Martin Gore - MG "The Third Chimpanzee E.P." 29 January 2021

"Howler" from The Third Chimpanzee E​.​P. by Martin Gore

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Listen to Depeche Mode’s Martin Gore’s new solo track ‘Howler’
The latest preview of his forthcoming new EP 'The Third Chimpanzee'

Depeche Mode‘s Martin Gore has shared his latest new solo track ‘Howler’ – you can hear the song below.

The new song is taken from Gore’s upcoming five-track instrumental EP ‘The Third Chimpanzee’, which is set for release on January 29. The record follows on from his 2015 instrumental album ‘MG’.

Speaking about ‘Howler’, Gore – who is a co-founder of Depeche Mode – said in a statement: “‘Howler’ was the first track I recorded for ‘The Third Chimpanzee’ EP. I resynthesized some vocals that almost sounded human, but not quite.

“That’s why I decided to name the track after a monkey. I thought that would be a good theme to carry on with the rest of the tracks.”

Written and produced by Gore in 2020, the ‘Third Chimpanzee’ EP was recorded at Electric Ladyboy in Santa Barbara, California. You can see the tracklist for the EP below.

1. Howler
2. Mandrill
3. Capuchin
4. Vervet
5. Howler’s End

Back in November Depeche Mode were inducted into the Rock and Roll Hall of Fame, with actress Charlize Theron speaking in praise of the band to mark the honour.

Speaking about their induction, frontman Dave Gahan said: “Growing up, listening to music on the radio and having music, it really kind of helped us to feel normal, feel part of something."

“That’s what music does for people and I think that’s what Depeche Mode has done for many people. I think music really brings people together, and God knows we need that more today than it seems any other time.”





http://www.depmode.com/Martin_Gore_MG_T ... ee_E_P.php

You usually go to the studio every day, did you keep the habit this year?

Yes, but I love going to the studio. Even if I don't always come out with a finished project, I enjoy it Sure it's not always like I come out at night and brag about what I've done and revel in a great day at work. Sometimes I just sigh that it was a bit of a waste of time, but it keeps me sane at this time.

Do you feel the same freedom when you write songs for Depeche Mode and for your solo recordings?

I guess I don't really feel the difference. From that point of view, I never really thought about it. It's just another chance to create again and again. It's true that I'm not putting any pressure on myself at all, because it's not important how successful this project is going to be. It's just something I like to do, put it out and see what happens. I only do minimal promos for it-just to let people know I recorded something. But I don't have high expectations.


Can you imagine Depeche Mode's tracks sounding as experimental as The Third Chimpanzee? Fans are excited about the sound of the first singles.

I imagine something like Mandrill would be done in a slightly different way, with vocals added, and we could have that in the band's repertoire. I wouldn't rule it out.

In the past, you've released an EP and then an album of covers — Counterfeit. Do you ever plan to continue this project?

I think it would be nice to record more covers sometimes in the future, but I don't know why, I've actually gravitated towards instrumental music.

You've had a relationship with other artists' songs since you were a child-from when you were thirteen to eighteen you learned all the songs that scored in the charts... I'm wondering, as someone who's more into club underground music, do you still have a overview about of scoring in the music charts?

You amuse me, I have no idea. But at that age, I was obsessed with it, wanting to know what was going on, listening to the radio. I feel like it was also because I grew up in a different time. I'm sure there are a lot of amazing artists on the air and there are young people who are just as passionate about listening to everything that comes out as I was once. But when you're my age, it's not as appealing.

On the day exactly thirty-three years after your first concert in Prague, on March 11, Josef Kubík's book Depešáci will be published. It is about an incredibly strong and organized fan movement in Czechoslovakia that dates back to deep totalitarianism. If you could say something in a few words from the position of the poster that hung on the wall in the rooms of many of them, what would it be?

Then or now? Maybe in the end it would be similar and I would just say : Thank you for supporting us, because it's incredible that you've even discovered our music, not to mention that you like it and you're so devoted to it. It's always been absolutely fascinating and remarkable to me how popular we were in the former Eastern Bloc...

Если кто-то будет заказывать из-за бугра (я пока не знаю все ли границы открыты для товаров оттуда), то откуда будет брать? С MUTE в Москву пишет Royal Mail 1st Class at £8.99 GBP (за винил и CD). Как MUTE магазин пакует посылки?

Хз, но я заказала через mute вместе с доставкой вышло 13 фунтов. Доставка почтой.

£13 за пересыл или видимо CD + пересылка?

А! £13 это все вместе...

да ,все вместе)

The Third Chimpanzee: Clash Meets Depeche Mode's Martin Gore


His new solo project, and why we should question everything...

Depeche Mode co-founder Martin Gore releases his new EP, ‘The Third Chimpanzee’, through Mute on January 29th.

