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Author Topic: 2015: Martin Gore's MG  (Read 23999 times)

Offline Angelinda

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2015: Martin Gore's MG
« on: 28 February 2015 - 02:41:26 »
This thread contains all news items regarding the release of Martin's solo album 'MG'.

This site contains all released presskit photos: http://www.spin-go.it/mg/

Music rights agency BMI lists all released songs, and the song ELK was not only the first to be registered, but it also has the same category number as the songs from Delta Machine. So it seems that Elk really was planned to be released as a part of Delta Machine.
http://repertoire.bmi.com/title.asp?blnWriter=True&blnPublisher=True&blnArtist=True&keyID=15819588&ShowNbr=0&ShowSeqNbr=0&querytype=WorkID
2017-06-30: Photobucket has disabled external image hosting, all scans will have to be re-uploaded on another site.

Offline Angelinda

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Re: 2015: Martin Gore's MG
« Reply #1 on: 28 February 2015 - 02:47:31 »
2015-02-11 - Jeremy Danger or Instagram:

[Note: Travis Shinn is a professional photographer who shot photos of VCMG in 2011, so it seems that Martin has just done another professional photoshoot.]

https://instagram.com/p/y_b4KAEZT6/



Me and the legend: Mr. Martin L. Gore! Thank you @mtshinn for this radical shot.
#DepecheMode #MartinLGore #dreamsdocometruewithTravisShinn
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Offline Angelinda

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Re: 2015: Martin Gore's MG
« Reply #2 on: 28 February 2015 - 02:48:31 »
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Offline Angelinda

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Re: 2015: Martin Gore's MG
« Reply #3 on: 28 February 2015 - 02:49:08 »
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Offline bongmute

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Re: 2015: Martin Gore's MG
« Reply #4 on: 02 March 2015 - 21:01:37 »
2015-03-02 - www.martingore.com



MARTIN GORE RELEASES STUNNING INSTRUMENTAL ALBUM
MG OUT 27 APRIL 2015 ON MUTE

posted: March 2nd, 2015



Martin Gore, songwriter and founding member of Depeche Mode, announces the releases of 'MG', an evocative 16-track electronic instrumental album out on 27 April 2015 on Mute.

Click to listen to Europa Hymn, the first taste of 'MG' by MG


Written and produced by Martin Gore, work began on 'MG' following the final dates of Depeche Mode's 'Delta Machine' tour in March 2013 at Gore's home studio in Santa Barbara. An entire instrumental album had been in his thoughts for some time, particularly since he has been writing instrumentals for Depeche Mode since 1981.

"I wanted to keep the music very electronic, very filmic and give it an almost sci-fi like quality," Martin explains. "Music is a necessity for me. I go into the studio at least 5 days a week, every week, so once I had the idea and the template, the process was quick and fun."

'MG' is a soundtrack to an emotional and mysterious film of your own design. From the Angelo Badalmenti - like atmosphere of 'Elk' to the industrial electro swagger of 'Brink', it landscapes a unique and arresting vision.

After finishing recording 'MG', Martin asked Q to mix it which seemed a perfectly natural choice as he previously mixed VCMG, Martin Gore and Vince Clarke's 2012 album, 'SSSS'.

Explaining the decision to release the album under the acronym, MG, Gore says, "As the album is very electronic and has no vocals, I felt it deserved another persona so decided to carry on the MG concept from the VCMG album."

'MG' showcases another side to this multi-talented musician. "As a songwriter, I am aware of the power of words," Martin admits. "Especially when they are juxtaposed in the right way with chords and melody. I am also aware of the power of pure music and the emotions that can be created by musical atmospheres and that is what I wanted to capture with this project."



Released 27 April 2015 on Mute (STUMM 381)
MG TRACKLISTING
01 Pinking   
02 Swanning   
03 Exalt   
04 Elk   
05 Brink   
06 Europa Hymn   
07 Creeper   
08 Spiral   
09 Stealth   
10 Hum   
11 Islet   
12 Crowly   
13 Trysting   
14 Southerly   
15 Featherlight   
16 Blade

#MGxMG


Why people write BluRay and not BD for "Blu-ray Disc",
when everybody writes CD for "Compact Disc" and DVD for "Digital Versatile Disc"?
The official and only right abbreviation for "Blu-ray Disc" is BD. Any other writing is wrong.

Offline Angelinda

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Re: 2015: Martin Gore's MG
« Reply #5 on: 03 March 2015 - 02:06:10 »
2015-03-02 - Wochit Entertainment (US) -  Depeche Mode Founder Martin Gore Preps New Instrumental LP

http://www.dailymotion.com/video/x2ii5ni_depeche-mode-founder-martin-gore-preps-new-instrumental-lp_people
http://on.aol.com/video/depeche-mode-founder-martin-gore-preps-new-instrumental-lp-518679761

Depeche Mode founder Martin Gore will release MG, a solo LP of 16 electronic instrumentals, on April 28th via Mute. Gore began work on the album following the March 2013 conclusion of Depeche Mode's Delta Machine tour, writing and producing the material at his home studio in Santa Barbara, California. The MG moniker is an extension of VCMG, an electronic collaboration with former Depeche Mode member Vince Clark. The duo released three EPs and one full-length album, 2012's Ssss.
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Offline Angelinda

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Re: 2015: Martin Gore's MG
« Reply #6 on: 22 March 2015 - 00:57:03 »
2015-03-20 - Mute - #MGxMG6

https://www.youtube.com/watch?v=8XVTDlfdpsM

#MGxMG6
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Offline Angelinda

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Re: 2015: Martin Gore's MG
« Reply #7 on: 27 March 2015 - 03:17:39 »
2015-03-26 - BBC Radio 1 (UK) - Guest: Martin Gore

[DJ Heidi Vanden Amstel is joined by Martin Gore over the phone on her radio show. As well as doing a short and lighthearted interview about his upcoming solo album 'MG' and other trivia, Martin also submits a guest mix, and one of the tracks off the new album, 'Islet', is being premiered. I made a transcript below.]

http://www.bbc.co.uk/programmes/b05mqcty
https://www.depechemode-live.com/wiki/2015-03-26_BBC_Radio_1,_UK

Guest mix:
Andy Stott - Violence
Mirel Wagner - 1 2 3 4
Black Asteroid feat. Cold Cave - Black Moon
EMA - Satellites
Jessica Lea Mayfield - Oblivious
Yowler - Water
Amen Dunes - Song To The Siren
MG - Islet

