Depeche Mode
- 1 362 réponses
- 106 participants
- 47 944 vues
- 75 followers
Afficher le sujet de la discussion
ça fait plaisir de le revoir, il a l'air en forme.......Maintenant si il pouvait se remettre à la musique
La vente de sa collection je pense que c'est parce qu'il (il parait...) déménage en Norvège avec sa nouvelle compagne.....
vilak
4102
Squatteur·euse d’AF
Membre depuis 8 ans
kosmix
52054
AF, je suis ton père
Membre depuis 20 ans
Putain Walter mais qu'est-ce que le Vietnam vient foutre là-dedans ?
vilak
4102
Squatteur·euse d’AF
Membre depuis 8 ans
An excerpt of interview with Alan Wilder
If you could re-live a DM moment again what would you choose ?
That’s tough – on a creative level, there are those special moments when you know you’ve done something good. For example, when we nailed ‘In Your Room’ (which had been tough) by effectively stitching together three working versions and making one. Everybody sat back, listened through and collectively said.. wow, yes that’s it. But really I would just like to re-live some of the great after show parties!!
Which “post Alan” DM song would you have liked to have worked on?
Probably ‘Home’ – although Tim Simenon did a pretty good job anyway. I really like the string arrangement and the song itself, both lyrically and melodically. I think Martin based the verse around ‘Lucy In The Sky’ (verse). Check the chord structure.
We understand you think DM quality control is lacking – but would you agree with a retrospective box set containing demos etc etc being released?
No I wouldn’t. That’s a classic case of not controlling quality. Demos are exactly what they say they are, a demonstration for those working on the music to hear the song in a very basic undeveloped way. They were never intended for public consumption and that is how it should stay (well until I’m long dead anyway
Also, with the benefit of hindsight, are there any songs or albums you now like more (or less) than when they were originally recorded?
A few but not many. Perhaps something like ‘Rush’ seems to have improved with age. Generally, I feel now the same way I felt at the time. Some I love, some I hate
Exclusive interview with Alan Wilder
March 2nd, 2008 by Amigo
If you could re-live a DM moment again what would you choose ?
That’s tough – on a creative level, there are those special moments when you know you’ve done something good. For example, when we nailed ‘In Your Room’ (which had been tough) by effectively stitching together three working versions and making one. Everybody sat back, listened through and collectively said.. wow, yes that’s it. But really I would just like to re-live some of the great after show parties!!
Which “post Alan” DM song would you have liked to have worked on?
Probably ‘Home’ – although Tim Simenon did a pretty good job anyway. I really like the string arrangement and the song itself, both lyrically and melodically. I think Martin based the verse around ‘Lucy In The Sky’ (verse). Check the chord structure.
We understand you think DM quality control is lacking – but would you agree with a retrospective box set containing demos etc etc being released?
No I wouldn’t. That’s a classic case of not controlling quality. Demos are exactly what they say they are, a demonstration for those working on the music to hear the song in a very basic undeveloped way. They were never intended for public consumption and that is how it should stay (well until I’m long dead anyway
Also, with the benefit of hindsight, are there any songs or albums you now like more (or less) than when they were originally recorded?
A few but not many. Perhaps something like ‘Rush’ seems to have improved with age. Generally, I feel now the same way I felt at the time. Some I love, some I hate
Exclusive interview with Alan Wilder
March 2nd, 2008 by Amigo
vilak
4102
Squatteur·euse d’AF
Membre depuis 8 ans
vilak
4102
Squatteur·euse d’AF
Membre depuis 8 ans
[1985] Vince Clarke looking for Andy Bell 39 years ago...
This is a true piece of synthpop history.
This is a true piece of synthpop history.
vilak
4102
Squatteur·euse d’AF
Membre depuis 8 ans
vilak
4102
Squatteur·euse d’AF
Membre depuis 8 ans
ecuyer
234
Posteur·euse AFfiné·e
Membre depuis 14 ans
Breathe. Début 2000. Un pur chef d'œuvre, tout en subtilité. Comme une grande partie de leur répertoire, à mon sens. Compos à la structure subtile (avec des pré-refrains, des post-refrains quand il le faut, des séquences hybrides.. tout y est), innovation et superbes choix esthétiques (intro de Waiting for the night), production fine, tout est là. 
vilak
4102
Squatteur·euse d’AF
Membre depuis 8 ans
They had sold twice as many copies of Construction Time Again there as in Britain and many shows had to be upgraded to larger venues
Dave Gahan was becoming an increasingly confident and compelling front man, a writhing mass of agility and testosterone, but Depeche Mode’s live show had always suffered from the fact that Gore, Fletcher, and Wilder were obliged to stand virtually static behind keyboards.
