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Author Topic: 2017: Other News  (Read 1563 times)

Offline Angelinda

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Re: 2017: Other News
« Reply #15 on: 01 November 2017 - 21:26:19 »
2017-10-27 - Linkin Park - Linkin Park & Friends Celebrate Life in Honor of Chester Bennington [LIVE from the Hollywood Bowl]

[Dave Gahan sent a pre-recorded message for this livestream.]

https://www.youtube.com/watch?v=9VoLHdADma8



Linkin Park & Friends Celebrate Life in Honor of Chester Bennington LIVE from the Hollywood Bowl 2017.
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Offline Angelinda

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Re: 2017: Other News
« Reply #16 on: 01 November 2017 - 21:38:20 »
2017-10-31 - PSN Europe (UK) - Ben Hillier on 25 years producing some of the biggest names in music

https://www.psneurope.com/studio/ben-hillier-producer-interview
http://www.mi-pro.co.uk/news/read/interview-ben-hillier-on-making-nadine-shah-s-new-album-and-how-blur-and-depeche-mode-shaped-his-songwriting/022981

Ben Hillier on 25 years producing some of the biggest names in music
The UK producer and songwriter has worked with some of the biggest names in the business, including collaborating on one of the finest records of 2017 in the form of Nadine Shah’s Holiday Destination. We caught up with him to find out how he's still finding new ways to challenge himself…

[...]

What has been the most challenging record you’ve worked on to date? And what’s been the most enjoyable?

Often the most challenging is the most enjoyable. I have a great relationship with Depeche Mode doing their stuff. Their demos are so advanced; they do so much work before you get in the studio. They wouldn't think of presenting me with a song until it has all the lyrics, the middle eight etc. A lot of bands will turn up with a vague idea for a chorus and go, right; we’ll work it out in the studio. By the third album I did with them (2013’s Delta Machine) where we knew each other so well and were really up for challenging each other, we worked really hard. Because Martin [Gore’s] tracks are very well realised it would be quite a battle to push the songs further. You'd have to really get into the detail to work out how you could make it better, rather than just changing it for the sake of it. Every time we tried to push things further I‘d have Dave [Gahan] do a whole new set of vocal takes, and by the final version of the song he would have done 10 sets of takes. Each time his performance would get better and it would be a gradual process of pushing things forward. From a techy production point of view that was always great.

[...]

From the songwriting point of view, if you work with someone like Martin Gore from Depeche Mode, his songwriting is so advanced that you just sit back in awe. The way he pieces together and joins his lyrics with the chord structure of the song is amazing. How everything eventually locks together is incredible.

[...]
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Offline Angelinda

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Re: 2017: Other News
« Reply #17 on: 21 November 2017 - 01:47:19 »
2017-11-20 - This Is Pop Poster & Revista Especial (Spain) - Cuatro Chicos De Basildon

[Thanks to Pacodemode for scanning this special for this forum!]













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Offline Angelinda

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Re: 2017: Other News
« Reply #18 on: 03 December 2017 - 00:11:33 »
2017-12-01 - Ben Hillier on the Depeche Mode Facebook Takeover:

https://www.facebook.com/depechemode/posts/10157116512965329
https://www.facebook.com/depechemode/posts/10157116526725329
https://www.facebook.com/depechemode/posts/10157116555345329
https://www.facebook.com/depechemode/posts/10157116537125329

Hi. My name’s Ben Hillier. I’m a producer and musician. I live in a small village near Brighton in the UK. I’ve produced 3 albums with Depeche Mode (Playing The Angel, Sounds Of The Universe and Delta Machine.) The time I spent with Depeche was really creative and enjoyable and a very special time for me. Today I'd love to share some photos I have from that time and hopefully be able to chat with you and answer some questions.
There were all very different approaches [during the recording sessions] depending on the starting point. On Playing The Angel, the demos were quite varied, some very complete, some songs emerged during the recording process so each song had to have a different approach. Where as on Delta Machine the songs, and to a large extent the sounds, were quite established on the demos.
In general I prefer shorter albums, but the agreeing a final track listing is always the hardest bit. Ghost is great, Oh Well is good too... you can see why it’s hard!
Not a conscious decision so much [to not really use non-electronic gear], but I do generally prefer synths to strings so would naturally tend that way.
[When I get a demo from Martin I] often wonder how to better it! They're usually pretty amazing.
It was always best when I got Martin to work on [Dave's demos]. I always enjoyed working on Dave's tracks.
Maybe [Sounds Of The Universe was too smooth], there’s an electronic purity to that record that I love (especially songs like Peace and Perfect).
I like [Spirit], especially Where’s The Revolution. I really love the lyrics across the whole album.
I never got to work with Alan, I think I would enjoy that.
[Going from working with bands like Blur and Suede to working with Depeche Mode] was quite a change, no live band performance. But to work with songwriters and singers of Dave and Martin’s quality is always a joy.
Speak and Spell is great but I think See You was the first DM single I bought (I was only 12 so it might have been my sister that bought it!).
There's not a huge amount of bass guitar on those albums but we did get Fletch playing bass on Playing The Angel and Martin did some on Sounds Of The Universe and Delta Machine.
[In response a question about which DM song that he produced was his favourite song:] That's a really hard question. It’s always an honour to work on great songs but they're not always the most enjoyable studio experience.

