This is the official music video for Depeche Mode’s Fragile Tension.

via dmdotcom:

Depeche Mode – Fragile Tension

Director: Rob Chandler & Barney Steel

Part of the double-A-side “Fragile Tension” / “Hole To Feed”, this is the third single from the album “Sounds Of The Universe”.

Pre-order the 8 track CD single AND the 8 track double vinyl 12″ from Mute Bank now!
http://tinyurl.com/fragiletension-mutebank

For more details on the single, as well as the current Tour Of The Universe, stop by the official web site – http://www.depechemode.com/

Ich wurde mit einem Stöckchen beworfen Eigentlich bin ich ja kein großer Fan von Stöckchen Attacken (weil die halt unheimlich weh tun können), aber für die liebe Frau Lauffrau mache ich gerne eine Ausnahme. Ein Stöckchen rund ums Thema Bloggen. Also, schaun wir mal

Warum bloggst du?

Wir haben früher mal ein Forum im Internet gehabt, wo wir unter Freunden unseren täglichen Dünnpfiff abgelassen haben und ne Menge Spaß hatten. Allerdings wendete sich das Blatt  nach einiger Zeit, und das Forum führte dazu das sich viele der Freunde virtuell  an die Gurgel gingen und ihre persönlichen Differenzen nur noch übers Forum austrugen.  Es ging sogar so weit, dass Freundschaften auseinander gingen, weil die Leute einfach nicht in der Lage waren Ihre Differenzen  unter 4 Augen zu klären. Sehr traurig das ganze, ich hab mich vom Forum distanziert und für mich persönlich eine neue Plattform gesucht um meinen Output loszuwerden. Durch einen guten Freund habe ich dann das Bloggen für mich entdeckt

Seit wann bloggst du?

Mein Archiv sagt seit dem 30.08.2007. Und das waren die ersten drei Artikel

Billund

Einschulung

Wasserschaden

Warum lesen deine Leser deinen Blog?

Damit ich auch bei Ihnen lese? Ne, echt keinen Plan – ich versuche ein wenig zu unterhalten und nicht zu langweilen, ich hoffe es gelingt mir? Was mich persönlich aber besonders freut ist, dass sich über Spanksen.de  Leute kennengelernt haben und weitere Bloggerfreundschaften entstanden sind, großartig!

Welche war die letzte Suchanfrage, über die jemand auf deine Seite kam?

Schau mal eben kurz nach….

Helikoptermann 2 – Die Rückkehr des Kreiselfickers (Warscheinlich wegen Porno Ping Pong)

Welcher deiner Blogeinträge bekam zu Unrecht zu wenig Aufmerksamkeit?

Ganz sicher mein Pinkelproblem beim Depeche Mode Konzert

Dein aktueller Lieblingsblog?

Vielleicht habe ich tatsächlich einen, aber ich möchte trotzdem auf alle Blogs in meiner Blogrolle hinweisen, sind alles tolle Leute und ich bin froh sie jedenfalls virtuell mal kennengelernt zu haben. Wenn ich trotzdem einen nennen muss, dann einen großartigen Zusammenschluss geistigen Dünnpfiffs, ja sozusagen das Gipfeltreffen der Trashblogger – Apple-Bunnys Porno Blog

Welchen Blog hast du zuletzt gelesen?

Nochmal den Artikel  wegen der Strafeinzeige  vom Basti (Magdeblog), ein Artikel den jeder Blogger/Twitterer mal lesen sollte und der  mich nachdenklich gestimmt hat.

Wie viele Feeds hast du gerade im Moment abonniert?

Mein Google Reader sagt 74, obwohl ich da mal dringend aufräumen muss. Erstmal fliegen alle raus die sich hier nicht mehr blicken lassen

An welche fünf  Blogs wirfst du das Stöckchen weiter und warum?

An niemanden bestimmten, fühlt euch frei, wer Lust hat darf das Stöckchen gerne annehmen und bearbeiten, ich bin auf eure Antworten gespannt.

So, geschafft, zum Schluß noch die Meldung des Tages: Die Muppets sind back, einfach grandios! (P.S. Wenn Ihr Rechtschreibfehler findet dürft Ihr sie behalten, es ist schon spät und ich geh jetzt ins Bett)

Fanilor cărei trupe le este dedicat documentarul ‘The Posters Came From The Walls’?

R: Depeche Mode

Care este prenumele fostei neveste a lui Roman Polanski, ucisă de Charles Manson?

R: Sharon

Atracţii turistice: În ce ţară se află regiunea Kinderdijk-Elshout, aparţinând patrimoniului mondial UNESCO din anul 1997?

