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Archives / Re: 2013: Delta Machine
« Last post by Angelinda on 07 December 2017 - 22:50:20 »
2017-12-06 - Reverb (US) - Ben Hillier on Producing Blur, Mixing U2, and Priming Drums for Records

Ben Hillier on Producing Blur, Mixing U2, and Priming Drums for Records
by Andy Jones

After years of engineering and mixing, Ben Hillier began his work as a producer in earnest with Elbow, a Manchester rock band with orchestral ambition that would later call its style "prog without the solos." The dense, dynamic arrangements Hillier executed would prepare him for a wide-ranging career that has seen him work with Blur, Depeche Mode, Nadine Shah, and more.
We had a chance to sit down with Hillier, who was gracious enough to share his recording wisdom and how it all got started.


"On Depeche Mode's Delta Machine, I was driving Dave Gahan mad because I was like 'I want you to keep singing these songs.' Having worked with him quite a bit and seen him live and knowing what a great performer he is, it's the songs he knows inside out where he gives the best performances. He's an amazing singer, like an athlete playing live—how he keeps that energy going over two hours is astonishing."

Archives / Re: 2017: Spirit and Global Spirit Tour
« Last post by Angelinda on 07 December 2017 - 21:52:02 »
2017-12-07 - Move Concerts Perú - Saludo de Martin Gore

DEPECHE MODE en Lima - Saludo de Martin Gore

¡MARTIN GORE, el genial compositor de Depeche Mode, envía saludos a todos sus fans peruanos!
Archives / Re: 2017: Spirit and Global Spirit Tour
« Last post by Angelinda on 07 December 2017 - 21:18:22 »
2017-12-07 - Ocesa Rock (Mexico) - Rey Pila será la banda invitada de Depeche Mode

Rey Pila será la banda invitada en los conciertos de Depeche Mode presentados por AT&T Mx en el Foro Sol.
Archives / Re: 2017: Spirit and Global Spirit Tour
« Last post by Angelinda on 07 December 2017 - 20:46:16 »
2017-12-06 - Estados Alterados‏ on Twitter:

Atención: estaremos junto a @depechemode el próximo 16 de marzo en Bogotá.
Archives / Re: 2017: Spirit and Global Spirit Tour
« Last post by Angelinda on 07 December 2017 - 03:17:05 »
2017-12-06 - Rivera Amplification (US) - Martin Gore's rig for 2017-18 with Jez Webb

Rivera Interview Depeche Mode - Martin Gore's rig for 2017/18 w/ Jez Webb
Jez Webb (Depeche Mode's Martin Gore's guitar tech) gives a rig rundown explanation of how the Rivera Venus Recordings are being used. Special thanks to Jez Webb!!
Archives / Re: 2017: Spirit and Global Spirit Tour
« Last post by Angelinda on 05 December 2017 - 23:18:52 »
2017-12-05 - Bloomberg (US) - A Band Without a No. 1 Hit Is Outselling Bruno Mars and Ed Sheeran

A Band Without a No. 1 Hit Is Outselling Bruno Mars and Ed Sheeran
Formed in 1980, Depeche Mode playing to more people than ever
Synth-pop group takes cue from Grateful Dead on fan connection
By Lucas Shaw

An old New Wave rock band that’s never released a No. 1 song in the U.S. is selling more concert tickets than the biggest pop stars in the world.
Depeche Mode, the British synth-pop group formed in 1980, is having one of the most remarkable tours in modern music and its most-successful concert run ever. The band sold 1.27 million tickets through the first nine months of 2017, more than Ed Sheeran, Justin Bieber or Bruno Mars -- much younger pop acts at the peak of their fame.
In October, the band became the first act to sell out four consecutive shows at the Hollywood Bowl, an open-air theater in the hills of Los Angeles that’s hosted everyone from the Beatles to Luciano Pavarotti. Now Depeche Mode is back on the road for its second tour through Europe this year and will head to Latin America in 2018. Not bad for a group whose album sales peaked more than 20 years ago.
“Every time we go out and tour, we’re playing to more people,” said Martin Gore, 56, the band’s guitarist and lead songwriter. “It’s just incredible at this stage in our career.”

Old Rockers
Depeche Mode’s success speaks to the enduring power of old rock groups, which accounted for a big chunk of the $7.3 billion North American concert industry last year. The best-selling festival of 2016 was Desert Trip, a bacchanal in California’s Coachella Valley featuring acts that came to prominence half a century ago. According to researcher Pollstar, the top tours of 2017 are Guns N’ Roses and U2, which released their best-selling albums 30 years ago.
Yet Depeche Mode’s late-career surge is also a tribute to a band that has carefully nurtured and expanded a loyal army of fans known as the Black Swarm (or Devotees) who follow it all over the world. The mania for the group’s dance pop is strongest in Germany, where the last seven albums have topped the charts, but it reaches every corner of the globe.
Delly Ramin Moradzadeh was just 14 when she developed an obsession that has gripped teenagers from Munich to Buenos Aires. Listening to Los Angeles radio station KROQ in 1984, she heard the song “People Are People,” and immediately asked her mom to take her to Tower Records to buy Depeche Mode’s new album.