Heidi: Hi Martin, how are you?
Martin: Hi, I'm good, thank you.
Heidi: First of all, I'd like to say a big thank you for agreeing to come on to my lil' old show on the BBC and talk about your new album.
Martin: Oh, yeah, you're welcome.
Heidi: No, it's really... I absolutely love it.
Martin: Yeah, this is not my first solo album. I have put out a couple of things in the past: the Counterfeit EP back in 1989, and then a long a break-
Heidi: -OK, so there was a bit of a space.
Martin: Yeah, and then there was a long break after that, Counterfeit 2 came out in 2003, I think.
Heidi: What about Counterfeit 3?
Martin: Everybody keeps asking, "When is that coming [out]?" I need to give it another five years, maybe.
Heidi: Just prolong it, just keep it going as long as you can. Keep them guessing.
Martin: [laughs] Yeah. I had a few instrumentals left over from the writing process of the last Depeche Mode album. I didn't have a home for them, so I thought about finishing a full instrumental album. And the more I thought about that, the more it kind of appealed to me.
Heidi: I know that you said that it consumes you, it's your life, and you record every day. How much music are you sitting on, possibly? Probably a very, very long catalogue. How did you pick the songs to go on this album? You must have such a huge amount of music.
Martin: I think that people always get a misconception about that, because, although I do go into the studio every day, pretty much, I'm not a really prolific songwriter, and I believe in editing a lot. So sometimes I'll work on something for two or three weeks, before I have a "eureka" moment where I realise that it's not very good what I am doing, and I'll just-
Heidi: -Well, I think you're a prolific songwriter. I beg to differ on that one. Just sayin'.
Martin: Well, these days, as a band, we only put out an album every four years. That's hardly speedy.
Heidi: True. Very true. As opposed to these days, people just put out music all the time, and it's just not quality, I think.
Martin: Yeah, I think that if you've been together for 35 years, I think you need time to actually be creative and inventive, and keep making stuff that's interesting. If we were still putting an album out every year, I don't think the quality would be up there.
Heidi: Yeah. I wanted to ask you, how do you relate to the younger generation of electronic music lovers? You're such an established producer from a different generation. Obviously this show is targeted to a really young audience: What is your way to connect to the 'youngins', so to speak?
Martin: I'm still really into electronic music, and I still scour the internet, looking for stuff. I don't DJ very often, but I do DJ occasionally, and I'm always on Beatport, looking for techno, mainly. When I DJ, I play techno.
Heidi: I ran a record store called Phonica Records.
Martin: Oh, I know Phonica!
Heidi: Yeah, you have actually been in there a few times, and I actually served you. This was years ago, when I worked there. Obviously I remember you coming in, because I was very impressed. You bought a bunch of James Holden [of] Border Community stuff. I remember it very well, and it's nice to see people who still go out and search and dig for music, as opposed to just going with the flow.
Martin: Yeah, I know, I am always searching for music. You'll probably see from my playlist that I gave you that it's quite eclectic.
Heidi: Oh, I know, it's great!
Martin: Yeah, thank you. Even though I have been making an instrumental album over the last year, it doesn't mean that's all I've been listening to. I don't just listen to techno, because, I am a music lover, always have been, from about the age of ten.
Heidi: Me and you both. There must be some people that you really like feeling at the moment.
Martin: I think that the first track that I've put on the playlist by Andy Stott is really amazing and I know for a fact I love that whole album, that Faith in Strangers album.
Heidi: I know you're completely addicted to instruments and software and synths and all kinds of new gadgets. You're always on the hunt for learning new stuff. If your studio was on fire, what would you grab first? [What] is the one you just take and run?
Martin: [laughs] That was a too tough question. On this instrumental album, the majority of the sounds are created with my Eurorack modular system, which started off as a small box of modules and then have pretty much taken over half the studio. So in the event of a fire I'd love to grab that before [it catches fire], but-
Heidi: -We might need a few people.
Martin: It would probably have been burned down before I got it out before [it catches fire].
Heidi: I wanna ask you about other creative outlets that you like to indulge in: food, wine, are you a good dancer, can you knit a sweater, anything like that? To veer off the musical path for a second...
Martin: Documentary films. I watch documentary films pretty much every night.
Heidi: Really? I have been getting into them a lot recently, as well. Which one is your favourite at the moment?
Martin: One called "Alive Inside". It's about people with Alzheimer's and dementia and people in old people's homes. It's about a guy who goes around with an iPod and music and he is trying to get it into all the old people's homes, because there are all these people who can't remember anything. The moment he puts these headphones on them and he plays the music that they used to know, they suddenly remember. They remember their childhood, and they're singing along, they know all the words. Somehow music gets into the brain in a different way and it animates them.
Heidi: That's wonderful. OK, I'm gonna have to watch that one. I wanted to ask you some other questions that aren't super musical: If you could have a special power for one day, what would you want?
Martin: I would like the power of ultimate justice. I would reap ultimate justice on the world.
Heidi: Oh, that is good. Fierce. I like that. That was good. And: If you could go back to another era, which one would you want to go to? Even forward, it's up to you, forwards [or] backwards.
Martin: I quite like Ray Kurzweil's theory that by 2029 we will have got to the point where we can cure every illness, we can live forever, and we can back ourselves up to computers. So I would go into the future, when we can live forever.
Heidi: OK. I really, honestly thought that you would say "future" for sure. That's good. I like this question: If you could describe your music as an animal, which animal would you pick?
Martin: I'm gonna go with a wolf. Wolves, I find, are lone animals. I mean, they travel in packs, but they seem kind of brooding animals.
Heidi: Nice. I like that. Are you touring with this album? Are you gonna take it on the road?
Martin: No, I can't imagine that it is the sort of thing that lends itself to touring. I'm just quite happy to have it finished and just to get it out. I finished recording it last November. So I have just been itching to get it out since then.
Heidi: I really, really like it. It's beautiful. I'm actually going to be playing Islet after your mix, which is my favourite track of the album. I love it, it's beautiful. So yeah, you brought me this 30-minute mix, and I'd like you to set it up for me and tell everybody a sort of mindset [of] why you chose those tracks, and what you're bringing to the listeners of Radio 1.
Martin: So, I put together a playlist of just things that I've been listening to over the course of the last year, and even up until recently. I didn't really want it to be just all electronic, I didn't want it all instrumental, I wanted it to be kind of all over the place, because that's what I listen to.
Heidi: You wanted it to be your vibe?
Martin: Yeah.
Heidi: Thank you so much for doing this. It is really quite special. I really have been a fan for such a long time. Actually, I have to tell you: when I was younger, my very first slowdance with a boy at my schooldance was to 'Somebody', and it's one of those songs, that, every time I hear it, it just brings me back, and it's also one of those songs that I've memorised every word to. So that's the song that, maybe when I'm old and senile, somebody will put that on my ears and I'll remember!
Martin: [Laughs] Did you marry the boy?
Heidi: No, but I will always remember that time in my life. So, thank you for that!
Martin: Thank you, Heidi.

Martin: Hello, this is Martin Gore, and you're listening to my mix on Radio 1's Residency.
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Offline bongmute

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Re: 2015: Martin Gore's MG
« Reply #8 on: 27 March 2015 - 16:25:42 »
2015-03-27 - Full length 'Europa Hymn' video



Why people write BluRay and not BD for "Blu-ray Disc",
when everybody writes CD for "Compact Disc" and DVD for "Digital Versatile Disc"?
The official and only right abbreviation for "Blu-ray Disc" is BD. Any other writing is wrong.

Offline Angelinda

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Re: 2015: Martin Gore's MG
« Reply #9 on: 02 April 2015 - 01:16:45 »
2015-03-31 - The Interview People (Germany) - Martin Gore interview

[This interview could be bought by websites from this website. However, registered users can download everything for free. So we did not upload this until six months later. Thanks to vk.com/depechemode_news for obtaining this file.]

http://www.theinterviewpeople.com/index.php?id=413&tx_eleoninpdb_list%5Baction%5D=list&tx_eleoninpdb_list%5Bmode%5D=normal&tx_eleoninpdb_list%5Binterest_id%5D=2

CREDITLINE: Peter Reynolds / The Interview People
LENGTH: 4,454 words

Summary: Releasing his 2nd solo-album "MG" in late April, Depeche Mode-mastermind Martin Gore invites us to a rare f2f conversation at the Four Seasons hotel in his beloved Californian hometown of Santa Barbara. Topics of the nearly 40 minute-conversation are his passion for sci-fi movies, instrumental music and soundtracks, his gear packed home studio, his disapproval of EDM, Simon Cowell and modern pop music as well as the current state of affairs with Depeche Mode.