R: Olanda

Bătălii: Care este singura bătălie în care a fost sultanul Saladin de către cruciaţi?

R: Bătălia de la Montgisard

Războaie: În ce an a intrat România în Primul Război Mondial?

R: 1916

Evenimente: În timpul cărui eveniment a murit William Adelin, fiul lui Henry I al Angliei (cel mai tânăr fiu al lui William Cuceritorul)?

R: naufragiul Corabiei Albe

I swear, this guy has way too much time on his hands.

Banned gamer Erik Estavillo has struck again, filing another lawsuit with Activision Blizzard for Blizzard’s World of Warcraft (or WOW).  According to an article from GamePolitics.com, Estavillo is suing Blizzard for ‘deceitful’ business practices.  Quoting from the article:

Among Estavillo’s claims is that WOW is designed for a gamer “to walk or run at a calculated slow pace, resulting in the player taking longer to get where he or she needs to go in the game.” This slow pace, says the plaintiff, leads to a longer time needed to finish game play or quests, in turn leading to more subscription revenue for Activision Blizzard.

Estavillo also complains that faster transportation is not available until a player levels up accordingly, or purchases an expansion pack.

Estavillo has tried to connect his list of health problems (OCD, Agoraphobia, Panic Disorder, major depression and Crohn’s Disease) with another former gamer’s condition, Shawn Woolley; Shawn Woolley, who played EverQuest, committed suicide in 2001.  Estavillo stated his wishes to not be like Woolley since he himself “relies on videogames heavily for the little ongoing happiness he can achieve in this life…”

To add more absurdity to the matter, Estavillo has subpoenaed two celebrities:  Depeche Mode band member Martin Gore and actress Winona Ryder.  He explained that Gore was chosen because of his song-writing (“he [Gore] himself has been known to be sad, lonely, and alienated”), and that Ryder was chosen because of their common interest in J.D. Salinger’s Catcher in the Rye (“[Ryder can] explain the significance of alienation in Catcher in the Rye and will also testify to how alienation in the book can tie to alienation in real live/video games such as World of Warcraft”).

Well, I can vouch that OCD is definitely one of his illnesses, because he seems to be obsessively compulsive in filing lawsuits left and right with the video game industry.

Seriously, Estavillo must think he’s being a poster child for all those “poor and unfortunate” gamers.  He must feel that, by going against the ‘big, bad video game corporation,’ he is exposing the industry for what it really is to its consumers.  He probably believes that his sickness is proof of the ‘dark side’ of the industry.  Does Erik Estavillo really believe he’ll make waves across the video game frontier, fighting for free speech and the pursuit of selfishness?

I was originally disappointed when Estavillo first tried to sue Sony for being banned from the PlayStation Network.  I already knew the judge would have nothing to do with the case.  When he decided to appeal the decision, I figured he was just trying to make up for the dignity he lost and merely waved a hand at his attempt.  Then he sued Microsoft and Nintendo for theft and software infringement; by then I was disgusted and livid at this childish lawsuit.  Now that he’s going after Activision Blizzard and trying to get two celebrities to join his cause, my feelings about him are angry, distant, and furious; I now despise the name Erik Estavillo.

You may ask yourself, “Why are you talking about him if you hate him so much?  You’ve just given him another 15 minutes of fame.”

Well, if Estavillo is willing to voice his opposition to the video game industry, then I’m more than willing to voice my opposition to him.  I refuse to stand by and watch the industry fall down because of some misguided quest from a disgruntled gamer.  I deny him the luxury of holding the industry hostage for his own problem.  I revoke his privilege of voicing his opposition without responsibility.  I will not let Erik Estavillo cheat his way into justice for personal gain…

Depeche Mode, Perfect (Ralphi And Jody Den Broeder Club Mix)

Depeche Mode, Perfect Perfect (Ralphi And Craig Club Mix)

myspace.com

Black Celebration
Depeche Mode

Most people will probably remember Depeche Mode for their dance music played at clubs throughout the western world in the late eighties and early nineties. It’s hard to plug their work neatly into one genre. I’ve heard it called New Wave, Alternative, Techno-Industrial, and Synth-Pop. Some insist that Depeche Mode is in a genre of its own. Their hardcore fans are a peculiar bunch. Today I think they would straddle the line between the prep and goth cliques, if you can imagine such a thing.

“Black Celebration” is the definitive Depeche Mode album. It was the first album in their watershed moment, which included the two subsequent EPs: “Music for the Masses” and “Violator”. Prior to this album Depeche Mode wrote music to be played in the background at dance clubs. After “Violator” they got too introspective, and, I think, intimidated by the ferocity of the grunge movement. Since then their work has been in decline, although unwilling to die. Pre-Nirvanna greats R.E.M. and U2 have undergone similar tribulations. I chose “Black Celebration” as representative of this larger collection because it is my personal favorite. Musically and lyrically the entire album has a theme and is best listened to in one sitting without interruption. In short, it is better than the collection of songs comprising it.

