2013 Delta Machine (887654606xx)

Fletcher: Looking Forward to Belgrade, We'll Sound Great

BELGRADE, March 6, 2013 (BETA) - The concert in Belgrade will be a
journey through the history of Depeche Mode and we are now rehearsing
the songs we will perform in Belgrade, Depeche Mode manager and member
Andrew Fletcher told BETA.

"We are currently putting together a list of songs that we will play
in Belgrade and we are rehearsing them every day. Unfortunately, I'm
not going to tell you which songs we will play, but I guarantee they
will sound excellent," said Fletcher, adding that he was looking
forward to coming to Belgrade, where he has already performed as a DJ.

The band canceled their concert in Belgrade in 2009, as well as in
Sofia, Bucharest and Zagreb due to the illness of singer Dave Gahan,
who was hospitalized for gastroenteritis. Depeche Mode will perform at
Belgrade's Usce outdoor venue on May 19.

"We were very disappointed when we had to cancel the concert in
Belgrade and other concerts on that tour. The band was in a really
stressful and upsetting situation. We wanted to come back on another
tour to the places where we had canceled concerts and there is an
excellent opportunity for that now. I hope the fans will be patient
and I can promise them a great concert," Fletcher told BETA.

In Belgrade on May 19, Depeche Mode will promote their new, 13th
studio album titled Delta Machine, which Fletcher said was created
mainly under the influence of blues and electronic music.

"The very name Delta Machine best describes the music on that album,
which is a mix of blues and electronic music. Some songs were made
more under the influence of blues, while others were more influenced
by electronic music, hence each song must be viewed individually,
separately. The overall sound is a mix of the two genres," Fletcher
pointed out.

Asked which music genre Depeche Mode have not tried their hand at,
Fletcher replied that the band's long-time wish is to record a reggae
album.

"I'm joking, of course. The truth is that we have a very broad taste
in music and are always seeking influence and inspiration in different
music genres, so we really aren't limited," said Fletcher, and added
that the band will continue to experiment with all types of music.

The band has so far released several singles from the new album Delta
Machine, and Fletcher said he still could not decide which are his
favorites.

"The point is that 'the favorite song' from the album is always a
different one, because we're constantly rehearsing, changing
arrangements, so my answer will already be different tomorrow. For now
I'm really enjoying all the songs from this album. My current
favorites are Heaven, Soft Touch and Secret. Tomorrow my answer may be
different," said Fletcher.

According to him, despite the fact that the band has been working on
the album for more than a year, they're still enjoying all the songs
and, as he put it, for the time being there is no indication they will
get tired of playing songs from this album anytime soon.

Depeche Mode has been active for over 30 years, during which, apart
from becoming a major concert band, they released 13 studio albums
but, according to fans, have never lost touch with their fans.

"I myself don't quite understand how we stay in touch with the fans,
we don't do that on purpose. We create music for ourselves and other
people find themselves in it. Of course, there is always the hope that
the audience will like our music, but we don't do it intentionally,"
said Fletcher.

He further said that it is true the band has lost a lot of the fans
who listened to them in the 1980s, even in the early 1990s, who are
"wondering why we no longer make albums like that."

"We are aware that much has changed since the beginning of our career.
For example, copyright. As an artist, I don't feel uncomfortable about
the fact that my work and the work of Depeche Mode can be downloaded
from the Internet for free; what makes me uncomfortable is the quality
of the downloads," Fletcher underscored.

"The quality of some of the versions that can be found on the Internet
is extremely poor. We spend a lot of time in the studio in order to
get our quality, distinctive sound. However, the times have changed
and that is the way things are now. Truth be told, most of our
listeners buy the CD, but it is very difficult for young bands living
off the sale of albums, which is not big enough to enable them to go
on tours. It is actually the hardest for them," said Fletcher.

He went on to say that the band had no fear regarding the fact that
Depeche Mode have released their 13th album, which contains 13 songs.

"I must say 13 is my favorite number and I haven't thought about that
so far. The last, 13th song on the album is called Goodbye, but there
is no symbolism to it. Although, I have to admit you've got me a
little worried now," Fletcher told BETA laughingly.

Вчера в сети нашел несколько ссылок для скачивания на альбом. Все в архивах и просят пароль, так и ничего и не получилось

Это развод! Не видитесь на такие лохотроны. Что попало в интернет, то общее и бесплатное.