Q: Martin, why another solo album? And why “MG” - referencing “VCMG”, your collaboration with Vince Clarke from 2012?
A: I really decided to make a solo instrumental album because after the “Delta Machine”-project, I had four or five instrumentals left over that we didn’t use because we had too many songs - even for the deluxe edition. So, it was either just discard them or find a home for them. So Christoffer Berg it was initially, who we were working with on the “Delta Machine”-project, said: “Have you thought about just writing a whole instrumental album? I think it could be quite an interesting project.” And I thought: “Mmmm, that is something interesting and something very different.” It’ll be something completely different to the VCMG-project, because that was a pure techno record. And so the more I thought about it, the more I liked the idea of doing something that was purely instrumental but more kind of filmic.
Q: But you spend so much time in the studio there´s got to be lots of stuff in your archives that you haven’t had a chance to release yet, or?
A: There’s not that much stuff, no. When I’m working on even the instrumentals, when I was working on them last year, yeah, sometimes I spend like a couple of weeks working on a track and then decide that I don’t really like it. So, then I do just get rid of it, and that does happen but I don’t have tons of stuff that’s like sitting around in a vault somewhere.
Q: See, I thought: “He’s in the studio like 5 days a week. There’s got to be plenty of stuff”, you know?
A: Yeah, no. I mean there’s 16 tracks on the album, there’s another couple of tracks that we did for extra bonus things - I don’t know exactly even where they’re going to come out, but it was one of those things where I had to like say: “OK, now it’s time to stop.” Because it is fun like creating these instrumental pieces, and I felt like I could have gone on forever doing it, but at some point I’ve got to go back to writing songs.
Q: Is “MG” like pleasing your inner John Williams?
A: (laughs)
Q: …because it’s got something very atmospheric, futuristic and cinematic about it.
A: I realized at an early stage during the making of the album that there was a kind of theme that was kind of futuristic or Sci-Fi going on. And I quite liked that. So you know, I think I’ve kind of like, honed in on that, or homed in on that area.
Q: Are you a big Sci-Fi fan?
A: Not a huge Sci-Fi fan, but of course I like the classics. I mean, I love “Blade Runner”, I love the “Blade Runner”-soundtrack. I really liked the Geoff Barrow album that came out like it must be - it was probably 2013, I think, which was an imaginary Judge Dredd-soundtrack called “Drokk”. And I’ve got a 12 year old son and it’s been quite fun getting him in watching some of the classic Sci-Fi-films. So, I’ve been watching recently things like “Terminator” and “Blade Runner” and “Total Recall”. But yeah, that’s just purely coincidence, that’s nothing to do with the making of the album.
Q: But would that be something for the future: To concentrate on scoring movies at one point?
A: It would have to be a lucky coincidence that the right film came along at the right time. Because the way the band works, we work in generally four year cycles. So, we finish a tour, we usually either take a break or go into doing something like a solo project. And then it’s back to writing and then recording. And then when the album’s released we go on tour. And so the right film would have to come along just at that moment where we’ve finished a tour and then it could possibly work. But if it came along at any of the other points it’s like, yeah, just too difficult to fit it in.
Q: Unless you break that cycle for a change.
A: I suppose. I suppose that could work, but it’s a cycle that we’ve got into that kind of works. I mean, it won’t always be four years. I mean, who knows? The next album may not be out for five years. Maybe it will never come out! You know, there’s never a guarantee of anything.
Q: What’s it like to write without lyrics, especially as you are known to love to play with words? Does that mean you had to come up with even more atmospheric or more visual sounds?
A: It’s obviously something that’s completely different. Because when you’re writing songs with lyrics the most important things are the lyrics and the vocal melody and the vocal. And if you’re not including any of those elements in a piece of music, then it’s a completely different beast, because you’ve got like this area that would have been taken up with the whole vocal that’s blank. And then you’ve just got to like keep people’s interest with other things happening. And I think I said in the press release I’m really aware of the power of words and it’s been something that’s been very important to me over the years, but I’m also really aware of the power of music and instrumental music can be very powerful as well.
Q: In this case the instrumentals are either very harsh or pretty mellow. And they cover the entire emotional spectrum, don´t they? They are all over the place, it seems.
A: One of the things I really liked about doing this was keeping it as diverse as possible. You know, I think there really is a wide range of styles of instrumentals on the record. And maybe there’s one or two that may fit into like a kind of overall general area. But it is very eclectic.
Q: Now, with a track like “Elk” did you have that specific animal in mind or did the title come later, once the track was done?
A: Well, for me there are reasons why I’ve named each track. But they’re not so obvious for other people. And it’s like music in general, really. I think it’s really that one of the great things is like when you listen to the piece, and then you see a title, it just takes you off into like your imagination.
Q: Could you reveal what you had in mind when writing “Blade” for example?
A: Well, I think it’s the same as talking about songs. I just don’t like taking the mystery away, because the reason why I named the songs the way I do, will be ultimately far more banal than someone’s imagination.
Q: And “Europa Hymn”?
A: Well, same thing.
Q: That could be a Kraftwerk title, couldn’t it?
A: (both laugh)
Q: So, as opposed to Mr. Cameron, are you pro-European Union?
A: (laughs) You know, I am pro-European Union.
Q: What about that heavy subwoofer sound in “Trysting”? How did you come up with that?
A: I’m not sure exactly which sound you’re talking about, but does it just come in a few times? Is it just like a bass line that comes in… oh, at the beginning? Yeah, I mean - individual sounds, you know, I can’t really remember exactly how I made every individual sound, but overall I would say that 80% of the sounds came from Eurorack modular system.
Q: So what do you use these days, what does your studio look like? How high tech are you?
A: I still have a lot of old vintage stuff around, but a lot of my studio is taken up with a Eurorack system, which is quite big. And then I have quite a big dotcom system, which is kind of like like Moog format, E-mu. And there’s like quite a few manufacturers that make modules in that format as well.
Q: Are you still looking for old vintage stuff on eBay or has that changed over the years?
A: I think that generally speaking I have most of the old vintage keyboards that I want now. I’m not sort of hunting and hunting for pieces.
Q: Cause that requires a lot of space, doesn't it?
A: It’s true that my studio is really full and at some point I have to, you know, not be looking for big huge old vintage things. You know, I can convince myself that it’s OK to keep buying little modules for my Eurorack system, even though even that’s madness because four or five of them take up quite a bit of space in my rack.
Q: Are you familiar with Devo's studio?
A: No.
Q: They own that green building that looks like a spaceship, near Sunset Plaza in LA. And they’ve got all these old vintage keyboards in the basement, 1930s, 1940s stuff. Like giant machines that are totally out of tune and they just use them to create crazy sounds. (both laugh)
A: Yeah, I’ve never gone that far back. (chuckles)
Q: How come you went straight into the studio after such an extensive tour? Weren't you in need of a proper holiday?
A: Well, I had this idea in my head, and I enjoy going to the studio. That’s one of the things that keeps me motivated. So, as soon as I got back and got over jet lag, then I just felt like going back to work.
Q: With touring being a more laid back and enjoyable experience these days or is it still as exhausting as it used to be?
A: It can be very exhausting. Because we have quite a gruelling schedule I think. We were playing every other day on the tour, for a long period. And we were travelling on the days off. So, by the time you get into your new hotel, it’s like 6 o’clock in the evening and what do you do? Most of the time I just wanted to like stay in, get something to eat in my room and watch a film and go to bed. And then the next day would be a concert. So, when you’re doing that for months and months and months on end, it does get quite tiring.
Q: However, there was no diseases, no cancellations this time, was there?
A: No. But we did have cancellations because the whole Kiev thing kicked off, just as we were about to play there. And unfortunately we had to cancel Istanbul for the second time because there was a truck driver’s strike at the border. So, our trucks couldn’t get into Turkey.
Q: So you were hitting Ukraine in the midst of the revolution?
A: Right at the very beginning of it, when the government snipers had shot people. That was when we were due to go there just a few days later.
Q: And why this sort of like technical drawing for the artwork? What´s that knob for, if that’s a knob at all?
A: Yeah, it like represents a knob from a synthesizer.
Q: Which one would that be?
A: Any - it’s a generic. Generic knob.
Q: So you like to keep it minimal?
A: Yeah, I mean, I like the idea of it being quite indie-looking, the cover.
Q: And why Mute again? Was that an obvious choice for this project?
A: I think it is the obvious label, because we were big Mute fans before we signed to Mute in 1980. And it’s the electronic label - it is THE electronic label. You know, it’s been the one consistent thing - I mean obviously Mute have put out other stuff over the years, but started out as an electronic label and is mainly an electronic label, I would say.
Q: What about Depeche Mode? Are you back at Mute, too?
A: I think we’re, we don’t know what we’re doing at this point yet, because I think we’re once again out of a deal because we only did a one off album deal with Columbia last time. So, we will decide when we have to, I suppose.
Q: Say, what do you make of the whole EDM thing, of superstar DJs filling stadiums right now? How bizarre is that?
A: I find it a little bit weird. (laughs) But there are other things that are weirder I suppose…
Q: How do you mean?
A: In the world, you know, there’s a lot of stuff that goes on that’s just crazy. And the fact that DJs are filling huge stadiums or whatever is a bit weird, but I’ve come to accept it now.
Q: Didn’t you go to see at least one of them?
A: Oh, Deadmau5. I saw Deadmau5 in Santa Barbara a while ago, yeah. That was a while ago now, but yeah, I went with my daughter, yeah.
Q: It´s like electronic music has been taken hostage by the pop world. But maybe that’s just me getting old.
A: (laughs)
Q: So that development doesn't scare you at all?
A: What, DJ’s playing in…
Q: That sort of mainstream DJ-ism?
A: You know, it’s one of those things I haven’t really thought too much about. It doesn’t bother me. I mean, I think the state of pop music in itself is more - you know, I find myself being more and more distanced from…
Q: In the sense that you are missing something new, something innovative?
A: Yeah, I find it very hard - you know, I scour the internet looking for new, interesting music. And I think it’s about time there was something new that came along, something groundbreaking that was almost like a new genre or something. Feels like maybe we’ve run out of genres. (chuckles)
Q: Maybe it’s an age thing, but when people say “there´s this cool new band!”, and you listen to it, 9 out of 10 times it´s: “Jesus, I heard that before - 20 years ago!”
A: (laughs) Yeah!
Q: Like what’s so cool about it? Is it because they have a beard? Nobody’s reinventing the wheel, you know?
A: Yes…
Q: Any idea why that is?
A: I don’t know, it’s one of those things that’s very hard to put your finger on. It’s, you know, have we exhausted music? Have we like tried every interesting avenue? I mean, there’s not that many electronic projects with trombone - we haven’t tried that. But how interesting is it? I don’t know.
Q: You know that D-flat attracts crocodiles?
A: (laughs)
Q: I just saw that on Animal Planet.
A: (laughs)
Q: I was a swamp in the South and they put a brass section on a pier and had them play D flat, and all these crocodiles jumped out the water.
A: And no other note. No, no other notes?
Q: No, just D flat - it’s like their “mating tone”.
A: (laughs)
Q: So all these crocodiles jump out the water and showing off how big they are ´cause they think there is a rivaling male.
A: (laughs)
Q: You grew up with the Bryan Ferrys, the Iggy Pops and the David Bowies of this world - people that were more than just music. They had a vision and an aesthetic. And the last artist who tried that was probably Lady Gaga. But with her there´s something missing, like her music can´t keep up with the rest of the package.
A: Yeah. There’s… I mean, fashion in general has not been a big part of music for a lot of bands - some bands obviously, but for a lot of bands now it’s more “dressed down”. People don’t look like Roxy Music anymore or David Bowie. You know, it’s true Lady Gaga does try (chuckles) but… yeah, that was always something that attracted me.
Q: The visual aspect?
A: Visuals, yeah. I’ve never wanted to go on stage in a pair of jeans and a T-shirt. It’s not very interesting.
Q: Do you know Dieter Bohlen?
A: Mm-hmm…
Q: The guy from Modern Talking. Now he was making fun of your outfit at a German TV-show in the 80s, standing right behind you, thinking you won´t understand him. But you turned around and confronted him in perfect German.
A: (laughs)
Q: “Alles Geschmackssache” – “just a matter of taste”. Did that really happen? Or did he just make that up?
A: I can’t remember - probably. I don’t know, I’ve no idea.
Q: Must have been your black leather phase then. But see, you've chosen an outfit to go with the music, to give it a look. Just like your heroes, really.
A: Yeah, I mean, even on the last tour, you know, even today, I still get my stage clothes made and spend a bit of time and effort doing that with people.
Q: And music wise, what do you listen to these days?
A: Yeah, there’s still… I mean, some of the remixes that I’ve got done for this project are by interesting people. And I asked Andy Stott to do a remix, and I think he’s done a really fantastic job. And Christoffer Berg, who worked on the “Delta Machine”-album with us, did a remix for me and he’s done another really amazing remix.
Q: But there´s hardly any interesting pop artists out there, or?
A: Yeah… I mean, there are some things I like. I mean, maybe I’m going back in time a bit now, but you know EMA? The last EMA album I really liked. But, yeah, no, it’s tough. (chuckles)
Q: Are you glad you didn’t join the Gary Glitter fan club back in the 70s?
A: (laughs) Yeah, yeah.
Q: What made you say “I think somebody should shoot Simon Cowell”?
A: Because I believed it. Still believe it.
Q: His response was quite remarkable, wasn’t it? He called you “weirdo Gore” when to be weird is actually what pop music is all about, isn’t it?
A: (laughs)
Q: So he didn’t get it at all. And that goes back to what we just said - about people that embrace their weirdness and use it creatively.
A: Yes. Well, I mean I’ve got a lot of positive response from that comment. That’s all I would say about it. A lot of people seemed to agree with me. (chuckles)
Q: So we won’t see you on X-Factor any time soon? Even though it’s the biggest thing on TV right now, as far as music is concerned.
A: Yeah. Yes, yeah…
Q: Have you talked to Vince about a second VCMG-album?
A: No, because I decided to this project. And now it’s time for me to start thinking about writing songs again. And it’s not something that I will rule out and say I’ll never do again, but I think it was quite a nice one off project.
Q: Weren't you planning on some sets, too? Did you ever get to do them?
A: We didn’t, no. No. I mean, even with the promotion of this, it’s difficult to know what to do with this project. Cause DJing is not really, doesn’t seem to really fit in with the overall concept of this album.
Q: And if you would book like planetariums?
A (laughs): But it’s - yeah, I mean but I wouldn’t want to just go to a planetarium and put the album on.
Q: Well, you could do sort of a performance thing, couldn't you?
A: I can’t imagine performing live with this album, I think it would be extremely boring. Not that the tracks are boring, but it’s just not very visual, it’s not a visual thing to perform these tracks.
(train sound)
Q: Is there railroads nearby?
A: Yes, very close to here, yeah.
Q: Is that the one that goes down the coast?
A: Yeah, that goes on all through the night, if you stay here. Mm-hmm.
Q: Is that the next thing then - writing for the band?
A: I think that’ll be my next major, yeah, hurdle to cross to get started, yes.
Q: So once this album´s out the window for solo activities is officially closed or is Dave going to release some of his own music, too?
A: Well, the writing process is a long, takes a long time. It’ll probably be, you know, probably take a good year and Dave’s working at the moment with the Soulsavers again.
Q: Any idea how you´re going to approach the next album? Is there a concept or a strategy?
(management: Can we try and keep it to Martin?)
Q: Of course. As we talked about the Dieter Bohlen thing: How good is your German actually?
A: It’s not as good as it used to be, because I just don’t talk it anymore.
Q: But you must have been fluent at one point, or?
A: At one point I was much better because I used to hang out with Germans all the time. I lived in Europe, I lived in Berlin for a while. But that was a while ago now and it’s very, very rusty now.
Q: Is it true you spent time on a farm in Schleswig-Holstein?
A: When I was younger, yeah, on school exchange.
Q: So how was farm life in the northern parts of Germany?
A: I mean, it was fun, I liked going there, yeah.
Q: But you've never been tempted to started a farm over here in the States?
A (chuckles): It’s not my passion.
Q: Could you still speak, if you needed to? Do you understand everything?
A: I mean, I can still speak German, yeah, of course. But I’d just be rusty.
Q: How come you never got a driving license?
A: That was something that never really interested me. And around the time when - I don’t know. ´Cause maybe I should have started learning when I was like 17-18, but I didn’t. And then I moved to London, you know, after living in Berlin I moved to London. You know, in Berlin I didn’t really need to drive. London, didn’t really need to drive. But I think around 1990 I moved out sort of an hour from London into the countryside. If there was time when I maybe I should’ve started driving it would’ve been then, but it was still quite easy - there was local taxi services, there was a train into London that was quicker than driving. So I just never bothered.
Q: And over here? How do you get around?
A: My wife drives. And it’s not that difficult really to… I mean it’s only 10 minutes into town. You know, most days I’m working in the studio. I have a studio assistant who works with me who drives. And if we need to go and pick something up or go and get lunch then he’ll drive.
Q: How do you feel about Berlin these days? In what way has it changed?
A: Well, obviously I lived there when it was just a small little thing in the middle of East Germany. And now I see Berlin as like the - it’s so vibrant, it’s like the capital of Europe. I see it as the capital of Europe.
Q: You mean, for arts or as far as location goes?
A: Every time you go there, there’s constantly like building work going on. It’s like, just seems to be growing and growing. And then the arts - I mean it seems to be the centre for me of electronic music. So much stuff seems to come out of Berlin. Software. It’s like a lot of manufacturers there.
Q: So there’s something happening?
A: Yeah, I think so.
Q: Would you be tempted to go back one day?
A: I think it would be tough now after living here for so long. Just weather wise, you know, even being on tour in Berlin in the winter is like it’s just so cold.
Q: It’s very extreme. Last time you told me that your son is into rock music as well. Does he still have a band or is he approaching a career in music?
A: He’s not approaching a career, because he’s 12. But he’s still in a band, yeah.
Q: What’s your sort of career plan for him, if there is one?
A: He’s 12. I don’t have any plans for him yet.
Q: (chuckles) OK. So, I guess I’ll see you in two or three years, whenever the next Depeche Mode album is done.
A: OK.
Q: Any idea what sort of modules or sounds you want to try?
A: No, because I haven’t even thought about a concept or anything yet. So, I think that’s something that will hopefully come to some kind of fruition over the next 6 months to a year.
Q: Well, looking forward to it. If you change your mind about performing “MG”, let me know.
A: (chuckles) Well, I think that because it is quite filmic that there is maybe a chance that people will use it for that kind of thing. That maybe there’ll be some good syncs and things like that for it.
Q: Just like Moby, who sold the entire “Play”-album off to advertisement and film? That was a genius thing to do.
A: Yeah.
Q: So is your working day done?
A: No, I’ve got one more.
Q: Are you actually aware of Helene Fischer? She has beaten you at the Echo Awards 2014 for “album of the year”…
A: Yeah, I mean I’ve heard the name, I mean - I think she has, she has a lot of dancers with her, doesn’t she, as well?
Q: She’s like biggest thing in Germany right now. It’s Schlager.
A: But she has a lot of dancers, as well, doesn’t she?
Q: It’s very choreographed, and extremely successful.
A: Yeah, yeah.
Q: Thank you very much.
A: Thank you.