This album is as dark as the title suggests. There are no boring songs about puppy love here. When Depeche Mode sings about love it’s always either unrequited or superficial. Relationships are greedy pursuits by both parties, founded on a mutually agreed upon and unenforceable sexual contract. They are little more than any material commodity, which, by the way, are over abundant and thus greatly reduced in worth, and just as liquid. Both are to be callously traded at market prices in an effort to increase one’s net worth. Best to grab all that you can in the short time you have before it all evaporates in death’s inescapable and indifferent grasp. In this universe religion is replaced with nihilism. As “thou shalt not steal” is an obstacle to obtaining material wealth, “thou shalt not commit adultery” is an obstacle to emotional wealth. To strictly adhere to either is to deprive oneself of the pain-killing narcotics that make this brief interval between unconscious states bearable. There is no “Parental Advisory” sticker on the album, probably since its release predates such things, but dwelling too long on these themes will take you to a dark place. Listen with care, and, if you can, concentrate on the rhythmic dance club instrumentation instead of the dismal commentary.

If I listened to pop metal and hair bands in high school out of some sort of early adolescent reaction to heavy-handed parenting, then I listened to bands like Depeche Mode in college to differentiate myself from the ignorant hillbillies in my home town. The preferred recreational activity in that town was driving in circles around the town square. The only recognized parties were held in the woods out of the back of pickup trucks where participants would dance around a fire and crush beer cans on their heads. The ecumenical soundtrack for both activities had to feature an electric guitar. Ergo, in the mind of this eighteen year-old, electric guitars were one of the leading causes of stupidity. Thus I adopted a band that were essentially keyboard programmers.

Whereas albums like “Hysteria” bring back memories of forced celebacy, “Black Celebration” carries far less frustrating emotional baggage. For one thing, this is my college album. You know what college is like. Also, my girlfriend was way into Depeche Mode, too. DM came to Urbana in 1993 and, like good fans, we were there in the appropriate attire. We foolishly took pictures of ourselves which, regrettably, survive to this day. If you know enough about me, you can probably find one of those pictures online, although, if you’re a friend, you won’t.

I may have listened to this album a little too much. For a while I was known among those I lived near as the guy who likes Depeche Mode. I remember once in the dorms I put this cassette on one evening when everyone was doing homework. It was loud enough to carry at least a few doors down. It didn’t play for more than 2 minutes before one of my neighbors barged into my room and, without saying a word, stopped the tape and put in a different tape.

I still listen to this album today, as well as other DM albums from the same era, although not nearly as much as I used to. It reminds me of when I was first out on my own and trying to find my own identity. I reminisce of the one I selected, usually just nostalgically, but every now and then to reflect on the house that identity constructed for my present identity. I think in a weird way my life is built on this album. Take that as an endorsement if you want.

Favorite Track: Fly on the Windscreen
Notable Contenders: Depeche Mode: “Violator” and “Music for the Masses”; New Order: “Substance”, “Technique”, and “Republic”

Thanks to everybody who commented on my last blog post! I really appreciate you sharing your playlists with everyone and introducing us to some great new music!

As I was responding to your comments, something hit me. You guys have shown us an incredible ammount of support over the last few years. You’ve called your local DJs to request our music. You’ve come to our shows and purchased our CDs. And your votes have caused us to win more contests and get onto more playlists than I could count. Each of you has helped make what we do possible.

Last week was really cool because we had twenty people contribute to our post! But, our anlaytics show that hundreds of people read it. Why is that? I’m not sure. But I feel that it is – at least in some part – due to the fact that so often the creation and delivery of art is a one way street. I want to change that; so I’d like to invite you to take a moment to do three things:

1. Visit atris.wordpress.com (This will be more fun if everyone goes to the same page.)
2. Scroll down to the comment box and introduce yourself. Write a few words about anything you’d like. How did you first hear our music? What city are you from? What are your favorite movies? Pretend we just met at a coffee shop. If you’d like share your blog address, Twitter ID or someplace where we and other people can learn more about you that would be great too!
3. Check the box that says Notify me of follow-up comments via email.

Please don’t do this for us, do this for yourself and for everyone. It takes a certain amount of bravery to put yourself out there; but it’s worth it. We love to get to know people with similar interests, ideas, and opinions. And it’s really cool when group discussions are started. If you have something in common with someone who posts, let him or her know! It makes me feel great to see people responding to my comments, and I love to chime back in to share my thoughts.