This time, they attempted to take the staging up a notch by placing the three keyboardists on podiums and incorporating an innovative light show based on three wooden towers dotted around the band. A long-time supporter, the NME’s Mat Snow, waxed lyrical at the tour’s September opening night in Hitchin.
Describing Fletcher strolling onstage and turning on his keyboard, he rhapsodized: “By that casual push of a button, he sums up Depeche Mode’s appeal: the technology of their music-making is instantly demythologised. You don’t have to be a genius or rich or good-looking to stand a chance.
They had sold twice as many copies of Construction Time Again there as in Britain and many shows had to be upgraded to larger venues, including the ten-thousand-capacity Deutschlandhalle in Berlin. The tour ended with three sold-out pre-Christmas dates at the Musikhalle in Hamburg.
By contrast, the album had bombed in America, where radio stations had largely given it a wide berth, and the US and Canadian leg of the Construction tour was first postponed then cancelled completely. Speaking to Smash Hits, Dave Gahan was remarkably chipper about this apparent setback.
“We just had a meeting about America, and we decided not to worry about it,” he declared, airily. “If we really wanted to be incredibly wealthy, we’d be over there trying to cash in on the British Invasion [the Human League, Duran Duran, and Culture Club were by then all doing well in the US], but we don’t see the point.”
It seemed that all roads now led to Deutschland for Depeche Mode, and when Daniel Miller came to choose a studio for them to record new material in January 1984, it was a no-brainer. The band would return to Hansa in Berlin.
Gittins, Ian. Depeche Mode: Faith and Devotion
Dave Gahan was becoming an increasingly confident and compelling front man, a writhing mass of agility and testosterone, but Depeche Mode’s live show had always suffered from the fact that Gore, Fletcher, and Wilder were obliged to stand virtually static behind keyboards.
This time, they attempted to take the staging up a notch by placing the three keyboardists on podiums and incorporating an innovative light show based on three wooden towers dotted around the band. A long-time supporter, the NME’s Mat Snow, waxed lyrical at the tour’s September opening night in Hitchin.
Describing Fletcher strolling onstage and turning on his keyboard, he rhapsodized: “By that casual push of a button, he sums up Depeche Mode’s appeal: the technology of their music-making is instantly demythologised. You don’t have to be a genius or rich or good-looking to stand a chance.
They had sold twice as many copies of Construction Time Again there as in Britain and many shows had to be upgraded to larger venues, including the ten-thousand-capacity Deutschlandhalle in Berlin. The tour ended with three sold-out pre-Christmas dates at the Musikhalle in Hamburg.
By contrast, the album had bombed in America, where radio stations had largely given it a wide berth, and the US and Canadian leg of the Construction tour was first postponed then cancelled completely. Speaking to Smash Hits, Dave Gahan was remarkably chipper about this apparent setback.
“We just had a meeting about America, and we decided not to worry about it,” he declared, airily. “If we really wanted to be incredibly wealthy, we’d be over there trying to cash in on the British Invasion [the Human League, Duran Duran, and Culture Club were by then all doing well in the US], but we don’t see the point.”
It seemed that all roads now led to Deutschland for Depeche Mode, and when Daniel Miller came to choose a studio for them to record new material in January 1984, it was a no-brainer. The band would return to Hansa in Berlin.
Gittins, Ian. Depeche Mode: Faith and Devotion
vilak
4102
Squatteur·euse d’AF
Membre depuis 8 ans
Once announced, Depeche’s American gigs sold out in a flash, with more and more nights having to be added. There were three at New York’s nearly six-thousand-capacity Radio City Music Hall alone, while the tour was to climax with two sold-out open-air shows to sixteen thousand people each at the Irvine Meadows Amphitheatre in California.
For a band routinely mocked in their homeland, with the sum total of one US hit single to their name, it was a stunning achievement that left them pleased but perplexed.
As Martin Gore was to note: “We were playing to more people than we were selling records to in the States. We could sell out everywhere we played.”