Containing five tracks of rough, angular and surprising electronica, the EP bears little resemblance to either Martin’s day job in Depeche, his 2015 ‘MG’ solo album or the two volumes of his ‘Counterfeit’ covers series, and yet its plaintive melodic quality is immediately recognisable as his own.

Named after Jared Diamond’s anthropological text on the evolution of homo sapiens and its closest relative - the chimpanzee - at a time when most of us have been reduced to living like caged zoo animals, the titles of the tracks on the new EP are all named after different species of primates, with Martin even enlisting capuchin monkey artist Pockets Warhol to create the distinctive sleeve image.

Clash spoke to Martin at his Electric Ladyboy studio in Santa Barbara on the genesis of the EP, collecting electronic music equipment and the farm-to-table approach he took with every aspect of the record’s release.

I feel very fortunate. I have a studio at home, Electric Ladyboy, that I can go in and work whenever I want. I don't just record endlessly, though, and I don’t have vaults of unreleased stuff. Even over the course of Depeche Mode’s history, I can only remember writing one or two songs that we never released, and there’s probably a very good reason why we didn't! I honestly don't have loads and loads of unreleased recordings. Even when I come into my home studio and work on my own, I decide quite quickly if I think something's working or not. If it's not, then I just bin it.

I’m a bit of a gear addict. I still have equipment that dates back before Depeche Mode did ‘A Broken Frame’ in 1982. I have so much stuff that it's a little bit overwhelming when I come to work and think, “Okay, what am I gonna do today? What might inspire me today? What should I work with?” Maybe three quarters of the time I end up picking the wrong thing. I always used to say that by surrounding myself with musical instruments and musical gear in general that I would end up being more creative. I joke that it's probably gone beyond that point now and my creativity has gone the other way.

I recorded the demo for 'Howler’ before the pandemic. When we went into lockdown, and got stuck at home, I didn't feel very motivated to write lyrics. I don't know if being locked away, and not really seeing very many people, and not doing anything or going anywhere affects your psyche a little bit. Maybe you just don't have the stimulus to write words.

I felt differently about making music, however. Because I already had 'Howler', I thought that maybe I should work on some more instrumental tracks, and so I started working on what became ‘Mandrill’. I resynthesized my voice on both of those tracks, and I used warp delays and stuff on my vocal as well. ‘Mandrill’ and ‘Howler’ have both got quite a bit of my vocal on, really – it's just not words, and it doesn't really sound human.

At the point of finishing ‘Mandrill’, I hadn’t really decided to name everything after monkeys, but during the recording process of those two tracks, I thought that sort of vocal sound made quite a good concept for an EP.

I called the EP ‘The Third Chimpanzee’ after a book by Jared Diamond that I read sometime in the 90s. His book is about human behaviour and how that behaviour came from animals. I really liked the idea of blurring the lines between monkeys and humans. Sometimes I think we just feel that we're so evolved, and that we think we're so much better. I question that quite a lot.

There’s the virus, the pandemic, and there's also the whole political climate, which is completely crazy. You know, you've got so many people believing in conspiracy theories that are just so far out there. I mean, who could have ever thought we would be at this point? Talk about devolution! Without explicitly being political, I did feel like I was making some kind of point. I don't know if anyone will pick up on that. And if they do, they do. But if they don’t, it doesn't really matter. It's a nice concept.

I really liked the idea of getting a monkey, Pockets Warhol, to do the artwork as well. That blurs the line again for me. I was struggling to come up with a concept for the artwork, and then, one evening, I just suddenly remembered that I'd heard about monkeys who paint. So that sent me down a rabbit hole of Googling that. And eventually I stumbled across the capuchin monkey Pockets Warhol, who paints these amazing pictures. I found that he was in a sanctuary up in Canada, near Toronto.

So I went onto their website, sent an email to them and explained who I was and what I was doing, and asked if they would be interested in getting Pockets to do the artwork for me. And fortunately they were very interested. We decided to do some of them on black canvases, some of them on white canvases, and I was asked to choose a palette of colours to give to Pockets. He did five paintings for me in total, so I could choose. I think I think the result is absolutely stunning. I really love the artwork. I just saw the vinyl for the first time two days ago and it looks so good on a vinyl record.

I've never been so hands-on with a record and its artwork before. It’s different with Depeche Mode albums because we often use Anton Corbijn for our sleeves. I also used Anton for my second covers project, 'Counterfeit2’ in 2003. When it comes to a Depeche Mode album, then I usually bow to Anton, who has a lot more experience than me, and who knows how to come up with something really different to what you might expect.

'The Third Chimpanzee’ is coming out on Mute, which is back to our roots. I've known Daniel Miller, who runs Mute, for over 40 years, and he's a very close friend. I just like the whole Mute aesthetic. It just makes perfect sense for me to release this EP through them. I think that’s also a statement. I think I’m also saying that I understand that this is an indie release. I'm not going for worldwide domination with this.

The Third Chimpanzee' will be released on January 29th.

Interview: Mat Smith

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