Looking forward to meeting you!

-Mason

Been researching some 80s synthy classics lately and I have fallen head over heels in love with this song. Makes me wish I was alive in the 80s even more than before – absolutely love it.

Folio is an electro band with a huge 80s influence in their sound reminiscent of Depeche Mode. So it makes sense that Folio’s lead singer is also in Blasphemous Rumors, a Depeche Mode tribute band. Here is Folio’s  “Branded”

And a little Blasphemous Rumors

#49: Desaparecidos/Read Music, Speak Spanish (2002) — Conor Oberst can categorically be described as a hipster voice of this decade.  But save for a few tunes here and there under his Bright Eyes moniker, it was really his harder rocking outfit that got me between the eyes. Read Music… was a beautiful pastiche of fuzzed out guitars, atmospheric keyboards, and middle-class rants and raves.  Check out: ‘Man and Wife, the Former (Financial Planning),’ ‘Greater Omaha,’ and ‘The Happiest Place on Earth.’

#48: Depeche Mode/Playing the Angel (2005) — If there were ever a band who could come back from a bunt (Exciter, 2001) to hit a homerun again, it’s Depeche Mode. While the album could be summed up in one song (‘Precious’) it is again a summary judgment that propels this album into my Top 50 of the decade. Check out the ferocious opener ‘A Pain That I’m Used To’ the driving ‘Suffer Well’ or the silver lining of ‘Nothing’s Impossible.’

#47: Cure/Bloodflowers (2000) — At the start of the decade, the Cure unleashed what has been described as the third installment in a trilogy of albums (Pornography and Disintegration, making up the other two…) The lazy, almost seven-minute opener, ‘Out of This World,’ is classic Cure, replete with acoustic guitar, piano and jazzy drumming. From there, Smith and Co. launch into the 11-minute ‘Watching Me Fall,’ and fourth track, ‘Maybe Someday,’ is the melancholy pop-gem fans have grown to love. Epic closer ‘39,’ rounds things out in typical gothic muse. An easy selection for T50 of the decade.

#46: Radiohead/In Rainbows (2008) — As Radiohead worked to turn how we absorb music on it’s ear in 2008, what almost gets missed is the fact that this album was their most complete body of work since The Bends.  This is not to say they did not release some stunning music throughout the decade, but In Rainbows is just one of those apex points and culmination of their entire body of work.  Love them or hate ‘em, there are great tunes throughout.  Check out: ‘All I Need,’ ‘Reckoner,’ and ‘Videotape.’

#45: Audioslave/Revelations (2006) — it amazes me how great a songwriter and vocalist Chris Cornell is when he’s got a band behind him — when he strikes out on his own? Yeah, not so much. Audioslave’s stamp on the decade was only three album deep and two of them are absolutely essential. In the 45-spot, Revelations picks up where the self-titled debut left off – an amazing rhythm section, a great guitarist and soulful, funky rockin’ tunes from a former godfather of grunge. Check out: ‘Sound of a Gun,’ ‘Original Fire,’ and ‘Wide Awake.’

#44: Richard Ashcroft/Keys to the World — There are just some albums that you don’t listen enough to that you should. This is one of them…because every time I do, I say to myself ‘Damn, this is a great album!’ While Ashcroft’s first two solo forays post-Verve would not compare in any meaningful way to Urban Hymns, this is British pop rock in all it’s semi-brooding finest. It’s upbeat, driving and subdued. While Ashcroft may never get the solo success he feels he deserves, I for one thoroughly enjoyed this effort when I was about to give up on him. Check out: ‘Break the Night with Colour,’ ‘Keys to the World,’ and ‘Cry ‘Till The Morning.’

#43: Coldplay/X&Y (2005) — love or hate Coldplay, you have to admit they are some talented musicians. While, at times they can come off a bit pretentious, I’d challenge that their music is more heartfelt than anything Jack White’s done. Such is the case of apples and oranges or in this case, X’s & Y’s. This album upped the band’s ante and produced their most complete album of the decade. While overlooked from a Grammy standpoint, this album featured more heart than anything U2 has put out this decade – and you can quote me on that. Check out: ‘Fix You,’ ‘Speed of Sound,’ and ‘Swallowed in the Sea.’

#42: Killswitch Engage/Killswitch Engage (2009) — finally, on their third album, KSE live up to the potential I’d hoped they had. This is arena rock in 2009 in all of it’s anthemic glory. Howard’s vocals soar, Adam’s melodies outshine the darkest corners, and the drumming is spot on. Eff Roadrunner for not doing more with this record. These guys should be out on tour with either Metallica or Slayer right now. Check out: ‘The Return,’ ‘A Light in a Darkened World,’ and ‘In a Dead World.’