2015-04-01 - Clash Music (UK) - Europa Hymn: Martin Gore Interviewed

http://www.clashmusic.com/features/europa-hymn-martin-gore-interviewed

Europa Hymn: Martin Gore Interviewed
Depeche Mode on his enthralling solo album...

Let's first dispel one big myth about Depeche Mode's Martin Gore, who is on the cusp of releasing a surprise instrumental electronic album, simply titled 'MG': despite having written some of the darkest, most introspective and searching songs of the past thirty-odd years, he's not a grumpy, miserable soul at all.

"I think that there are quite a few people who think that," he sighs from his home in Santa Barbara, suggesting he gets accused of that way too often. With his soft Essex accent - more Theydon Bois than Basildon these days - he's just about the mostly gently-spoken member of a major rock band you'll ever come across, with absolutely no trace of misery about him in the slightest.

Gore also finds it hard to know where the notion that his songwriting is universally bleak comes from. "It's difficult for me to put my finger on that essence," he laughs, somewhat flummoxed. "I think it's just something that comes out when I try to write something. I don't even think all of the tracks on 'MG' are dark. You couldn't say that. Maybe it's something about the chord changes, but quite a few of the tracks on this aren't really about chord changes."

As if to underline the point that he's not a born misanthrope, Gore offers up this a timely insight. "I watched a feel-good film last night," he says, conjuring up improbable images of sweatpant-wearing Gore settling down with some popcorn and a good rom-com. "It's called 'Alive Inside', and it's about people with Alzheimer's and dementia and a guy's quest to bring music to them."

"It's amazing," he enthuses. "They put a pair of headphones on people and they're told by family members what kind of music they used to listen to, and they just immediately come to life and become lucid when they hear the music, just through that connection to the music. Apparently music has a way of getting into different parts of the brain."

Talk of movies brings us quickly round to 'MG', Gore's new album. Instead of crafting a third volume of his sporadic 'Counterfeit' series of covers albums, Gore decided to create an entirely instrumental electronic record. His vision was to craft an album that could be heard as a soundtrack to an imaginary movie. It's something that's been done many, many times over by others, but it never ceases to be the source of inspiration for electronic musicians, even if the results are often questionable.

Consisting of sixteen tracks, Gore's 'MG' bears some similarities - as a hypothetical soundtrack - with Cliff Martinez's actual score for 'Drive', containing lots of dark energy but also levity in melodies that tie this effortlessly back to Gore's work in Depeche Mode.

Depeche Mode were, at least initially, every bit the classic 1981 synth pop band; tidy, good-looking, well-groomed and capable of delivering a form of captivating electronic music that spoke to audiences in a way that made other contemporary bands seem a bit of a novelty. As the 1980s progressed, the Mode sound became fuller, richer, more considered and more stadium-friendly, culminating in 1990's seminal 'Violator', by which time they were justifiably one of the world's biggest bands.

But they were also by then far from a pure electronic band: 'Personal Jesus' was the band's first foray into a form of guitar-driven music that would become more pronounced on 1993's mind-meltingly unexpected 'Songs Of Faith And Devotion'.

Guitars have become such a prominent feature of Depeche Mode's albums that to hear Gore stepping away from his bluesy riffs to craft purely electronic music again is both a welcome surprise but also something of a shock; over time it's felt like the Mode have become a bit embarrassed by their roots, but Gore is keen to refute this notion. "I do go into the studio most days of the week and do something at least," he says. "It doesn't always necessarily end in a track or even the germ of a track, or half a track. I'll just go in there and play with a synth and make a few sounds. It's what I enjoy doing."

