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Автор Тема: Delta Machine – първи отзиви в пресата  (Прочетена 4702 пъти)
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The Fein
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Пол: Мъж
Публикации: 2988

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06 Февруари 2013

Вече са онлайн първите отзиви за новия албум след медийно събитие в Лондон, на което Delta Machine е бил пуснат. Засега над пълните детайли за албума е наложено ембарго, но се очаква през следващите седмици да излязат ревюта с по-подробни мнения:

Clash Music:

Talking to Clash last summer about his project with Soulsavers, Depeche Mode's Dave Gahan revealed that he wanted the new Mode album to have "more of a rawness about it" compared to anything the band had recorded previously. "Just because it's another electronic record doesn't mean it shouldn't have a certain edge to it," he continued. "What's exciting with the Depeche record is that we're definitely going down that road. We've got a lot more of a bluesy influence to it, and we're trying to retain that more in the recording and not get too over-fussed about details."
With the band's new single 'Heaven' getting leaked last week, we were able to hear up close the bluesy edge that Gahan was keen to hear in the songs recorded for 'Delta Machine', which will he released in March. All of the requisite Depeche Mode elements were there - soul-exposing lyrics, effortless harmonies from Gahan and Martin Gore, gutsy guitar and a palette of obscure electronic glitches and noises that belong on a Raster Noton track rather than a rock song. There was also a brittle rawness to Gahan's delivery of the track and a sense, in the simple wonky piano melodies, that the band were working hard not to drown the essence of the track in over-production and clever techniques. Fans described it as a grower.

Clash were fortunate to hear a playback of 'Delta Machine' in London this week and it's fair to say that 'Heaven' sounds nothing like the rest of the album. It's a record filled with contradictions and surprises. There are moments of intricate beauty, songs which sound like Depeche Mode recycling their best bits through a thoroughly modern filter and tracks that echo their early Eighties synth-pop roots. The blues that Gahan wanted to showcase is undoubtedly here, but it's a uniquely Depeche take on the blues. Musically, the whole thing is dense, crammed with ideas, tracks evolving frequently from basic beginnings to completely unexpected conclusions.

Twenty years ago, Depeche Mode released 'Songs Of Faith And Devotion', a record filled with howling guitars, noise blasts, gospel pleas and few echoes of their previous electronic works. Gahan was re-cast as a nihilistic long-haired, tattooed rockstar wastrel. With 'Delta Machine', and particularly on the strength of 'Heaven' many fans were expecting some sort of much-delayed follow-up to that album. The truth is that 'Delta Machine' feels like a follow-up to more or less everything that this band have done across their thirty-odd year existence. And that's no bad thing at all.

В Twitter:

@bestfitmusic
We're back from hearing the new @depechemode record, it's gonna blow a lot of minds.
Feels like Martin Gore's gone to town on this one. Chunky, tiwddly and loud. Can't wait to listen again...
people will be happy, we think.

@marieannwood
Out of the Depeche Mode playback. Can't say much,but it's one of their best since SLFD and is seriously beat heavy. @DrownedinSound

@LouisaWorskett
there's a big, fat blues riff on one of the new Depeche tracks. That makes me happy

@theQuietus
Depeche Mode LP Delta Machine - first listen = OOOF. A return to sleazy electronics - you can hear how much fun Martin Gore had with VCMG

probably more Violator / Black Celebration blues... only audible guitar on 2x tracks & it's used really well - heavily treated

@EarlsJohn
Rest easy: the new Depeche Mode album sounds pretty great on first listen. Immediate stand-outs? Secret To The End and Soft Touch/Raw Nerve.Only complaint so far re new Mode - Heaven, the single, is one of the weakest tracks. Why do labels keep doing this?

@PhDRooftopNY
Currently hosting @depechemode's album listening party----- and it's great. We love it.

National Public Radio: Good sounds from a band I never much cared for.