#41: Kings of Leon/Because of the Times (2007) — I remember getting this album just prior to my Placebo roadtrip with McCabe and Sarah and terrorizing them with it in the hotel room in Boston. I was just blown away by how good it was and wanted to play it over and over again. Any confusion as to whether this band was going to fall into obscurity after 05’s Aha Shake… were quickly dispelled. Caleb Followhill managed to learn how to enunciate just enough for listeners to understand what he was singing about and the backdrop of sound helped paint the stories. Check out: ‘Knocked Up,’ ‘Charmer,’ and ‘On Call.’

#40: Low vs. Diamond/Low vs. Diamond (2008) — I’m alive today because of this CD. They’re a more earnest/less pretentious version of the Killers. In the midst of a deep depression, this CD landed on my desk and kept me playing ‘air drums,’ and brooding on a pair of headphones until I snapped… out of it. It’s a theme record about recovery and lifting up the spirit and soul without being a Christian record. We need more bands like Low vs. Diamond. Check out: ‘Killer B,’ ‘This Is Your Life,’ ‘Actions are Actions,’ and ‘Song We Sang Away.’

Memo: duminica, 22 martie  – duminica, 22 noiembrie

Justo cuando me decidía a escribir este post me ha venido a la cabeza que Elton John, en sus años de esplendor, cantaba aquello de “saturday night’s alright for fighting”. Y la noche hoy en Barna debe haber sido guerrera.  Dejando aparte el fútbol (el Barça ha empatado y recibirá al Madrid como líder ), este sábado 21 debería ser recordado por la oferta de directos coincidentes.

Actuaban hoy Imelda May en Luz de Gas, Quireboys en Apolo 2, Rickie Lee Jones en Bikini y Depeche Mode (creo que con Soulsavers de teloneros) en el Palau Sant Jordi. Si no hubiese habido multitud de conciertos estos últimos meses (he acudido al menos a uno por semana desde finales de septiembre, casi todos en jueves) tal vez me hubiese dado por Depeche, que sin entusiasmar al menos tienen una docena de canciones de la última época bastante buenas.

Pero ante la abundante oferta, ya no del mes, sino del dia, Depeche Mode quedaban forzosamente descartados a las primeras de cambio. La elección entre las otras tres opciones, en cambio parecía a priori más complicada. Rickie Lee Jones no se deja ver demasiado por aquí, de hecho, ni se prodiga mucho discográficamente. Tuve la ocasión de verla hace una década también en la misma sala Bikini y me gustó muchísimo, pero reconozco que no la he seguido demasiado… y deberia remediarlo. Posiblemente sería mi segundo descarte, pero éste ya a mi pesar.

Los Quireboys son, sin dudarlo ni un instante, mis favoritos de toda esta colección de artistas. Desde su debut, ese A Bit of What You Fancy (1990) que es uno de los grandes discos de la historia del rock y que sigue siendo la base de sus conciertos, son uno de esos grupos que jamás falla, y a pesar de que les he visto incontables ocasiones sobre un escenario -siempre ganádose mi respeto y admiración-, volvería a verlos año tras años… salvo que hubiese algo que aún fuese más especial. Este video corresponde a su actuación del pasado año en KGB, sala que aborrezco sobremanera, dicho sea de paso, pero que no consigue estropear un gran show de rock’n'roll.

Por cierto, que según relata el propio Paul Guerin , guitarra del grupo, alguien le robó la otra noche en Gijón: “Tonight’s gig in Gijon is in the very swanky Sala Acapulco… mucho red velvet and mucho red wine, a fine combination. Showtime is 9pm which is very early for a gig in Spain but I’m sure they have their reasons, we only get to play 75 min’s tonight due to some ancient bylaw or something daft like that but never the less another killer show. I’ve just had a “Rebell Yell” Humbucker pick up made for me by Bare Knuckles pick up’s and fitted to my main Les Paul and I’m over the moon with the sound I’m getting from my rig. Griff’s Zematus and my Les Paul sound killer together (yawn..yea I know, I’m sorry, but that was just for the guitar players out there). The Spanish audiences are very passionate which is always fun to play to but I must point out that I have noticed a new rock phenomena creeping into the art of audience participation. Mass air drumming, don’t get me wrong I’m all for it as long as it doesn’t take over and make rock guitar hero worship a thing of the past but I reckon I can sleep easy at night knowing that mass air keyboarding will never raise its ugly head in my lifetime. The low point of the evening was when someone stole my Marshall Guvnor’ pedal and my brass slide during the signing session, Ronnie Wood gave me that slide nearly twenty years ago and some thieving hound thought it was ok to pocket it. If any of our Spanish fans knows who has it I would really like it back. No questions asked”.