"I do like instrumental music, and I do like instrumental albums," he continues. "One of my favourite albums of all time is 'Selected Ambient Works' by Aphex Twin - I like the first volume more, and I especially like the more atmospheric tracks on that album. I also really love the Geoff Barrow 'Drokk' album. That was meant to be a very, very sci-fi soundtrack, but also wasn't really a soundtrack."

If deciding not to deliver a third 'Counterfeit' album comes as a surprise, so does the fact that 'MG' isn't a techno album. In the wake of 'Ssss', the 2012 minimal techno album with his old mucker and fellow Depeche Mode founder Vince Clarke as VCMG (from whence he decided to stick with his initials for this release), or his DJ sets, or the pre-show music that Gore has selected for Mode concerts, it would have been too easy for Gore to go on autopilot and deliver a straightforward 4/4 album.

Aside from just one track, though, 'MG' is nothing of the sort. It sees Gore switching from brooding, melodic electronica to dirty, stalking pieces; consequently, its biggest success is manipulating the listener by not operating in any preconceived way or allowing tracks to become connected stylistically. "I think it is very different from track to track," he reflects. "Maybe there are some similarities and there are maybe one or two tracks that you could say are in a similar vein, but they're not completely the same style. 'Brink' is the closest you get to being able to a kind of techno, but after that it gets quite hard to pigeonhole each track. I think it's nice to keep people on their toes and also to keep me on my toes, by doing different things."

'MG's other remarkable achievement is that it sounds exactly like how you expect a Martin Gore album to sound, only without the lyrics or singing that make his contribution to Depeche Mode so immediately arresting and instantly recognisable. "Music is important," he says. "Words are important but music is important too. I did approach this record more as a purist. I just couldn't imagine putting a guitar on it. That just didn't seem right. And a few people have asked me why I didn't put vocals on it, but again it just wasn't right for this project."

Instrumental music itself is not exactly alien in the Depeche Mode back catalogue. "There have been a lot of instrumentals released by the band over the years, going right back to the first album, 'Speak & Spell'," he recalls. "The track on the first album, 'Big Muff', was an uptempo, almost dance piece, and on the second album the instrumental was quite uptempo as well. We've done a lot of slow stuff too. In the early 1990s our Japanese label at the time released a boxset that included a whole disc of our instrumentals."

"Back in the day when singles came out there was quite often an instrumental as a B-side or when it got to CD as an extra track," he explains. "Every album up until the last one pretty much had some instrumental piece on it, whether it was an actual instrumental or an interlude."

The tracks that appear on 'MG', however, arose first and foremost from a much simpler place. "I think it's always nice to do something different and keep it interesting for yourself and for other people. When I was writing for the 'Delta Machine' project I had about four or five instrumentals written which we didn't use. We end up with such a huge batch of songs these days because Dave Gahan's now writing songs as well. We put quite a few tracks on the deluxe edition of the album, but even after that there were still tracks left over."

"So I had all these instrumentals without a home and that gave me the idea to continue in that vein and complete a whole instrumental album. I just thought that was a good concept, and something new for me, something I've never done."

Talk of Depeche Mode's last album inevitably brings us round to plans for the next stadium-bothering record from Gore's band, and in particular whether 'MG' offers any clues as to what a future Mode record might sound like. "We haven't even got as far as talking about any kind of concept or sound for the next Depeche Mode album," he insists, with one fell swoop crushing the dreams of legions of fans. "The most that we've done is talked to each other and talked to our manager about the possibility of a new Depeche Mode album, which we are all in favour of, but there's no timeline or anything. It's way too early to know anything about it just yet."

In the meantime, anyone looking to get their fix of the quintessential essence of Depeche Mode will just have to make do with the sixteen unpredictable tracks that comprise 'MG'. It may well be a venture into the unknown for Martin Gore, but for seasoned listeners it's just about the closest you'll get to looking inside at what makes him tick.

Words: Mat Smith
Photo Credit: Travis Shinn
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Offline Angelinda

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Re: 2015: Martin Gore's MG
« Reply #10 on: 08 April 2015 - 00:22:51 »
2015-04-02 - Depechemode.de (Germany) - Gewinnt Karten für exklusives “MG”-Prelistening-Event

http://www.depechemode.de/martin-gore-gewinnt-karten-fuer-exklusives-mg-prelistening-event-36940/

In Berlin
Martin Gore: Gewinnt Karten für exklusives “MG”-Prelistening-Event

In gut drei Wochen erscheint das neue Martin-Gore-Album “MG”, das wir bereits mit Spannung erwarten. Einige Fans erhalten schon vorher die Möglichkeit, das Album zu hören – bei einem exklusiven MG Prelistening Event in Berlin. Wir verlosen 60 Tickets.

Für sein erstes Soloalbum seit zwölf Jahren Jahren hat Martin Gore 16 elektronische Instrumentalstücke in im hauseigenem Studio in Santa Barbara eingespielt. Am 15. April 2015 stellt MUTE das neueste Werk des Depeche-Mode-Songwriters in Berlin vor. Neben Medienvertretern werden insgesamt 100 Fans Gelegenheit haben, an der exklusiven Veranstaltung – es gibt hier keine Tickets zu kaufen! – teilzunehmen.

Martin Gore wird nicht persönlich anwesend sein. Dafür bietet euch die international bekannte Gruppe Transforma ein außergewöhnliches Rahmenprogramm: Die Künstler performen live zur Musik von MG.

Verlosung
Wir verlosen 50 Teilnehmerplätze für das Event. Um zu gewinnen, fülle bitte das Gewinnspielformular aus. Einsendeschluss ist Mittwoch, der 8. April 2015.
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Offline Angelinda

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Re: 2015: Martin Gore's MG
« Reply #11 on: 08 April 2015 - 00:24:54 »
2015-04-06 - Rolling Stone №127 (Russia) - Martin Gore interview

http://vk.com/depechemode_news?w=wall-52768949_4242

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Offline Angelinda

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Re: 2015: Martin Gore's MG
« Reply #12 on: 08 April 2015 - 00:26:28 »
2015-04-07 - Vice (France) - Martin Gore s'amuse toujours comme un gamin

http://noisey.vice.com/fr/blog/martin-gore-interview

Martin Gore s'amuse toujours comme un gamin
Interviews
Par Albert Potiron

Depeche Mode, c'est lui. Avant d'entrouvrir frileusement la porte à son Dave Gahan de chanteur, Martin Gore (ou Martin L. Gore, pour les esthètes de la consonne) a composé seul, pendant 25 ans, les tubes du groupe de Basildon. Et vu le nombre insensés de strikes thermonucléaires que Depeche Mode a enchaîné, on comprendra aisément que le type ne soit pas simplement considéré comme un songwriter de génie. Ce mec est une force de la nature. Une machine à hymnes générationnels. Malgré son statut de demi-Dieu pop, Martin Gore reste paradoxalement un mystère. Calme, discret, préférant laisser toute la lumière sur Gahan, le cerveau du seul groupe des années 80 encore capable de remplir n'importe quel stade du monde en quelques minutes sort aujourd'hui son premier véritable album solo, MG (ses précédents efforts, Counterfeit 1 et 2, n'étant composés que de reprises -sublimes, certes), sur Mute. On en a profité pour aller passer un moment avec lui et lui poser quelques questions sur Beethoven, Aphex Twin et, forcément, Depeche Mode.


Noisey : MG est totalement anti-commercial. Il est entièrement instrumental, presque abstrait par moments. Pourquoi avoir choisi cette direction ?
Martin Gore : J'avais 4 ou 5 morceaux écrits pendant l'enregistrement de Delta Machine, le dernier LP de Depeche Mode. Des instrumentaux. On avait tellement de morceaux pour ce projet qu'on ne les avait pas utilisés. Je me suis dit que je devrais peut-être continuer à écrire des morceaux de ce genre là, jusqu'à pouvoir en faire un album complet. J'aimais beaucoup cette idée, car c'était quelque chose de nouveau pour moi. C'était un truc que je n'avais jamais fait avant et qui pouvait, de fait, surprendre pas mal de monde.

Bizarrement, c'est ton premier vrai disque en solo, les deux précédents étant uniquement constitués de reprises. Pourquoi avoir choisi de faire ce disque maintenant ? Tu devais avoir de nombreux morceaux en stock de puis toutes ces années.
 Non, pas vraiment. Et puis, jusqu'ici, sortir un album solo avec des morceaux à moi aurait provoqué une sorte de conflit d'intérêt. Tu sais, je ne suis pas un songwriter très prolifique. Et j'ai toujours considéré que ce serait bizarre de sortir un album solo, alors que je suis le compositeur principal du groupe. Je crois que ça aurait créé des tensions dans le groupe. Les autres se seraient dit « Pourquoi garde-t-il ces morceaux pour lui ? Pourquoi ne les enregistrons-nous pas avec Depeche Mode ? ». C'est pour ça que je n'ai, jusqu'ici, sorti que des disques de reprises. En plus du fait que l'exercice me plaisait, bien évidemment.

Vu que tu n'utilises pas ta voix, on reste sur quelque chose d'encore assez éloigné de Depeche Mode, ceci dit.
 Le conflit d'intérêt aurait été plus fort si j'avais écrit des morceaux avec des paroles. On les aurait forcément comparés aux morceaux enregistrés avec le groupe. Avec des instrumentaux, c'est complètement différent. J'ai aussi voulu conserver sur cet album quelque chose de très pur, de très électronique. Et je n'ai à aucun moment envisagé de mettre des guitares, des batteries ou des voix dessus. Je voulais faire un disque complètement synthétique et électronique.

