductees to the Rock and Roll Hall of Fame, but failed to make the cut for the Class of 2017.

"To be honest, we were surprised. We never aimed to be in it. We think, 'An electronic band in the Rock and Roll Hall?'" Fletcher said. "To be nominated is quite good, really. I don't know if we'll eventually go in. It's not really on the top list of our wishes. It would be nice if it happened, I suppose."

If it ever happens, it would be a remarkable crowning for a group of acknowledged misfits from East London that made its reputation making symphonies from smacking pots and pans and wearing eyeliner, nail polish and black leather.

"Definitely, we were not the cool kids in town," said Gahan. "We were those weirdos, the ones that got chased home from school." Now their songs have been covered by the likes of Johnny Cash and Susan Boyle, and Depeche Mode's influences are heard everywhere, from airy Scandinavian pop to EDM.

"I think we've been lucky enough to have made some timeless records at certain points. Some of them, not so timeless," said Gahan, laughing. "I feel like you get led somewhere and you've got to take that risk to jump in. I feel like 'Spirit' is an album that we've been led to."

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А почему мы его еще не слушаем?

Обычно, перед выкладыванием релизов из iTunes нужно чистить персональную информацию из тегов файлов, а этот процесс весьма мудреный.

Depeche Mode - Spirit album review: the flesh is still willing, but the spirit is bleak

Lauren Murphy

Thu, Mar 16, 2017, 14:25

These are strange days for music, and even stranger days for Depeche Mode. As Ed Sheeran occupies the top 16 spots on the Irish singles chart and Dave Gahan and co were recently forced to denounce scurrilous comments by white nationalist Richard Spencer describing them as the “unofficial band of the alt-right”, you’d be forgiven for thinking that the world is gone a bit mad.

That sense of anxiety and uncertainty about humanity permeates the Essex trio’s 14th album. While they’ve never been the most lyrically optimistic band in the world, 37 years into their career they paint a bleak (arguably accurate?) picture of today’s society from the record’s opening line: “We have not evolved / We have no respect / We have lost control.”

It sets the tone for most of the album. Although the odd skewed love song (You Move) skulks its way onto the tracklisting, The Worst Crime speaks of “preparing the nooses”; Scum demands you “pull the trigger”; Poor Man’s denunciation of capitalism asks: “When will it trickle down?”, while Martin Gore sums things up succinctly on closing track Fail, with lines such as, “Our conscience is bankrupt / Oh, we’re fucked”. In short, they’re probably not the best go-to party entertainment right now.

Interview: Matrixxman

Sometimes, strange combinations, which you've never expected to happen, come true. Being a vinyl collector and music lover for some years, I got into the sounds of Matrixxman. By a fluke, I read this post on his Facebook site:

As a fan of Depeche Mode and Matrixxman, I got extremely curious. So I decided to ask Matixxman about their cooperation and some other fun stuff.

Hi Matrixxman, it's a pleasure having you here on our blog! First of all: How are you at the moment and what's going on in your life?

Matrixxman: Thanks. It's a pleasure to chat with you guys also. I'm doing well. Things have been super hectic albeit good. My routine consists of traveling to go DJ and then returning home to make music in between gigs. When I lived in the States I would only travel a few times a month but in Europe things are substantially different. There's much more of an appreciation for proper underground dance music out here whether it be techno or house.

You recently worked with Depeche Mode, helping them out on their new album Spirit. How did that happen?

Matrixxman: Sometime early last year Martin Gore called me up and we had a little chat. Discussed music and stuff. He said he liked my sound and thought I'd be a good fit for the album. I later caught wind from someone in the camp that the band was a tad apprehensive about me being some obnoxious American. But James or someone reassured them with something along the lines of, "It's ok. Charlie is not your average American dude. He is self-aware so there's nothing to worry about." I had a good laugh hearing about this after the fact.

Culturally speaking, it was very interesting as I had never been around a bunch of British dudes for such an extended time. After spending a solid 3 months in isolation with these Basildon lads I came out of there equipped with all sorts of Cockney rhyming slang and useless, naughty British colloquial expressions that an American should never know. Hell, I should have been paying them for this cross-cultural education in retrospect.

You recently spoke on Facebook about a collaboration with Martin Gore. Did you just work with him or the whole band?

Matrixxman: Ah yes. That was referring to my role. I was perhaps spending more time with Martin than others but we all worked together with the whole band on the album. Things progressed quickly hence we had some time to kill once everything was finished. It was decided randomly that Martin, Kurt, and myself would make "alternate versions" to be included on the deluxe edition since the band didn't want the extra studio time to go to waste. And rightfully so, because we had nothing else to do while the mixing was taking place.

How can I imagine you producing an album with these guys? Did you bring your Yahama DX21 and show them how to press the keys?

Matrixxman: Haha. No Yamaha DX synths made the cut unfortunately although I did manage to convince Martin to bring in his Roland TR-909 and his Oxford Oscar.