Finalmente, me quedaba la joven revelación irlandesa, Imelda May, a quien ya me perdí hace unos meses en su paso por el Primavera Club (era ahí, ¿verdad?) y con su Love Tattoo parece dispuesta a marchar con paso firme a la cabeza del rock’n'roll de corte más clásico. Y posiblemente, por tratarse de artista al inicio de su carrera casi, y en excelente de forma, y naturalmente porque de mis centros de interés este sábado 21 era a la única que no había visto en vivo, mi elección estaba clara.

Así se lo comenté a amigos y familiares… hasta que se lo comenté a mi mujer y me recordó que ella quería ir a Depeche Mode y alguien tenía que quedarse con los niños. Y claro, con el ritmo de directos que he llevado estas últimas semanas, ¿cómo le iba a decir que no?. Así que aquí estoy, posteando un dia de conciertos buenísimos en barna, y a punto de irme a dormir, que se hace tarde. Ya me contarás, si has estado en alguno de los que yo me he perdido.

Für mich eines der geilsten Depeche Mode – Songs!

I’ve got three work in progresses, all of them in the same place. There needs to be sexual heat. So I have a playlist that seems to fit all three. Yeah, there’s Britney on there. *shakes head*.

Primer día en Barcelona. Y esto me sigue gustando tanto o más que antes. Cierto es que por primera vez hay un factor diferencial en relación con todas mis anteriores visitas, pero eso es algo con lo que contaba, y que a día de hoy revivo sin necesidad de visitar esta gran ciudad.

Era la primera vez que llegaba a la ciudad y me buscaba la vida por mi cuenta. He de reconocer que no he tenido mucho problema, y la lección más importante que quizás he sacado, es la utilizadad del transporte público. En menos de dos horas salí de la nueva Terminal 1 del Prat y llegaba a casa de mis amigos al lado de la Estación de Metro de Mundet. Lejanos quedan aquellos atascos a la entrada de Barcelona en coche. Aerobus hasta Plaça de Catalunya, y metro desde allí hasta Mundet.

No ha sido todavía un día turístico. Eso lo reservaremos para mañana. Sí que fue un día de reencuentros, llamadas telefónicas con viejos amigos, y una estupenda cena china con una vieja amiga (mirad Leyendas en el blogroll). Hoy se plantea un día musical, con concierto esta noche de Soulsavers (con Mark Lanegan) y Depeche Mode en el Sant Jordi, y puede que más tarde de Farley Jackmaster Funk en la BeCool. Pero sin duda será un día de encuentros, conociendo a algunos de los Exiliados barceloneses.

Depeche Mode – In chains (inicio de uno de los conciertos de esta semana en Madrid).

Ya será mañana un día para comenzar a patearse la ciudad, e incluso buscarse algún plan deportivo alternativo. Pero todo sobre la marcha, improvisando, que es como mejor se hacen estas cosas. Y a ver si hay suerte…

Y bien, es una tensión muy frágil, la que nos mantiene andando

Puede que no dure por siempre,

Pero oh cuando flota…

Hay algo mágico en el aire

Algo tan trágico de lo que debemos cuidarnos

Es una extraña obsesión, que nos lleva mas cerca

No la entendemos, nunca es tan clara

Hay algo místico en nuestros genes

Es algo tan natural que patea y grita

Oh cuando vacilamos

al borde del colapso

nada nos contiene

Existe un sentimiento vertiginoso

Que nos mantiene volando

Transcurriendo resplandecientes galas

Sin tan siquiera intentarlo

Hay algo radical en nuestras manos

Nada muy lógico para nuestros planes.

Quan varem adquirir les entrades pel concert dels dinosaures del technopop, Depeche Mode, en cap moment podria haver sospitat que el gran dia del espectacle estaria jo afònic, encostipadissim i amb dècimes de febre. Però com a caparrut no em guanya ningú, si vaig aconseguir aguantar 8h a la feina rodejat d’obrers garrulets, podria sobreviure al concert del any!

Ja em veieu a mi abrigat amb un anorac, una jaqueta, dues samarretes, un palestí, dos pantalons i amb ibuprofè fins les orelles fent cua al Palau Sant Jordi, per descobrir que les entrades que teníem eren de pista, no a les grades, tal com ens pensàvem. I a diferència del concert de Madonna en un pàrquing de Cheste, aquí hi havia una organització eficaç, amb la qual cosa varem descartar ràpidament colar-nos a la Zona Vip.

El públic, vestit d’un rigorós negre que semblava un macrofuneral, presentava una mitjana d’edat tan elevada que ens feien sentir a nosaltres els teenagers del show. Però no per això tenien menys energia: en la meva vida recordo una audiència tan entregada!