Tu aurais pu le faire bien plus tôt. Dave Gahan sort des albums solo depuis 2003, lui.
 Je n'ai jamais voulu piquer des instrumentaux prévus pour le groupe et les garder pour moi. De toute façon, je n'avais pas assez de morceaux. Tu sais, j'aime l'idée d'album. J'ai grandi à une époque où un album était vu comme une oeuvre d'art. J'aime cette idée de concept, de mener le travail jusqu'à son terme, de véritable album pensé comme tel, de A à Z.

L'hymne européen, c'est « Ode à la joie », le dernier mouvement de la 9ème symphonie de Ludwig Van Beethoven...
 Je n'ai jamais entendu parler de lui [Rires]

...Pourquoi ce titre « European Hymn », qui est le premier single de l'album ?
 Je ne veux pas trop rentrer dans les détails et expliquer pourquoi j'ai donné tel titre à tel ou tel morceau. Je pense que les gens doivent utiliser leur imagination. La seule chose que je dirais à propos de ce morceau, c'est que je pense que l'Europe a besoin d'un nouvel hymne. Quelque chose de moins évident que l'hymne actuel.

Comment conserve-t-on cette fraîcheur après 35 ans passés dans l'industrie musicale ?
 La passion. Je suis aussi passionné qu'à l'âge de 10 ans, quand j'ai découvert la collection de disques de rock'n'roll de ma mère. Je n'en croyais pas mes yeux. Tous ces disques, que j'écoutais assis dans ma chambre sur un lecteur mono, c'était magique. Et je ressens ça chaque jour quand je me rends en studio. La différence, c'est que j'ai maintenant énormément d'équipement pour m'amuser, créer des sons... Je ne fais rien pour conserver cette fraîcheur, c'est en moi depuis tout ce temps. Et en dehors de la musique, je n'ai pas de centres d'intérêts. A part peut-être regarder des documentaires. J'adore ça, mater des documentaires.

Tu écoutes encore beaucoup de musique ? De nouveaux groupes ?
 Oui, j'écoute toujours autant de musique. Je cherche pas mal de choses sur internet, et je continue à écouter en vinyle les trucs que j'aime. Hum...J'ai beaucoup aimé Faith In Strangers d'Andy Stott, par exemple. C'est pour ça que je lui ai demandé un remix de « European Hymn » qui sera disponible après la sortie de l'album. J'aime beaucoup le dernier Diamond Version sorti il y a deux ans. Spécialement « The Blank Action », le morceau avec Leslie Winer.

Tu penses quoi d'Aphex Twin ?
 C'est étrange que tu me poses cette question. Les deux volumes des Selected Ambient Works figurent parmi mes albums favoris de tous les temps. Je les adore. Ce que je vais dire sonnera sûrement comme un sacrilège, mais je n'ai pas autant aimé son dernier album. C'est l'opinion la plus honnête que je puisse te donner, même si j'adore beaucoup des morceaux qu'il a produits depuis ses débuts.

Qu'est-ce que tu as utilisé comme matériel sur cet album purement électronique ?
 La plupart des sons, je dirais 70 ou 80 %, ont été conçus avec un Eurorack Modular System. On vit vraiment une période très intéressante, car il y a énormément de systèmes modulaires disponibles. Et plein de fabricants différents. Chaque semaine, chaque mois, de nouveaux appareils sortent et si tu n'es pas attentif aux sorties pendant quelques jours, tu peux rater quelque chose. Ce qui est très excitant, c'est que ces instruments sont une grande source d'inspiration. Pour le reste de MG, j'ai utilisé du matériel vintage.

Ça fait quoi d'être considéré comme une légende de la musique pop ?
 J'en sais rien, c'est vraiment difficile de répondre à cette question. Et ce n'est certainement pas à moi d'y répondre. Je ne me vois évidemment pas comme une légende, en tout cas certainement pas comme des gens qui ont énormément compté pour moi plus jeune, comme Kraftwerk par exemple. J'aime faire de la musique. C'est tout. Le reste...

Tu comptes lire les articles et critiques qui sortiront sur ce disque solo ?
 Oui, je le ferai. Je n'en ai pas encore vu beaucoup, mais c'est encore un peu tôt. Je ne suis pas trop inquiet. La plupart des journalistes qui m'ont parlé m'ont dit qu'ils avaient vraiment aimé le disque, ce qui est toujours plutôt bon signe.

C'est Q qui s'occupe du mixage de l'album. Pourquoi ce choix ?
 Avec Vince (Clark, membre fondateur de Depeche Mode, avec qui Martin Gore a enregistré un album il y a quelques temps sous le nom VCMG), on avait été très impressionné par le résultat de son travail sur VCMG. Même si MG n'est pas un album techno, j'ai rapidement pensé que ce serait l'homme idéal pour le mixer. Il était disponible et a accepté. C'est un maître dans l'art d'écouter les démos, de les disséquer. Bien sûr, elles contiennent déjà de nombreux sons, mais il sait les extraire, les travailler, et les faire sonner tellement mieux en leur donnant une réelle profondeur et une vraie puissance. Il rend l'étape du mixage totalement magique.

Selon toi, quel(s) morceaux(x) de Depeche Mode ont le mieux resisté à l'épreuve du temps ?
 C'est vraiment une question difficile. Je ne sais même pas quel est mon morceau préféré de Depeche Mode. J'ai pourtant souvent essayé de répondre à cette question. Vraiment difficile...Mais je crois que les morceaux de Violator tiennent plutôt bien le coup. Ça sonne toujours aussi frais aujourd'hui.

A ses débuts, Depeche Mode était considéré comme un groupe de garçons coiffeurs à cause de vos coupes de cheveux, disons, discutables. Tu n'as jamais eu envie d'en changer ?
 Un vieux chien n'apprend pas facilement de nouveaux tours, tu sais. [Rires]

On ne peut pas se quitter sans que je te demande si un nouvel album de Depeche Mode est prévu...
 On n'a rien de planifié, donc, non, il n'y a rien de prévu là tout de suite. Mais je vais bientôt recommencer à écrire des morceaux, et quand j'en aurai suffisamment, et que Dave aussi en aura de son côté, je suppose qu'on en parlera ensemble. Mais pour l'instant, tout cela reste très abstrait.
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Offline Angelinda

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Re: 2015: Martin Gore's MG
« Reply #13 on: 12 April 2015 - 00:20:21 »
2015-04-07 - M24 (Russia) - Лидер Depeche Mode Мартин Гор

http://www.m24.ru/articles/70435

Лидер Depeche Mode Мартин Гор: "Я делаю служебную музыку к воображаемому фильму

27 апреля выходит сольный альбом клавишника, гитариста, автора большинства песен Depeche Mode Мартина Гора. Корреспондент M24.ru Артем Липатов позвонил Мартину Гору в Санта-Барбару, чтобы узнать подробности нового релиза.

Новый альбом лаконично назван инициалами автора – MG; уже обнародован один из 16 треков – Europa Hymn. Это не первая сольная работа Гора. На его счету – миниальбом Counterfeit e.p. (1989) и альбом Counterfeit2 (2003); оба состояли из серьезно переработанных песен самых разных авторов.

Также в послужном списке Гора – сотрудничество с сооснователем Depeche Mode и участником поп-дуэта Erasure Винсом Кларком в рамках совместного проекта, техно-дуэта VCMG. Однако инструментальные работы ранее создавались музыкантом лишь в рамках Depeche Mode (они были изданы в качестве одного из дисков бокс-сета Depeche Mode, выходившего только в Японии). MG – первый полноразмерный альбом Гора в этом жанре.

– Скажите сразу, мистер Гор – почему альбом оказался инструментальным?

– На самом деле я давно лелеял мысль о том, чтобы записать альбом без слов. Я люблю инструментальную музыку еще со времен нашей первой с Винсом и Эдди группы Composition Of Sound и до сих пор слушаю инструментальные альбомы, я люблю эмбиент. А тут вышло так, что от альбома Delta Machine осталось несколько инструментальных пьес, которые казались мне вполне достойными, но при этом места своего в альбоме не нашли. И после напряженнейшего тура с Depeche Mode я вспомнил о них.

Оказалось, что я дико устал от песен, да и вообще от слов. И я отправился с этими "потерянными темами" в студию. Когда в студии только ты, синтезаторы и звук и главный судья – ты сам, это совершенно прекрасно. Так, собственно, альбом и сложился.

– Достаточно неожиданно, надо сказать. От вас наверняка ждали третьего Counterfeit – ну или чего-то вроде того, что вы сделали с Винсом Кларком…

– Ну, элементы техно в новом альбоме есть, но только элементы. А потом, я это уже делал – а вот инструментального альбома у меня не было. К тому же меня часто превратно воспринимают как завзятого, лихого песенника, каковым я не являюсь. Иногда мне приходится корпеть пару-тройку недель над одной песней, чтобы довести ее до приличного состояния.

– А помимо нереализованных тем и каникул после тура была ли еще какая-то сверхидея, когда вы начали работу над MG?

– После 35 лет постоянной работы с группой может же у человека возникнуть момент, когда он хочет сделать только то, что хочется ему одному, не правда ли? Вот у меня так и вышло. Вы знаете, я ведь до сих пор с большим энтузиазмом отношусь ко всему, что связано с электронной музыкой, слежу в сети практически за всеми новинками жанра. К тому же, как вы, возможно, знаете, я временами диджействую – не сказать, что прямо-таки часто, но временами.