During the initial evaluation phase when I spoke to Martin, he asked if I was knowledgeable about modular synths. I told him I wasn't particularly well-versed and he laughed his ass off replying "Well, you might want to get familiar with them."

Fast forward several months later to the first studio date, I walked into the spot in Santa Barbara and my jaw immediately dropped. Martin only brought in a mere quarter of his rig and it still spanned the entire studio. There was an obscene amount of Eurorack stuff and only a few polysynths (which was hilarious because I am definitely more of a traditional synthesizer dude). I was properly fucked. But I love a challenge so I dove right in and sussed out how to make things talk to each other. It was super intimidating at first but I suppose that is to be expected. I was lucky to play with some cool toys that made quite an impression. There were certain things we kept coming back to like the Koma Komplex sequencer, Mutable Instruments Clouds, various effects by Make Noise, and a Moog Model 15 reissue...among other stuff.

What do you think of the outcome?

Matrixxman: Hmmm. The outcome seemed to impress everyone involved. There were some real visceral, primal energies we tapped into for this album and I think it reflects in the sound. It's quite beautiful while remaining dark and even apocalyptic at times. Obviously I am a tad biased but compared to their last few records, this one strikes a chord in a unique way, which is remarkable for a band at this stage in their career. There are many social issues that were addressed that couldn't be more relevant to the very strange cognitive dissonance we are experiencing as humans at this point in time.

Let's talk about your own projects. You released Dekmantel Sector I & II. What's next?

Matrixxman: I've just finished a few more EPs so I reckon I'll have 5 or 6 vinyls come out before the end of the year. I tend to beat myself for not putting more music out but I suppose enough is happening that it doesn't really matter.

What ingredients are required to cook a Matrixxman track?

Matrixxman: An analog drum machine and a deranged mind.

While we're on it - how are your cooking skills?

Matrixxman: I make zero claims to be adept in the culinary department but with that said, I can make something that won't gross you out at least. I am a fan of nice salads and sautéed vegetables. A little fish. Basic stuff.

My friends wondered why you're calling yourself "Matrixxman"? And more importantly, is there a connection to the Matrix movie?

Matrixxman: The impetus for the moniker is entirely unrelated to the movie. If anything, it's more William Gibson than Wachowski-oriented. I'm obsessed with technological singularity and transhumanism. Initially, the alias started out as a joke of someone being stuck inside the machine, so to speak. But over time it resonated more and more and I found myself genuinely drawn to the notion of mankind somehow evolving past the limitations of corporeal existence.

Please give me some advice. What does it take to become a good DJ these days?

Matrixxman: Avoid what people say is cool and go dig. There are DJs who play the popularity contest and then those who do it for the love of music alone. Discover things for yourself. Find stuff that excites you and chances are you'll find some shit that few people know about that still bangs hard. People are tired of the same old routine so don't play it safe. Take risks. If you're at a house party play an unexpected techno track. If you're at a techno event throw in a disco or deep house cut. Anyone who doesn't appreciate a bit of diversity is probably a puritanical Nazi who you don't need to impress anyway. The odd curveball is your best friend.

Thank you so much for chatting with us and we wish you continued success in the future.

Matrixxman: It was nice to chat with you guys. Thank you!

Depeche Mode's Spirit: EW review

Jim Farber

Posted on March 16, 2017 at 11:00am EDT

Depeche Mode find something key in common with Devo on their new album. Four decades ago, that electro-shocked band declared that humans weren’t evolving, but rather devolving. In that same vein, Depeche Mode start their new album by announcing “We’re Going Backwards” before expressing exasperation and bafflement at “uneducated readers,” “patriotic junkies,” and “misguided leaders,” all of whom “have nothing inside.” “We’re hopeless,” frontman Dave Gahan concludes at the album’s close.

That’s not an uncommon assessment among certain types these days, but in Depeche Mode’s hands, it has led to what’s likely the first protest album against populism in the Trump/Brexit era. While Depeche Mode usually revel in personal psychodrama, spiked by a flourish of S&M, they decided to focus on the worst flaws of the species for Spirit. They’re well suited to the task. The band’s shadowy sound has always communicated a sense of condemnation, and their latest songs extend that pattern, with beats that crack like whips and synths that glower like beasts. It’s a dark pool of sound they’ve made, enlivened by some of Martin Gore’s most compelling melodies in years. Recent Depeche Mode albums have emphasized mood over songcraft, offering high-fi production and richly textured synths in place of entrancing tunes. Somehow, the new political focus has inspired a return to riffs and melodies that stick.

The album switches things up in its center with a string of songs about relationships, though even these favor the bellicose or the sneering. “You Move” repeats the group’s frequent mix of lust, fetish, and emotional remove. “No More” bids a dying love good riddance. It’s the political songs, however, that give the album cohesion and purpose, not to mention an outlook that’s admirably unafraid to express contempt.

Key Tracks:

“Scum”
The lyrics may spew bile, but it’s got a beat you can dance to.

“Poorman”
Finally, an argument against “trickle down economics” you can hum.