"Бабки у подъезда нашептали" что альбом гуляет по рукам, но плохом качестве... Возможно, что как обычно по традиции в 128 kbps

Depeche Mode's Delta Machine Track-By-Track Preview

Luke Turner , March 7th, 2013 05:00

Depeche Mode are back with their 13th album, and Luke Turner sits down with it for an instant, track-by-track appraisal

'Welcome To My World'

Static... a power station whoomp... huge blasts... wait a minute, has someone put on a new album from the Raster-Noton label by mistake!? Depeche Mode's 13th studio album sure starts with one hell of a noisy, avant-techno surprise. But then Dave Gahan' quite delicate vocal comes in by way of a contrast "welcome to my world / leave your tranquilisers at home / you don't need them any more". Is this a State Of Depeche Mode? "All the drama queens are gone," he sings, "the Devil got this made". The track builds into a huge chorus refrain of "welcome to my world" as the noise keeps going, ripping and sounding very analogue with a pile of strings underneath. There's a lot of bluster here, but it holds up well. The devil/soul/bleed/dreams/control familiar Gahan themes.

'Angel'

This is the preview track that first announced Delta Machine via a video tour around the Depeche Mode studio a few months ago. It begins even heavier than 'Welcome…', the hardest textually since the Einsturzende Neubauten-inspired work with Gareth Jones during the mid-80s, and possibly more so. If there is any guitar here, it's heavily processed beyond the point of recognition. Gahan's histrionic gospel is great - "the angel of love is upon me" and lines about a "preacher on Sunday" suggesting a conflicted soul. 'Angel' sounds like Depeche Mode, but also nothing like Depeche Mode have ever sounded before.

'Heaven'

I must admit I wasn't sure about this as a single. It felt a little too focussed at the mainstream American radio market, a little too much Lennon twisted into the piano, a little of Radiohead's 'Karma Police', and it's fair to say it is a marked contrast to that opening salvo. Still, it's not too much of a passion-killer as far as the sequencing goes, though fans of the tougher side of Depeche Mode will not be left hoping for more. Actually, the great thing about 'Heaven' is that it sounds like the sort of song U2 ought to be writing if they weren't constantly spinning songs out of a gigantic cloud of wind... and there's always that Blawan remix.

'Secret To The End'

The throbbing electronics do not spend too long away! Here, there's a really solid analogue burble, simple martial drum machine and a 'ping ping' as Gahan's vocals again build things up into an excellent, typically Depeche chorus. "The problems should have been you.. if it hadn't been me... the final contract expires soon / we've come to the end". It's really starting to feel as if some of the VCMG sonics have rubbed off on Depeche Mode. There's a great breakdown of drums and a one-note keyboard line before a properly snide and nasty finale, something bad going down in the drill hall.

'My Little Universe'

Another change here, starting with a percussive, awkward tone and Gahan is in croon mode - in fact, you could even imagine this coming from Thom Yorke as he sings "here I am king / I decide everything / I let no-one in". Musically it (aptly) is all fractured electronics like Four Tet or something, bleep bah bah boop boop. The track works precisely because of its considered use of space, and a wheezing, fruity workout. This is far from pompous or austere, and is entirely unlike anything Depeche Mode have ever done before.

'Slow'

...and here come the blues as we reach the halfway mark, and presumably it's Gore on the electric guitar. It fits perfectly with the rest of the album though thanks to the fact that it's electronics that still dominate, and the rhythm has quite a lascivious groove. It's apt, as Dave Gahan is getting sleazy here: "slow as I can go / That's how I like it / I don't need a race in my bed / the speed's in my heart / the speed's in my head". There's a noise in the background that sounds like one of those things you used to have that went 'wurgle' when you turned them up and down, but this one belongs to a naughty robot.

'Broken'

This harks back to tracks like 'Behind The Wheel', with clipped syn drums and dark purpose via some interesting echo effects in the background. Guitar features here as Gahan sings about innocence ("do you remember a time without tears") and offers to rescue the protagonist from their predicament in an understated chorus "you were falling / I will catch you / you don't have to fall that far". It's a bit different from what he was offering in 'Question Of Time' anyway.

'The Child Inside'

This almost feels like a part two to 'Broken' with the cheering gambit "there is darkness and death in your eyes / what have you got buried inside / the shallow grave in your soul"… and gets bleaker "you really should have dug a little deeper there / body parts are starting to appear and scare / the child inside away". It's another very simple track, booming bass, what might be wind in treetops, strings, vocals that almost feel a little hymnal in inspiration, a scythe of sci fi now and then, and a spooky forest at the end as the lyrics get even bleaker: "you knew you should have taken all your dolls to bed / but you were made to play games with your soul instead / the child inside has died." It's the quietest track on the album, and perhaps the most cleverly constructed.

'Soft Touch / Raw Nerve'

WHUMP! A leathery monster! All stab, no flab, drums banging away mercilessly, synths like a finger running over glistening, wet skin, and a deliciously camp Depeche chorus: "oh brother! Give me a helping hand". You could almost argue that, with its rough backing vocals and general exuberance, it's about the most carefree pop song Depeche Mode have done since their earliest years while still being married to what's becoming Delta Machine's characteristic tough production. Pass the poppers, Fletch old boy!