Правда, как диджей я играю преимущественно техно. Но слушаю я более разнообразную музыку. Так вот, я хотел соответствовать собственной идее альбома; он должен был стать – и стал, как мне кажется, чем-то вроде саундтрека к научно-фантастическому фильму. Но называть его так я бы все-таки не стал, это нечто большее, чем служебная музыка – даже к воображаемому фильму.

– Вы будете гастролировать с новым альбомом?

– Нет, таких планов у меня нет. Это исключительно студийная работа. Я даже и представить себе не могу, как это оформить сценически.

– Что вам как музыканту больше нравиться – выступать на сцене или работать в студии?

– Это две совершенно разные вещи, и приносят они разные результаты. В студии у тебя максимально высока творческая концентрация, там происходит процесс создания музыки. На сцене же, особенно если речь идет о затяжном туре, творчество сведено к минимуму – ты просто играешь раз за разом программу концерта. Это, конечно, своего рода рутина. Но, безусловно, концерты приносят ни с чем не сравнимое чувство энергетического обмена с публикой.

Кто бы что ни говорил, музыканту необходимо это – ощущать реакцию на свое творчество непосредственно, напрямую. И оба эти компонента дополняют, подпитывают друг друга. Так что у меня тут нет особых предпочтений.

– Известно, что в самом начале творческого пути вы работали в банке…

– Это было недолго, всего полгода. А почему вы спрашиваете?

– Мой сын – музыкант, и как-то он сказал мне: "как хорошо, что ты пишешь о музыке, потому что мои ровесники-музыканты постоянно слышат от родителей и родственников: брось эту ерунду, займись настоящим делом..." Вам тоже так говорили?

– Ничего не меняется, абсолютно ничего не меняется в этом мире! Не могу сказать, что у меня было точь-в-точь так, но моя мама была сильно обеспокоена тем, что работа и первые гастроли сильно мешали друг другу. Мы ездили из Бэзилдона на гастроли в Лондон и другие города. Бывало, концерты затягивались, а после них случались посиделки, ну и сами понимаете, что с утра в банке я был совершенно никакой. А уйти я не мог – на мне висел кредит, взятый на мой первый синтезатор. Но как только я все выплатил, тут же ушел из банка и ни секунды об этом не жалел. Работа была дрянная, что говорить.

– Скажите, а кто был вашим героем в ту пору, на кого вы ориентировались на раннем этапе?

– Мы все совершенно боготворили Kraftwerk. Они как будто открыли нам глаза, открыли дверь в иные миры. Среди ровесников и коллег я всегда восхищался Гэри Ньюменом и Orchestra Manoeuvres In The Dark. Среди тех, кем я восхищался, почти не было рок-героев, если вы об этом — мы почти не обращали внимания на такую музыку. Как только я обзавелся тем самым синтезатором, я окончательно почувствовал себя частью этого нового электронного мира. Ну и, конечно, со временем я расширил свои горизонты и понял, что играть на гитаре тоже здорово. И, кстати говоря, работая над MG я не раз вспоминал те времена.

– Скажите, а есть у вас какие-то увлечения помимо вашего основного занятия?

– Я полюбил документальное и научно-популярное кино. Смотрю его практически каждый день.

Напоследок задам традиционный вопрос: когда ждать нового альбома Depeche Mode?

– На это я отвечу с легкостью: мы работаем уже давно и исходя из четырехлетнего цикла релизов, следующий альбом стоит ждать в 2017 году. Честно говоря, я с нетерпением жду момента, когда снова начну писать песни. Соскучился я по ним.

Артем Липатов


N.B.: A fan named Natasha Selezneva has translated this interview to English here: http://depechemodequest.tumblr.com/post/115755583670/day61-7-april-alright-children-its-time-for-me.

Quote
Martin Gore - keyboardist, guitarist, songwriter of Depeche Mode releases his solo album on April 27. M24.ru journalist Artem Lipatov called Martin Gore in Santa Barbara to find out the details of the new release.
The new album is succinctly called ‘MG’, the author’s initials; and one of the 16 tracks - ‘Europa Hymn’ - is already published. This is not the first solo work for Gore. His EP Counterfeit (1989), and LP  Counterfeit2 (2003) both consisted of rearranged songs by various authors.
Also on his list is collaboration with the co-founder of Depeche Mode and party pop duo Erasure Vince Clarke (techno duo VCMG). However, before that instrumental tracks were previously created by the musician only as a part of Depeche Mode (they were published on one CD as a part of the box-set, released only in Japan). MG – is the first full-length album in this genre for Martin.

- First of all, Mr. Gore, why did the album turn out to be completely instrumental?
- As a matter of fact, I’ve cherished the idea of recording an album without words for a long time. I like instrumental music since our first band Composition Of Sound, and I still listen to instrumental albums, I love ambient. And then a few instrumental pieces left out from Delta Machine, which seemed to me quite decent, but didn’t find its place on the album, came up. I remembered about them after an intense tour with Depeche Mode.
It turned out that I was incredibly tired of songs, and indeed from the words. And I went with these “lost themes” to the studio. When you’re alone in the studio, one on one with synthesizers and sound, and you are the only judge, it’s absolutely great. So, that’s how the album was composed.

- Surprisingly enough, I must say. You probably were expected to release the third Counterfeit - or something like what you did with Vince Clarke…
- Well, there are techno elements on the new album, but only elements. Plus, I’ve done something like that before – but not an instrumental album. In addition, I often wrongly perceived as inveterate, dashing songwriter, which I am not. Sometimes I have to sweat a couple of weeks on a single song to make it sound decent.

- Is there any other, greater, idea behind MG?
- After 35 years of non-stop work in a band, one might eventually want to do something that only he wants, right? That’s happened to me. You know, I’m still very enthusiastic about everything in connection with electronic music; I’m in the loop of almost everything new of the genre. Besides, as you may know, I sometimes DJ, can’t say ‘often’, but sometimes.
However, as a DJ, I play mostly techno. But I listen to a variety of music. So, I wanted to fit the idea of the album; it was supposed to be - and has become, I think, something like a soundtrack to the sci-fi movie. But still I wouldn’t call it that way; it is something more than some ost - even for an imaginary film.

- Will you tour with the new album?
- No, I don’t have any plans for that. It’s a studio work only. I can’t even imagine how to perform this music on stage.

- What do you, as a musician, like better - perform on stage or work in the studio?
- These are two completely different things, and they bring different results. In the studio, you have the highest concentration of creativity; there is a process of creating music. On stage however, especially if we are talking about a long tour, creativity is minimized - you just play the setlist over and over again. This, of course, is a routine, kind of. But, of course, concerts bring an amazing feeling of energy exchange with the audience, nothing compares to that.
…Musicians need it - to feel the reaction to their art directly. And both of these aspects complement each other. So I’ve got no particular preference.

- It is known that at the beginning of your creative career you’ve worked in a bank …
- Not for long, only six months. Why do you ask?

- My son is a musician, and he once told me, “It’s good that you’re writing about music, because my peers-musicians constantly hear from parents and relatives ‘just drop this already, find a real career…’, stuff like that. Have you ever been told the same, too?
- Nothing changes, absolutely nothing has changed in this world! I can’t say it I was exactly like that for me, but my mom was very concerned about the fact that my first tours strongly interfered with my work. We went on tours from Basildon to London and other cities. Sometimes, concerts would be delayed and some gatherings would occur afterwards, well, you know, so in the morning at the bank I was an absolute zero. And I couldn’t get away - I had a loan for my first synthesizer to pay off. But as soon as I paid it, I left the bank immediately, and did not regret it for a second. The work, after all, was crappy, needless to say.

- Tell me, who was your hero at the time? Who used to inspire you?
- All of us absolutely adored Kraftwerk. They seemed to have opened our eyes, opened the door to other worlds. Among peers and colleagues, I have always admired Gary Newman and Orchestra Manoeuvres In The Dark. Among those whom I admired, there was almost none of the rock-heroes, if that’s what you mean, we hardly paid any attention to that kind of music. As soon as I got that synthesizer, I finally felt like a part of this new electronic world. And, of course, over time, I expanded my horizons and I realized that playing the guitar is great, too. And by the way, I often thought about those days while working on MG .

- Tell me, do you have any hobbies besides your main occupation?
- I’m fascinated by documentary and non-fiction cinema. I watch this kind of movies almost every day.

Finally, traditional question: when will the new Depeche Mode album be released?
- I can answer easily to this one: we have been working for a long time, and based on the four-year release cycle, the next album is expected in 2017. Frankly, I’m looking forward to the moment when I’ll start writing songs again. I miss doing that.

Artem Lipatov
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Offline Angelinda

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Re: 2015: Martin Gore's MG
« Reply #14 on: 12 April 2015 - 00:25:52 »
2015-04-07 - The Quietus (UK) - The Bottom Line: Martin Gore Interviewed

http://thequietus.com/articles/17588-martin-gore-depeche-mode-interview

The Bottom Line: Martin Gore Interviewed
Ned Raggett

Ned Raggett speaks to Martin Gore on the eve of the release of MG his first solo album of original material

Theoretically, Martin Gore doesn't have to do anything but relax. Depeche Mode have comfortably ascended and settled into the realm of occasionally recording and touring arena-level act, now into something like a third generation of fans or more. He could just chill in his Santa Barbara home each night and ponder the fates. But in much the same way as his bandmate Dave Gahan, there's always something else to try musically, and over the years that's included covers collections, DJing and, last time Depeche went on break, a crackling collection of aggressive techno, VCMG, done with Depeche's original founder Vince Clarke.