Gràcies al vano que regalava el club de fans vaig aconseguir superar els meus fogots febrils per la massificació a la pista i fer més lleugera l’espera del concert, juntament amb uns teloners, Soulsavers, que feien un rock gòtic entretingut, tot i que força monòton.

Els Depeche van irrompre en un escenari il•luminat per una pantalla gegantesca, on s’anaven projectant imatges desconcertants (¿un corb? ¿un nen que es fa vell? ¿ells vestits d’astronauta?), iniciant el concert amb tres cançons seguides del “Sounds of the Universe”, del qual el públic tan sols va corejar, amb prou feines “Wrong”

El que semblava un concert fluix pensat per presentar el darrer treball, que tot i estar prou bé és tan dens i barroc que soc incapaç d’escoltar-lo 2 cops seguits en una setmana, va donar un gir de 180º a la 4ª cançó quan, amb “Walking in my shoes” i “A question of time”, van deixar clar que havien vingut a fer el que millor se’ls dona: desgranar hits clàssics del seu pop sinistre!

El ritme del espectacle va ser un in creshendo total, a cada cançó el públic estava més embogit i cridaner i tan sols es va interrompre la frenètica orgia musical, el moment “balada”, es a dir, quan el Dave Gaham marxa del escenari i el pobre Martin L. Gore, surt del seu racó de pensar per interpretar dues fosques i tendres cançons, en aquesta ocasió “Jezabel” i “Home”.

La veritat es que Martin i Dave formen una estranya parella sobre l’escenari: mentre Gahan, vestit d’un correcte negre, es desganyita fent mil i una tombarelles per la passarel•la entre el públic, Martin toca la guitarra en un segon pla, amb uns modelets de cuir i lluentons platejats que feien mal a la vista.

L’èxtasi total va arribar, com no, amb “Enjoy the Silence”, on el públic va cantar quasi tota la cançó i “Never let me down again”, que posava fi a la primera part, tot i que jo vaig gaudir més amb petites joies com “In your room”, “It’s no good”, “Precious”, “Stripped”, “Behind the wheel” o “I feel you”.

El concert va acabar amb un apoteòsic “Personal jesus”: vulguis o no, veure a 25.000 persones cridant com posseïdes “Reach out and touch faith”, impressiona una estona llarga! Tan sols em va mancar la mítica “I just can’t get enough”, peró ja comprenc que no poden estar 30 anys corejant un hit del seu primer disc!

Jo vaig sortir fresc com una rosa (serà la màgia del directe?), però amb una afonia absoluta que no em permetia ni xiuxiuejar “All I ever wanted, all I ever needed is here in my arms”.

Ein weiterer fantastischer DM-Song, mit einen spacigen Video, dass seine Hausaufgaben gemacht hat.

[via Feingut]

Ayer y hoy Depeche Mode están en el Palau Sant Jordi de Barcelona presentando su último disco “Songs Of The Universe”, y yo, a pesar de la presión psicológica que está haciendo mi hermana, estoy haciendo grandes esfuerzos para no caer en la tentación de ir. Más que nada porqué ya tuvimos la ocasión de ver el show en Carcassonne en julio en un sitio privilegiado, y lo de hoy sería con prismáticos y todo eso, o sea que un palo. La buena noticia es que aprovechan estos dos conciertos para grabar su dvd, así que ya tendré otro que luego no miro nunca. A parte de eso, ayer se estrenó el vídeo para uno de los mejores temas que tiene ese álbum mediocre que presentan, y que supongo que los señores de youtube retirarán en breve, mientras, aprovechad para verlo….

from their latest album, Sounds of the Universe, out now.

buy album

Mis conocidos y amigos saben que soy músico, y pese a ello no me prodigo demasiado en conciertos ajenos, casi siempre asisto a conciertos de jazz de nombres que me impongan mucho y casi siempre en clubs pequeños. Será que me pasa con la música lo que a mucha gente con el fútbol: jugarlo mola, verlo no tanto. Puede sonar egoísta, pero así es la cosa.

Si encima nos vamos a los conciertos en plan “multitudinario” podría decir que solo he ido a tres en la vida:

El primero fue Jamiroquai en el 2001 en el Palau Olímpic de Badalona. Acababa de cumplir 18 y mi grupo favorito de la adolescencia pasaba por Barcelona, no podía perdérmelo. La experiencia irrepetible, en primera fila y a menos de un par de metros del pie de micro, imaginaros. Además, apoyaditos que estábamos en las barreras que separan escenario y público, con lo cual, sin dolor de espalda. Este concierto lo recordaré con un especial cariño toda la vida.