The astute Wilder hit on a possible explanation for this rarefied new status. “It seemed we fitted in perfectly with what the all-American, white, middle-class kids seemed to be searching for,” he surmised to Stephen Dalton of Uncut in 2001.
“[we were] a band that was clean enough to crossover but subversive enough to push a few boundaries at the same time. I think we felt good about that and enjoyed sticking two fingers up to England with its provincial attitude.”
The tour was visually spectacular, playing out on a set design based on Leni Riefenstahl’s film of the infamous 1936 “Hitler Olympics” and lit up by spectacular illuminations. Offstage the band were drinking and partying hard, with Gore particularly prone to epic excess.
“Martin was always a big drinker,” confirmed Wilder in Depeche Mode: A Biography. “When he’s drunk he’s the exact opposite to the shy person he is in everyday life. He says the most bizarre things … he’s your best mate in the evening, but the next morning he’s back to quiet Martin again.”
As the band rounded off the tour with a final slew of European dates in August 1986, they released “A Question of Time” as the final single from Black Celebration. While this fact was unremarkable in itself, it was to trigger a sea change in the band’s image.
Gittins, Ian. Depeche Mode: Faith and Devotion
For a band routinely mocked in their homeland, with the sum total of one US hit single to their name, it was a stunning achievement that left them pleased but perplexed.
As Martin Gore was to note: “We were playing to more people than we were selling records to in the States. We could sell out everywhere we played.”
The astute Wilder hit on a possible explanation for this rarefied new status. “It seemed we fitted in perfectly with what the all-American, white, middle-class kids seemed to be searching for,” he surmised to Stephen Dalton of Uncut in 2001.
“[we were] a band that was clean enough to crossover but subversive enough to push a few boundaries at the same time. I think we felt good about that and enjoyed sticking two fingers up to England with its provincial attitude.”
The tour was visually spectacular, playing out on a set design based on Leni Riefenstahl’s film of the infamous 1936 “Hitler Olympics” and lit up by spectacular illuminations. Offstage the band were drinking and partying hard, with Gore particularly prone to epic excess.
“Martin was always a big drinker,” confirmed Wilder in Depeche Mode: A Biography. “When he’s drunk he’s the exact opposite to the shy person he is in everyday life. He says the most bizarre things … he’s your best mate in the evening, but the next morning he’s back to quiet Martin again.”
As the band rounded off the tour with a final slew of European dates in August 1986, they released “A Question of Time” as the final single from Black Celebration. While this fact was unremarkable in itself, it was to trigger a sea change in the band’s image.
Gittins, Ian. Depeche Mode: Faith and Devotion
vilak
4102
Squatteur·euse d’AF
Membre depuis 8 ans
vilak
4102
Squatteur·euse d’AF
Membre depuis 8 ans
Coramel
7338
Administrateur·trice du site
Membre depuis 22 ans
vilak
4102
Squatteur·euse d’AF
Membre depuis 8 ans
vilak
4102
Squatteur·euse d’AF
Membre depuis 8 ans
Coramel
7338
Administrateur·trice du site
Membre depuis 22 ans
Je comprends pas la blague. Le rapport avec thom Yorke
Présentez vous sur AudioFanzine
vilak
4102
Squatteur·euse d’AF
Membre depuis 8 ans
vilak
4102
Squatteur·euse d’AF
Membre depuis 8 ans
commuter
218
Posteur·euse AFfiné·e
Membre depuis 12 ans
Citation de vilak :
Alan Wilder met aux enchère sa collection de vinyles :
ça fait plaisir de le revoir, il a l'air en forme.......Maintenant si il pouvait se remettre à la musique
La vente de sa collection je pense que c'est parce qu'il (il parait...) déménage en Norvège avec sa nouvelle compagne.....
vilak
4102
Squatteur·euse d’AF
Membre depuis 8 ans
vilak
4102
Squatteur·euse d’AF
Membre depuis 8 ans
vilak
4102
Squatteur·euse d’AF
Membre depuis 8 ans
vilak
4102
Squatteur·euse d’AF
Membre depuis 8 ans
kosmix
52054
AF, je suis ton père
Membre depuis 20 ans
Putain Walter mais qu'est-ce que le Vietnam vient foutre là-dedans ?
vilak
4102
Squatteur·euse d’AF
Membre depuis 8 ans
- < Liste des sujets
- Charte