'Should Be Higher'

This starts off as the murkiest track yet with a purposeful 4/4 whip-crack beat. There's now no doubt that Delta Machine is the the darkest and most violent Depeche Mode material in years. Lyrically, the title and lyrics of holes in infected arms and lies , succumbing to bliss and so on suggest another addition to the DM canon of songs that might be about smack, or love, or both. There's another sky-straining chorus that makes this brilliant stadium pop, and yet more evidence of the weakness of the Anglo Saxon ear. Across Europe, from Volgograd to Turin, Helsinki to Lodz they'll come in their thousands for songs as mighty as this... while here in Britain we like to watch Coldplay and Muse. The disgrace of our nation.

'Alone'

A low, galloping drumbeat, train-coming-off-the-rails-in-a-b&w-film synth melody, more crunchy rhythms - all in all a decidedly excellent tumult. "I couldn't save your soul"... Gahan has been apologising for this sort of thing for years now, and it still hasn't lost its edge. Musically it's further proof that here Depeche Mode have resisted the urge to over-polish everything. 'Alone' is a guttural, ragged creature with a really nice sountracky conclusion. Seeing this album played live is going to be interesting - if some Depeche Mode gigs of recent years have lacked the power of what was captured on, say, the 101 recordings, there's just no way you can do this album justice without opening up the afterburners and making it sound massive.

'Soothe My Soul'

Another up-beat, techno-pop number, and this one is very much like a deconstructed VCMG in feel. Gahan has adapted to this well - "I come to your house / I break down the door" he thunders, and it goes all helicopters before... rather surprisingly... a bollock-busting stomper of a chrous drops in. Dave has the horn! Here he is! See those leather trousers stretch! "I'M COMING FOR YOU! THERE'S ONLY ONE WAY TO SOOTHE MY SOUL" he cries, rather cheekily. All credit is due to leaving the new 'Personal Jesus' right to the penultimate track of the album. A classic, classic Depeche Mode track, this, they've really pulled it off here.

'Goodbye'

After all that, a cowboy song?! "It was you who took my soul and threw it on the fire". This is blues-influenced yes, but again the acoustic guitar is perfectly embedded in the electronics and as the track progresses a great twinkling synth part sits over Gahan's vocals. You might have expected 'Goodbye' to be some kind of ballady coda, but no, they've kept it rigid right up to the end.


So this is only an instant, snap appraisal, and who knows, repeated listens may reveal flaws. But for now, Delta Machine roars out of the traps as a supremely confident album by a reinvigorated, inventive Depeche Mode. It isn't, of course, VCMG with vocals, and there are threads here from the more recent albums. But texturally this is a very rich electronic record, rough around the edges and a huge amount of fun - there is some of the campest Depeche Mode material in here since their earliest days. I'd hazard to guess that my initial assessment of this as the best, most powerful, gothic, twisted, electronic album since Violator.

З@*%@*о читать одно и тоже через день, о новом альбоме

Этот послушал... тот слышал... этому в обще рассказали... Мне от этого больше или меньше ощущений, о новом альбоме, не уменьшается и не прибавляется.

Как любит говорить наш президент В.В. Путин, повторяя старую восточную мудрость: сколько не говори халва, а во рту слаще не становится...

Дайте в студию ссылку, желательно в Lossless...

ещё и без превода

DEPECHE MODE, ЕЩЕ ЖИВЫ БЛАГОДАРЯ DELTA MACHINE

7 marzo, 2013 Julián Ruíz

Sony quiere que creamos que Depeche Mode son como los Stones del siglo XXI, el flujo de un grupo clásico , solemne y con espíritu del electro-pop. Es una buena estrategia .

Y creo que lo han conseguido, porque Delta Machine es el mejor album en mucho tiempo. Desde luego, bastante superior a Sounds of the Universe. Aunque por su propia idosincrasia no se parece relativamente a ninguno de los albumes anteriores de Depeche Mode.

Es cierto que las canciones en Delta Machine son excesivamente largas ,reiterativas en su complejo mundo de las estructuras musicales. Pero, por encima de todo, hay un ánimo de sorprender.

En cuanto a elección de sonidos, este pudiera ser el album más brillante de todos los de Depeche Mode. Mezclan el clasicismo, con la vanguardia y los nuevos sonidos de una manera admirable. Gran trabajo del productor Ben Hiller y maravillosas las mezclas de Flood. Se notan mucho.

El pecado es que no hay canciones con gran gancho. Hablo del aspecto comercial. Canciones que pudieran impactar en los charts, tal como están ahora todas las listas de éxito.