Playing The Angel:
This was recorded in 2005 and was the first time I worked with the band. We did two long, intense sessions in Santa Barbara then finished recording in New York before heading to London to mix. I think John The Revelator is my favourite track, it felt like a bit of a breakthrough in the studio, it’s hard, dirty, electronic sound helped define the atmosphere we were trying to get on the record.
The first 2 sessions for Playing The Angel was at Sound Design in Santa Barbara in Jan/Feb and Mar/Apr 2005. All 3 DM albums I’ve worked on had sessions here. We always built our own control room in the live room so we had enough space to set up all the gear and still have plenty of space for everyone in the room. These shots were taken in there.
We came straight back to Whitfield St studios in London (now sadly shut-down) to mix the album Jun/Jul 2005. The band recorded some live versions of tracks from the new album whilst we were mixing. That’s Dave McCracken on keyboards.

Sounds Of The Universe:
We recorded this album in 2008. Again, the sessions were split between Santa Barbara and New York, this time mixing in New York. This record has a more synth heavy sound than PtA, we took a more considered, exacting approach, especially with the synth sounds, often getting all the synths on a particular track set up and running live instead so we could work on the overall sound rather than overdubbing.
During these sessions Martin developed an addiction to buying vintage synths, drum machines and pedals on eBay. At least one cardboard box containing some rare and legendary synth would turn up at the studio every day and immediately be unpacked and used on whichever track we were working on.
These [pics] were all from the Santa Barbara sessions. Again, we built our own studio in the live room and we recorded everything in there, including vocals, all recorded on a hand-held mic with the music playing through the speakers (no headphones!).
[Presenting the demos] was quite different. Dave wrote loads for Playing The Angel and told Martin and I to choose which ones to work on, but for Sounds Of The Universe he only gave us the ones he wanted to go on the record. Martin's demos for Playing The Angel were quite varied, Precious was basically done but others were a lot rougher. A lot of the sounds on his Delta Machine demos were really great but made on his modular synth so totally unrepeatable.
There's always some tension, it can usually be resolved though. They were a much more harmonious group on Delta Machine than they were on Playing The Angel.
[The members' amount of work] varies but Fletch is the most consistent.
[The influence on the sound on the album] is always a collaboration, the band are very involved.
I think the key to their longevity is their constant experimentation.

Delta Machine:
March 2012 brought us all back again to Santa Barbara to start recording Delta Machine. Martin’s equipment obsession had moved on to modular synths and guitars and the blues influence had returned. I think this was my favourite album of the 3 overall. The sessions were very creative, everyone was getting on really well and we banned table-football (although I’m sure those things weren’t linked.) Dave’s vocals especially on this album, I thought were amazing. He’d done loads of great work on them before we even started recording and I really pushed him to do take after take so that as the music developed it was always being driven by his vocal performance.
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Offline Angelinda

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Re: 2017: Other News
« Reply #19 on: 03 December 2017 - 23:37:57 »
2017-12-01 - Presseportal (Germany) - Sky Arts Eigenproduktion erzählt Geschichte der Hansa Studios

https://www.presseportal.de/pm/33221/3803356
https://www.youtube.com/watch?v=ln1Ms_9IZDo



David Bowie, U2, Depeche Mode und Co: Sky Arts Eigenproduktion erzählt Geschichte der Hansa Studios

[...]

Anlässlich des 10. Januars - dem Tag, an dem die Welt dem Chamäleon der Popmusik gedenkt - zeigt Sky Arts HD die Dokumentation "Hansa Studios: by the Wall 1976-90" als Weltpremiere.

[...]

Zu Wort kommen in den von Mike Christie produzierten 90-minütigem musikalischen Ritt durch die Geschichte unter anderem: REM-Frontmann Michael Stipe, Martin Gore von Depeche Mode, Alexander Hacke von Einstürzende Neubauten, Iggy Pops und David Bowies Bassist Tony Fox Sales, Gaz Coombes und Danny Goffey von Supergrass, Nick Cave und Bandmitglieder von Bad Seeds, Fish und Steve Rothery von Marillion und viele Musikproduzenten und Toningenieure, wie Tony Visconti, Flood, Eduard Meyer, Chris Kimsey, Daniel Miller, Gareth Jones.

[...]
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