On MG, Gore's first full album of solo originals, he takes another slightly unexpected turn, eschewing VCMG's hyperactive blast for moodier, shorter pieces. Like VCMG it's all instrumental, his familiar vibrato that underscores the band's emotional extremes completely absent, but putting the focus entirely on the music brings out a more underrated element to his work. It's often been the stereotype that Gore creates Depeche's music but the band or its producers flesh it out in a specific form that hearing so many carefully arranged pieces here immediately call to mind the many interludes and short bridge pieces that have appeared on a number of the band's albums, not to mention any number of wholly instrumental B-sides and bonus tracks. And yet it's not just simply Depeche redux, but its own enjoyable, self-contained listen, less bridging gaps than making its own distinct mark, all while showcasing Gore's overarching love of a direct hook.

Reached by phone, Gore sounded at once effortlessly polite and quietly amused, his familiar laugh from any number of films and interviews always present while often pausing to search for the best words. Speaking as a long time Depeche and Gore fan, I had to admit - it was a total, unalloyed treat.

This is something I've just noticed as a listener: it seems to be a pattern of about four years or so between Depeche albums, and then the solo projects emerge in the time between. So I was almost not surprised when I heard word of MG coming out. Is there any sort of actual plan at work, or to things just happen as they do?

Martin Gore: Boy, it's true that were are on a kind of four-year cycle, and it's been happening like that for a while now. You know, we finish a tour, usually, and then there's either a break period or a time when we start thinking about doing something in a solo context, and then there's getting back to writing for the band, and then there's the recording for the band, and then after the release, we go on a tour, and that usually takes up the four years. That's just the way it is these days. It's difficult — I don't think we particularly want to speed that process up, because we all have families, and I think you need that kind of break anyway, if you're going to keep up any kind of quality control.

First your deejaying stints, then VCMG, and now this: has it been the idea that you sort of felt with the solo work that you thought, "Okay, I've done the song side of it (with the Counterfeit covers collections), now it's more exploring the textures, the music?" Or is it even that conscious?

MG: I think that it wasn't that conscious. It was more the fact that I had five — I think there was like four or five tracks that I'd written during the songwriting period for Delta Machine, and we decided not to use them, because we had way too many songs, even the deluxe edition. So I just had them sitting there, and I didn't want them to go to waste, and I got thinking that maybe it's not such a bad idea for me to think about a solo instrumental album. The more I thought about that, the more I liked the idea, because it was something new and different, something I'd never done before. I did the project with Vince; that was very, very different. That was purely a techno album where this is kind of atmospheric and filmic.

That leads into my next question: in the press release, you mentioned that, talking about the idea of soundtracks. The images in my head for a song like 'Spiral' are almost modern buildings or futuristic buildings or strange things in the shadows. Do you have preferred images in mind, or is it something more?

MG: I think that after I had a few tracks written, it was more that they fit into this kind of sci fi realm for me, and I quite liked that kind of template. And I think I had that in mind when I then carried on writing for the rest of the album.

What were the initial songs that were recorded, and did they stay that way? Or did you go back and revisit?

MG: The songs that were written during Delta Machine were 'Elk', 'Brink', 'Featherlight' and 'Elk' I didn't really change too much, because it was very simple, and just worked. But 'Featherlight' I worked on a bit, because it just felt too cluttered and full, and it just needed to be thinned out a bit. It was really different for each track. I mean, some of them I worked on a bit. Obviously I worked on all of them a tiny bit! But most of them were more than just skeletons; they were kind of finished demos.

Many of the songs have a very key, specific, direct core element. It could be a melody or it could be a bass or percussive part, and then the arrangements around them have this flowing variety. There will be things that maybe recur, but other elements that'll step in and out. Is that core element always the first thing and then everything just emerges after the fact?

MG: I think it's different from track to track, but I think it is quite minimal, and there are — I suppose — themes on each track that will be different from track to track, but that are central and core to them. Maybe there is an element of truth to that.

I take it the album was mostly recorded in your Santa Barbara home studio setup?

MG: Yes.

A friend of mine who just recently moved to Santa Barbara talks about how absolutely lovely it is — the area and the landscape, and I know that myself from past visits. Does music in general, given where you live and work, affect your songwriting? Or is it something you consciously set aside when you're working on music?

MG: I don't think where I live in the world particularly influences my songwriting too much. I think that songwriting comes from somewhere far deeper. It comes from your inner core and your soul, and everything that's going on around you is kind of superficial to that. So I don't think that, if I was writing in Siberia or writing in Santa Barbara, the end result would be that different. I think that a lot of importance was placed on the fact that we did a lot of recording in Berlin during the eighties before the Wall came down. And it was a very special atmosphere, and some of our seminal albums were recorded there, like Black Celebration and stuff. But I don't know how much that had an influence on the end result. That could have probably been recorded and finished in London and been exactly the same.

In the press announcement for MG, you noted something about  the power of words. That made me think of that longstanding intensity, for lack of a better word, that so many feel and have felt towards your Depeche vocal and lyrical work in particular. Since there are no lyrics at all on the album, it struck me that the song titles might be very telling. A song like 'Exalt' really stood out for me, since it had a certain feeling of exaltation to it. What logic went into the song titles? Is this something you spent a lot of time over?

MG: Some of the titles come very easy; some of them don't come quite so easily. There's usually some logic that makes sense to me. I think it wouldn't necessarily make much sense to an outsider. But somehow, I'm sure that even if it only makes sense to me, it must have some kind of interest value that makes sense to the song for a listener.

In describing the songs to myself, I was thinking, “How do I put words to something that is wordless? How do I translate a certain feeling into something that makes sense?” Listening to MG, the images almost felt stronger, the feelings, more than certain concrete ways of putting it. Sorry, that's not really a question; it's more just sort of an observation, a translation of feeling.

This may be very random and not related at all, but last night I actually watched a documentary called Alive Inside, which is about the power of music, really. It's about dementia and Alzheimer's patients, and how music is the one thing that seems to suddenly connect them and make them come really alive. It made so much sense to me how music affects us in different ways than everything else, and comes into our brains in different ways than everything else.

Let me ask something more on a technical level. I recall that you, in interviews and band interviews around the time of Sounds Of The Universe, had some talk about getting in a lot of, or a new interest on your part in, older synth gear and repurposing and reusing it, which is one thing I thought was really particularly striking about that album. Do you have preferred instruments or software that you use, new or old, or is it always catch as catch can — new pieces in, new pieces out, seeing what works?

MG: The majority of the sounds, I would say, on this album were created with a Eurorack modular system, and the modules are all being made today. They're current. There are so many manufacturers now making stuff, and it's all very inspiring, and it's just flourishing. There are modules being released on a daily basis, virtually. So that's where I made a lot of the sounds, but apart from that, of course I used some older, vintage polyphonic synths for some of the tracks, and other various instruments. But the main thing that I should mention is the Eurorack system.

Is there any guitar on the album? There are one or two points I thought it might be, but it struck me as strictly electronic.

MG: It was purely electronic. That was something that I definitely wanted to stick with. Because it had, for me, a kind of sci fi feel, I really wanted to keep it an electronic purist album. The moment you start putting guitar on something, it really takes it out of that sci fi realm. It's got too many reference points.

You had Q (American electronic musician, also known as Überzone) do the mixing on the album, and since he had worked on VCMG,  my sense of what he brings to it is that there's a crunch and grain in the sound. It's not pristine. There's something almost visceral to it.

MG: Q brings quite a lot. I was very impressed with what he did to the VCMG project. And he does bring out some kind of aggression where it's needed, but more than that I think it's detail and depth and width, and power, maybe. Maybe it's power, without over-compressing, and without going into a loudness war.

A friend of mine who has written on that very topic a few times will be very pleased to hear that! Is deciding what to put on an album and then sequencing that album hard or easy? You mentioned, of course, you already had a certain amount of key tracks. Did the album just come together very swiftly, or was it one of those things you were sort of like, "Well, maybe this, maybe that," over time?

MG: Once I had the four or five tracks, I started working on it as soon as I came back from the Delta Machine tour, which was in March. And I was finished with the actual recording process by the end of November. So it was a fairly quick process, but when you talk about the sequencing of the album, I don't know if you mean the actual track sequencing.

Yes, the order of tracks.

MG: I had a chat with Daniel Miller at one point, and he thought that the track listing was going to be a very crucial element with this record, because it's so diverse. And when it came to actually doing it, I made one order and it just worked. So I have no idea if that is true or not [laughs].

It just happened!

MG: It's the only order that worked, and I just hit it the first time.

Cannot go wrong with that. Two last quick questions. First: any plans for any live dates for this, or will this just be a studio-only project?

MG: Yeah, I can't imagine any live dates at all for this. It's not the sort of thing that would be very interesting or visual — I mean, I'm sure that people will try and talk me into doing a DJ set around it or something, but it's not DJ music, so I'll be playing something completely different.

Finally, a quick personal question. Your kids, or at least your older kids, have certainly learned more over time about what Dad does. Are they all, "Yeah, Dad, we love your music"? Or more, "Okay, whatever, Dad, you do your own thing and we'll just listen to what we want to"?

MG: [laughs] It's a tough question to answer, to be honest. They're not very vocal about what I do, and their thoughts on it, really. But I was quite surprised and honored a few years ago when one of my daughters — because they all sing and they all play guitar and they all play piano — one of my daughters played a local bar here in Santa Barbara when she was home visiting once, and she chose to play one of my songs, a song called 'The Bottom Line' (from 1997's Ultra).

I love that song.

MG: And I had no idea she was doing it, so that was a complete surprise. But beyond that, she's never spoken about it [laughs].
2017-06-30: Photobucket has disabled external image hosting, all scans will have to be re-uploaded on another site.