Pero las apuesta indiscutible por un sonido diferente, la búsqueda de nuevas sensaciones , aunque no se logre completamente el objetivo, nos conducen a que Depeche Mode han hecho un esfuerzo enorme por seguir vivos, todavía creando, dentro de su imperial clasicismo.

Esta son las trece canciones del album simple:

WELCOME TO MY WORLD.- Puntuación 7

Han sido inteligentes en elegir esta canción como el incio del album, porque es técnicamente muy interesante entre los viejos , sintetizadores, los “viejos samplings” de Gore y los nuevos sintetizadores , liderados por el Korg nuevo y el Nord Lead. la voz de Dave suena fantástica. Es buena la melodía del estribillo.

ANGEL.- 6

Es como una aventura , un safari para encontrar nuevos sonidos. Lo más excitante del tema es como desaparece la base, cualquier valor de percusión e irrumpe una dulce melodía, casi angélica, que por ese se llama así el tema. Llama la atención la revolucionaria composición entre las base y las secuencia. Sonidos industriales con ganchos.

HEAVEN .- 7

Ya la conoceis . Es el single , porque el tema configura todo el espíritu del nuevo album. El imperial clasicismo, con la búsqeda de nuevas sensaciones, nuevos sonidos.

SECRET TO THE END.- 5

Es uno de los temas más plomizos del album. Suena a Kraftwerk, pero sin ese perfecto minimalismo. Las guitarras o samplings de Gore , son manipuladas. Y falta melodía como en todas las canciones que firma Gahan, esta vez, con Kurt Uenala. También se unió en ciertas cosas el productor sueco Christopher Berg. No es una buena canción.Aunque el final sea imprevisto y sorprendente.

MY LITTLE UNIVERSE.- 5

Bombo percusión muy digital de industria. sonidos Kraftwerk. Quizá más viejos, de la época de Tangerine Dream y Meu. Muy pop electrónico alemán. Tratan de buscar un hipnótico sonido, pero no está muy logrado.

SLOW 7 BROKEN.- 6

Hubiera podido ser un single, pero no funciona estas dos partes de la canción. Una de Marting Gore y la otra de Gahan y Uenala. No se pegan. Parece un pastiche, aunque la melodía de Gore es llamativa y muy a lo Depeche de los primeros tiempos y funciona mejor que la otra.

THE CHILD INSIDE.- 7

Simplemente, un blues electro pop como le gusta a Martin Gore. Es demasiada lenta . Pero en el estribillo, como siempre suele ocurrir es muy armónico y hasta bello. Que pena que no pueda radiarse .

SOFT TOUCH/ RAW NERVE.- 7

Es una sintésis progresiva del electro pop de los años ochenta, con Dave cantando muy a lo Midge Ure , con efectos de sonidos y con clasicismo histriónico que hace a Depeche mode un grupo diferente, aunque sean vapuleados por sus compatriotas. El estribillo es francamente excelente. Para mí, pudiera ser el siguiente single tras Heaven.

SHOULD BE HIGHER.- 7

Hay una secuencia muy interesante y que permite sobrevolar toda la estructura de la canción. La percusión está muy trabajada , con los sonidos bajados de afinación . Hay un interesante juego de voces en el estribillo . Otra vez, el sonido y la melodía de Ultravox de la mejor época. Es la tercera y última colaboración de Gahan con Kurt Uenala.

ALONE.- 8

La típica melodía a lo Home de Martin Gore. A veces suena a Blade Runner de Vangelis. El pad es muy fino, muy elegante y la luz es permeable en todo el sentido melódico del estribillo. Gran canción. Es Home , pero sin querer serlo,porque es más ambiciosa en arreglos y estructuras.

SOOTHE MY SOUL.- 8

Creo que es otro single. De la más pura idosincrasia Depeche. Hay un gran bombo y una secuencia de sonido muy gordo , que envuelven toda la canción. El ritmo tira hacia adelante y le hace ser posible single, porque es el “gimmick” de melodía más factible en todo el album. Buen preludio hasta el final.

GOODBYE. 8.-

Es el buen postre del album. Sin duda, es un homenaje a Personal Jesus, ya que ellos inventaron el electro blues- country . Es un tema ,además, que tiene otra personalidad en los estribillos Hay bellos sonidos que contestan a la melodía. Pero es una pena que por su estructura lentitud no pueda ser radiable.

Уже голосование открыли. Не рано? Еще почти 3 недели до релиза.
Комментарий в иероглифах охота, а то испанский (или какой там) уж очень бонален.

Осталось дождаться рассказа китайского журналиста (в оригинале со всеми иероглифами, это очень ценно и важно) об услышанных композициях и вся мозаика о новом альбоме наконец то сложится...