HOW DO YOU LAUNCH AN ALBUM AND WORLD TOUR FOR A BAND THAT’S BEEN AROUND SINCE THE 80’S? Depeche Mode has been around for almost four decades. And in that time, they’ve built one of the most passionate fan bases in music. So when they were ready to launch their new Spirit album and Global Tour, the band decided to hand over their Facebook page to the fans. Allowing a different fan to run the show every day for an entire year, with the band’s over 7 million followers listening.
The fans became part of the band’s success, blurring the line between Depeche Mode and their fans.
Depeche Mode : "The results are in and we won two Webby Awards! The awards belong to all of you -- the 365 day takeover and this win wouldn't have happened without you. Thank you for your support and for being the best fans!"
Rammstein "Stripped" Depeche Mode
18 May 2019, 19:04
Rammstein спустя 21 год вновь выпустили клип с кадрами из «Олимпии»
Видеоклип «Stripped» с кадрами из нацистской пропаганды опубликовала группа Rammstein 10 мая на своем официальном Youtube-канале.
Менее чем за сутки четырехминутный ролик набрал более 913 тысяч просмотров. Видеоклип группы Rammstein на ремейк песни «Stripped» английской группы Depeche Mode создан из кадров фильма «Олимпия» нацистского режиссера Лени Рифеншталь. Впервые клип был опубликован 21 год назад.
Использование нацистской эстетики в 1998 году вызвало скандал и возмутило общественность. Под градом жесткой критики, обвинявшей группу Rammstein в симпатии к нацистам, лидер группы Тилль Линдеманн дистанцировался от клипа. До сих пор ролик не был доступен на официальном канале.
Напомним, в 2006 году когда Линдеманну был задан вопрос, не допустит ли он публикации клипа в будущем, он ответил: «Нет, я устал слышать, будто мы правая группа. Это момент, когда мы себе сказали: „Здесь мы зашли слишком далеко“».
Напомним также, пропагандистский фильм Лени Рифеншталь «Олимпия» апеллировал к античной эстетике и рассказывал об Олимпийских играх 1936 года, проходивших в гитлеровской Германии.
Проведенная параллель между античными статуями обнаженных богов и обнаженными спортсменами нацистской Германии послужила гитлеровской пропаганде идеи превосходства немецкой нации.
Premiere: July 1998 Director: Phillip Stölzl, Sven Budelmann Single: Stripped From the album: "For the Masses" (Depeche Mode Tribute-Album)
Info: The video contains footage from the film "Olympia - Festival of the Nations", which were shot during the Olympic Games 1936 by the controversial director Leni Riefenstahl. Rammstein's cover version of the Depeche Mode song STRIPPED is released. For the Depeche Mode Tribute Album "For the Masses" Rammstein recorded the song STRIPPED at Hamburger Vox Klangstudio (January 27th - February 1st)
Depeche Mode News
18 May 2019, 19:28
Meet Depeche Mode’s first live drummer: the Boss Dr. Rhythm DR-55
A nostalgic look at the Boss Dr. Rhythm DR-55 – a popular early programmable analogue drum machine which also took a turn in the spotlight with the mighty Depeche Mode.
When it comes to drum machines, Roland has form; just about all of its TR-series drum machines have become iconic, with the seminal 808 and 909 leading the charge, of course, followed closely by the 606 and 707. But prior to the heady days of dance music, drum machines were loaded with very different responsibilities, often removing them from the studio altogether and placing them in a live environment.
It’s this purpose that may very well explain the very existence of the original DR-55. Monikered with the Boss branding, it’s firmly a design from the Roland stable, the Boss marque being forever linked with the guitar market, which might also go part way to explaining why DR-55s often ended up in guitarists’ rigs.
While Roland was conjuring up visions of machines taking over music – the TR machines were even described as ‘Rhythm Composers’ – the more humble DR-55 took on the more vocational qualification of ‘doctor’. Write your drums and have your cholesterol checked at the same time!
With its weapons-grade build specification, the DR-55 was a hefty bit of kit, weighing in at 0.8kg when laden with batteries – which you would have to have, as there was no other way to power it. This reassuring weightiness was matched with classy dampened pots, selection knobs and switches, all of which moved with an assured click. It was also equipped with a latched switch socket, allowing for the start/stop element to be handled by the performer remotely. This might also explain why the DR-55 that I bought myself, some years ago, was bedecked with a user-applied label to the rear of the machine, offering a setlist of what is best described as function-band fare.
What’s the difference between a drummer and a drum machine? You only have to punch the information into the drum machine once! And punch the information in you did, as the DR-55 was one of the very first programmable machines, offering basic 16-step programming, which could be saved into a pattern and linked into a 32-step configuration, alternating from pattern A to pattern B.
It’s basic, and slightly clumsy to use, especially when compared to the latter Roland machines that offered a full complement of 16 buttons, which are firmly lacking from the good doctor. Yet this emphasises what it stood for – it was the first of a programmable breed of machine that could be used for basic gigging, although it was scarcely a substitute for that John Bonham drum sound.