Each tear that flows down your face
Trickles then picks up the pace
And turns to a river inside
A river that will not subside

I can hear that dreadful overflowing sound
And watching from afar I see a child is drowned
The child inside your heart

The Fein
Екип
****
Пол: Мъж
Публикации: 2988

Профил WWW
Отговори #1: 07 Февруари 2013

И още отзиви + част от текста на The Child Inside, който звучи доста обещаващо само от няколко стиха:

Depeche Mode frontman David Gahan quietly attended a listening party for Delta Machine, his band's upcoming 13th album, held last night at a posh Manhattan nightclub in Chelsea. The album was queued up, and the announcer from Columbia gave some bare facts before pressing play: It's 2013, 13th album, 13 songs, out March 22, and then, "This is their first album with us. We're happy to be working with them." The bar crowd talked loudly through the whole affair and when the final note played, it took a full 15 seconds before anyone noticed the silence. Someone clapped, hoping it wasn't just an electrical outage, and then the whole clan joined in. After another awkward moment, the club's mix kicked back in: "Suit & Tie." Everyone went back to drinking, as if they'd never heard a thing.

Here's what we heard, while sitting alone in a chair inside that sad, dark disco.

1. "Heaven" is a Fake-Out
For some unfathomable reason "Heaven" is the lead single for the album. It follows the template for every Depeche Mode song since producer Ben Hillier's arrival in 2005: a teasing, minimal drum line, bigger-is-better vocals, and a wide stereo chorus. The only thing out of that order here is the painfully slow tempo. A strong bass groove and tight drum fills shape this syrup into near-trip-hop, but Gahan barrels where he should be fragile. It's not a bad song, it's just not the best choice. The good news is that the single is a fake-out: the rest of Delta Machine is harder and weirder.

2. "Should Be Higher" Should Be Higher
This death-disco creeper is by far the best track on the album. All the traditional elements of Depeche Mode get held back or rearranged or sung in falsetto so that, while still classic, the song sounds fresh. It's also the best mix. You know that high whistle on U2's "With Or Without You," the one you can't forget once you hear it the first time? This song has the same thing, only it's a sizzle.

3. There Are More Songs About Faith and Devotion
Martin Gore said that this album would have the vibe of Violator and Songs of Faith and Devotion, which is to say unapologetic pop tinged with blues and guitar. "Slow" and "Goodbye" are his takes on that tradition. The former throws out a big blues guitar line then wanders from the form into a hazy Spiritualized-style gospel choir. The latter is more traditional, a spartan hook turned lush at the chorus. With Flood's mix, it contains lovely musical moments of vocal excess shifting imperceptibly into instruments. For those of you reading song-lyric tea leaves, this track means just the end of album "goodbye, again," a bookend to the inconsequential opener "Welcome To My World."

4. Even Legends Suffer From Anxiety of Influence
Depeche Mode are in their third generation of being the biggest synth band on the planet, and for the last decade that honor has mostly been a songwriting curse. The attempts to put boundaries include the minimal techno track "My Little Universe" that actually mostly works, except when Gahan leaves the ominous reptition of "I let no one in / No one" to sing less pithy cliches. "Soft Touch/Raw Nerve" is a revision of history where DM was more industrial than pop when the instruments were and sounded hard. The less said about "Angel"'s mid-song techno identity crisis, the better.

5. Yes, Virginia, There's a Martin Gore Song
There's always at least one song sung for Team Gore, and this one is a bitter ballad. "The Child Inside" begins with a solemn Mingus-y bass line that adds big synth pads and flourishes of electronics but little percussion. Listening only once amid chatter made it hard to pick up all Gore's narrative, but we did catch this: "I can hear that dreadful sound / Watching from afar I see a child's drowned / The child inside your heart."

@Caboots
Dave Gahan out-Gores Martin on new Depeche Mode album, Broken is so brilliantly 1987 #depechemode

Each tear that flows down your face
Trickles then picks up the pace
And turns to a river inside
A river that will not subside

I can hear that dreadful overflowing sound
And watching from afar I see a child is drowned
The child inside your heart

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