She had to wait two years before seeing the band at Irvine Meadows, an experience that cemented her devotion. Moradzadeh has seen Depeche Mode live more than 30 times since that fateful first taste, including seven times on this latest tour. She estimates she has spent more than $2,000 on tickets and merchandise this year alone.
“I warned my husband before we got married that I have this obsession you have to deal with once every little while,” Moradzadeh said.
She praises the band for constantly rewarding fans with shows at small venues and special releases. While other groups have reunited after years apart for a big payday, Depeche Mode has released a new record about every four years since the mid-1980s and devotes much of its current set to music from its latest album, “Spirit,” the band’s 14th.

Never Stopping
The group has never stopped touring, even during a drug-addled era that manager Jonathan Kessler dubs “the experimental years.” Lead singer Dave Gahan, whose distinctive baritone is one of the band’s signatures, has grown more confident as a performer with each tour, strutting across the stage like a man possessed. Where the band once struggled to sell more than a couple thousand tickets in Nashville, Tennessee, it now plays before crowds more than triple that size in the cradle of country music.
Periods between tours give band members time to recharge and leave fans wanting more, especially because the group doesn’t venture to the same cities every tour. Salt Lake City was the first stop on the 2017 U.S. tour, a place that hadn’t hosted Depeche Mode since 2009. Eight years is also enough time for devotees to inculcate their children with a love of songs like “Personal Jesus” or “Enjoy the Silence.”
Depeche Mode doesn’t sell records like it did in the 1990s, nor has it ever reached the heights of fellow British rockers Coldplay or Oasis. But a group whose musical genre was once derided has earned long-overdue respect. Critics raved about the latest tour, while Marilyn Manson, Trent Reznor of Nine Inch Nails and Rihanna all cited the band as a major influence.
“They weren’t appreciated before,” said Kessler. “People didn’t get who they were or why they mattered musically. It’s one of the first electronic bands.”

Fighting Label
While Metallica and Taylor Swift have fought new ways of distributing music, Kessler has urged Depeche Mode to embrace new technologies, be it Apple’s iTunes or Spotify. Inspired by the Grateful Dead, which allowed fans to make their own recordings of live shows, Depeche Mode has often fought its record label and publisher to leave unlicensed videos on YouTube.
Searching for the proper way to promote this latest tour, Depeche Mode opted to let a different fan take over its Facebook page every day to share stories and photos. Facebook is an ideal medium for Depeche Mode, whose core audience is between the age of 35 and 60. Fans have already created more than a dozen different fan pages and groups for Depeche Mode on the social-media platform.
This project gave those fans control of the band’s official page for the first time. Devotees from all over the world have shared their favorite memories, including some who say they’ve seen the band more than 40 times just this year. The page has 7.3 million “likes.”
While a single TV advertising campaign would cost millions, the Facebook promotion is free.
Archives / Re: 2017: Spirit and Global Spirit Tour
« Last post by Angelinda on 05 December 2017 - 22:08:41 »
2017-12-04 - Radial (Canada) - Radial Backstage with Depeche Mode

On Depeche Mode's 2017 tour, guitarist Martin Gore decided to try out some Radial gear. This includes the JX44 guitar signal distro, JR5 remote, and the SW4 for switching to the backup Kemper®. When we stopped by they decided to try out the Firefly tube DI on Martin's bass as well.

Thanks to the band, the crew and guitar tech Jez Webb for chatting with us!

2017-12-05 - DG Entertainment (Argentina) - Juana Molina to be support act

[This information was already revealed yesterday when billboards were hung up in Argentina with this information.]

Juana Molina será la artista nacional encargada de abrir el escenario del Estadio Único para Depeche Mode!!
Archives / Re: 2017: Spirit and Global Spirit Tour
« Last post by Angelinda on 04 December 2017 - 23:50:54 »
2017-12-04 - Depeche Mode - Depeche Mode To Headline Isle Of Wight

Depeche Mode are pleased to announce that they will be the Saturday headline band at the 2018 Isle of Wight Festival. The show will be June 23rd, 2018. For more details and tickets, please go to
Archives / Re: 2017: Other News
« Last post by Angelinda on 03 December 2017 - 00:11:33 »
2017-12-01 - Ben Hillier on the Depeche Mode Facebook Takeover:

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.
Archives / Re: 2017: Spirit and Global Spirit Tour
« Last post by Angelinda on 28 November 2017 - 22:25:12 »
2017-11-28 - Depeche Mode on social media:

The @latroit remix of "You Move", from the "Going Backwards" single, has been nominated for "Best Remixed Recording" #Grammy / @RecordingAcad ! Congratulations to Dennis White/Latroit.
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