Offering a mere four voices, bass drum, snare drum and rim shot could all be programmed, a single bar at a time, while the hi-hats would merely perform in a continuously straight eight- or 16-step configuration. There’s no balance control between the voices, with a simple filter-based tone control serving to tame the sharpness of the hi-hat top end, while all audio elements exit the DR-55 via a single mono 1/4-inch jack. It’s also entirely analogue, sourced from lightweight analogue sines and white noise. These offer similar confines to the Roland CR-78, but despite being far from the real thing, the DR-55 has a beguiling charm to people like myself.
Of course, placing it in the contemporary studio environment allows for all manner of mangling, but thanks to very limited synchronisation options, which only emanate outward from the box, you’ll not be syncing it to your DAW anytime soon. I did, however, manage to get my DR-55 to control the transport of my studio, which was an amusingly long way to spend an afternoon.
It’s far better to consider its place in musical history as that of a period piece, with Depeche Mode citing the good doctor as the first machine they used live. It was left to vocalist Dave Gahan to select one of the eight patterns and set the tempo, with the latter not being open to saving within a program. In a more conventional setting, if the drummer slows down, the guitarist might shout across the noisy stage – that won’t be the case when the doctor comes a-calling!
Depeche Mode News
18 May 2019, 19:31
BUDWEISER STAGE TURNS 25: Depeche Mode No. 9 of best concerts
Toronto’s Budweiser Stage turns 25 this year, kicking off the summer concert season on May 20 with a sold-out show by The Strokes.
In honour of a quarter century of outdoor shows at the lakeside shed — which began life as the Molson Canadian Amphitheatre on May 18, 1995, before changing names in 2017 — I’ve come up with my Top 10 favourite performances during the last 25 years.
Here’s No. 9 as we count down to my No. 1 show:
Depeche Mode, Sept. 1, 2013
Huge hits and incredible stage production aside, ‘80s British synth-pop act Depeche Mode rely heavily on the compelling performance skills of frontman Dave Gahan in a live setting.
And at this particular show in support of their 2013 album, Delta Machine, the sold-out crowd of 16,000 got what I called “the full Gahan.”
As I wrote at the time, “if there isn’t a Dave Gahan workout tape, there should be, judging from his upper body definition, which was displayed to great effect as he took off his blazer, and eventually his vest, to dance, twirl, thrust his hips and stradle and spin with his microphone stand for two hours.”
Gahan made it difficult for you to take your eyes off him “from the very first moment he walked on stage and lifted his hand in the air with a flamenco-style flourish.”
It was the first classic Depeche Mode song, Walking In My Shoes, that saw the crowd come fully on board and stay committed with spontaneous singalongs after songs ended being commonplace.
“The crowd also clapped along happily to Precious, danced their hearts out to highlights like Policy of Truth, A Question of Time, Just Can’t Get Enough, and sang along loudly to notable numbers Enjoy the Silence, Personal Jesus, and Never Let Me Down Again, and leaned in for slower, more intense and powerful songs like Black Celebration, Barrel of a Gun, A Pain that I’m Used to, and I Feel You.”
Depeche Mode News
19 Jul 2019, 13:33
Children in Conflict
As part of our fundraising endeavors at CiC, we utilize the power of performance and live music to not only bring people together but to raise awareness of our programs. We are thrilled to have Depeche Mode Dave Gahan and Martin Gore support our fundraising through the arts by wearing our CiC x Phillip Lim tee. You can purchase one of these shirts too here:
DA Pennebaker, the Oscar-winning documentary maker whose historic contributions to American culture and politics included immortalising a young Bob Dylan in Don't Look Back and capturing the spin behind Bill Clinton's 1992 presidential campaign in The War Room, has died. He was 94.
Pennebaker, who received an honorary Academy Award in 2013, died of natural causes at his home in Long Island, his son, Frazer Pennebaker said in an email.
Pennebaker was a leader among a generation of filmmakers in the 1960s who took advantage of such innovations as handheld cameras and adopted an intimate, spontaneous style known as cinema verite.
As an assistant to pioneer Robert Drew, Pennebaker helped invent the modern political documentary, Primary, a revelatory account of John F. Kennedy's 1960 victory in Wisconsin over fellow Democratic presidential candidate Hubert Humphrey.
He on went to make or assist on dozens of films, from an early look at Jane Fonda to an Emmy-nominated portrait of Elaine Stritch to a documentary about a contentious debate between Norman Mailer and a panel of feminists (Town Bloody Hall).
Widely admired and emulated, Pennebaker was blessed with patience, sympathy, curiosity, the journalist's art of setting his subjects at ease, the novelist's knack for finding the revealing detail and the photographer's eye for compelling faces and images. When reducing vast amounts of raw footage into a finished film, Pennebaker said, "The one barometer I believe in is boredom. The minute people start to lose interest, that's it."
Pennebaker parted from Drew in the mid-'60s and became a top filmmaker in his own right with the 1967 release Don't Look Back, among the first rock documentaries to receive serious critical attention. It follows Dylan on a 1965 tour of England, featuring Joan Baez, Donovan, Allen Ginsberg and others.
Dylan was then transforming from folk singer to rock 'n roller and Don't Look Back finds the artist clashing with journalists and breaking from his own history, including Baez, with whom he had comprised folk music's signature couple. She was his girlfriend at the start of the movie and ex-girlfriend by the time the documentary was done, his growing disregard for her unfolding on camera.
Scenes from Don't Look Back have become part of the musical and movie canon, among them Dylan playing It's All Over Now, Baby Blue in his hotel room while an impressed (and perhaps intimidated) Donovan looked on. In a much imitated sequence that anticipated rock videos, Dylan's fast-talking Subterranean Homesick Blues plays on the soundtrack as the singer holds a stack of cue cards with fragments of the lyrics, peeling the cards off and discarding them one by one.
In a 2000 Associated Press interview, Pennebaker said he didn't know much about Dylan at the time, but watching through his lens, saw "an amazing prodigy. Very smart in an untutored way. He created his own persona right before your eyes. ... He was a compendium of things it takes professors years to figure out - startlingly naive, but smart."
Pennebaker continued to work with Dylan after Don't Look Back and Dylan was also seen working on music with Johnny Cash and bantering nonsensically with John Lennon in the back of a car in London. But Dylan was reportedly unsatisfied with Pennebaker's cut and reworked the film himself.
After Dylan, Pennebaker again recorded a musical landmark with Monterey Pop, a documentary of the 1967 California gathering that was rock's first major festival and featured Otis Redding, Jimi Hendrix and Janis Joplin. Pennebaker not only captured some of the rock era's most dynamic performances but the crowds who took them in.
Pennebaker also made a documentary about a 1969 concert in Toronto with John Lennon and a pickup band featuring Eric Clapton.
In the 1990s, Pennebaker returned to politics with The War Room, co-directed by Pennebaker and his wife, Chris Hegedus. This time, the stars weren't the candidates, but those behind the scenes. The filmmakers were granted limited access to Clinton, so the documentary focused on the campaign headquarters in Little Rock, Arkansas, as political strategists and future media stars James Carville and George Stephanopoulos guide the young Arkansas governor's march to the White House.
The film blended raw, ruthless moments such as Stephanopoulos' threatening a phone caller who claimed to have evidence of Clinton's adultery and high emotion.
"Carville, the general, gives a tearful farewell to his troops at the conclusion that is as powerful as any fictional scene that could have been scripted," Associated Press writer Linda Deutsch wrote in her 1993 review of the Oscar-nominated movie. In 2008, some of the key members of Clinton's team were interviewed for Return of the Room, a look at how campaigns had changed since the first Clinton presidential run.
Donn Alan Pennebaker, whose father was a commercial photographer, was born in 1925 in Evanston, Illinois. He earned a degree in mechanical engineering at Yale University before going into filmmaking and used his college skills to help develop portable camera equipment used in documentaries and to design a computerised airport reservation system.
By the late '50s, he had begun work on a series of landmark movies, from Primary to Crisis, about the 1963 standoff between the Kennedy administration and Alabama Governor George Wallace, who was resisting integration at the University of Alabama.
"I wanted always to have that control," he told Film Comment in 2017, when he recalled meeting Dylan's manager, Albert Grossman, and being asked to make a documentary.
"He didn't know me very well. We never met before he came to the office. But he could sense that about me, how I wanted to control my work. I wanted to tell my own story. So when Albert came and asked me would I want to go England with Dylan and make a film, film him, I was ready."
Depeche Mode News
08 Aug 2019, 12:48
Depeche Mode News
11 Aug 2019, 14:54
101: The Remix!
EXCLUSIVE NEWS: A 4K RESTORATION
The DVD of the film came out in 2003, but Pennebaker Hegedus Films has revealed to Classic Pop that a new version of Depeche Mode: 101 may be on its way. "We are in talks with the band and the record label about doing a 4K restoration," Chris Hegedus tells us. "I've also found several songs that were never included in the film and we would put those on a new Blu-ray. I hope it would be interesting to the fans." No date has been set for the release, but speculation about which songs might now also be included is certain to be significant, Footage of Sacred, Something To Do, Things You Said, Shake The Disease, Nothing, People Are People, A Question Of Time and A Question Of Lust were thought to be lost. The DVD included all of the other tracks from the show that was not seen in full in the original film, and included commentaries from the band and filmmakers. Fans Christopher Hardwick, Oliver Chesler and Jay Serkan were tracked down to share their thoughts on the experience, as was the full-length promotional video for the live version of Everything Counts, which made No.22 in the UK charts on the eve of the film's original release on VHS.