El segundo los Red Hot Chili Peppers en el 2006 en el Palau Sant Jordi.  Otro de mis grupos favoritos de toda la vida. A estos los vi desde más lejos, estaba en grada y aquellos que sois asiduos de los directos sabréis que en los grandes pavellones; o estás muy cerca y lo oyes de puta madre, o estás muy lejos y se difumina bastante el sonido. Además me faltaron canciones, pero disfruté como un enano.

Hoy (ya ayer), 20 de noviembre del 2009, también en el Palau Sant Jordi le ha tocado el turno a Depeche Mode.

Este grupo, a diferencia que los anteriores nunca me ha acabado de cuajar, es otro rollo. Cuando veía algún directo suyo en DVD o en Youtube siempre soltaba la misma frase para mosqueo de algunos:  “este grupo en directo logra que encuentre divertidos hasta a los The Cure”. Además, solo tolero y conozco al dedillo sus hits más famosos.

Alguno pensará ¿y cómo llega una entrada para el concierto al bolsillo de un tío al que no le gustan demasiado?”. Fácil, me han obsequiado con la entrada y no voy a hacer un feo de no ir a un concierto cuyas entradas “baratas” se cotizan sobre los 50 €, en la reventa echad a volar la imaginación.

Como ni mi compañero ni yo teníamos espectativas de un concierto que nos fuese a entretener demasiado ya que conocemos lo justo del grupo (él más que yo, por eso) podíamos elegir entre platea o gallinero. ¡Al gallinero se dijo! Al menos si no es muy entretenido podremos sentarnos y verlo tranquilamente.

Pues mira, arrancó el concierto y al final no ha estado nada mal. Sonaron, entre otras, los hits que yo conocía ya:  I Feel You, Enjoy The Silence (mi favorita), Precious, It’s no good, Never Let Me Down Again, etc… para acabar cerrando con Personal Jesus. Genial ver a todo el público corear esos  “Reach out and touch faith” de este último tema.

Había visto algún directo, ya digo, en vídeo, casi siempre los cerraban con el Just Can’t Get Enough, pero esta vez no, es una canción que me ha faltado junto con Strangelove o Dream On pero en definitiva me lo he acabado pasando muy bien, lo achaco a la magia del directo, estar allí no tiene precio.

Total, que si pasan por vuestras ciudades, os va el rollo y os apetece comprar la entrada os lo recomiendo, David Gahan, Martin Lee Gore y sus chavales han demostrado estar en forma y que aún les queda cuerda para rato, aunque el aspecto de este primero pueda pasar por un cruce entre una pasa y un pollo asado. Además con una escenografía bastante impresionante y muy bien estudiada, dando una sensación de escenario distinto para cada tema, raro que deje a alguien indiferente ese aspecto.

JM

Editors: una band inglese che si è guadagnata il rispetto e il successo con un album più che onesto come An End has a Start che partendo da sonorità molto 80s (qualcosa tra i primissimi U2 e altri gruppi “minori” come Big Country, anche loro prodotti da quel geniaccio di Steve Lillywhite) faceva però intravedere una linea di sviluppo, una voglia di “creare dal creato” che è alla base della filosofia del mashup (in questo caso) musicale.

Non mi aspettavo un album come In this light and On This Evening.
L’ho vissuto come un dietrofront rispetto al desiderio di crescita che avevo percepito tra le tracce dell’album precedente.

Questo lavoro non riesce ad andare oltre la citazione.
E a sorprendermi è anche il fatto che sia stato prodotto da Mark “Flood” Elllis (che ho amato per il suo lavoro con PJ Harvey), ma come?

Non so prendiamo il singolo “Papillon”…
un po’ Yazoo

(Don’t Go, gemma pop anni 80 realizzata da Vince Clark appena fuoriuscito dai primissimi Depeche Mode…è lui l’autore del tormentone Just Can’t Get Enough, non il raffinatissimo Martin Gore che poi ha firmato tutti gli album successivi) e un po’ New Order.

Ecco New Order, mi pare che Flood abbia operato un mix misterioso in cui ha assemblato il cantante Tom Smith (forse inteso come il nuovo Ian Curtis, mai abbastanza compianto cantante de Joy Division dalle cui ceneri nacquero appunto i New Order) e quel sound “tronico” figlio della scoperta di arpeggiatori e sequencers che all’epoca dominarono la scena. Mi ricordo che pensai seriamente che in fondo la chitarra sarebbe diventata presto uno strumento inutile)

Oggi invece vorrei parlare con loro, vorrei capire se davvero questo è quello che volevano fare. Produttori…brutta razza…

Perchè sotto sotto ci sono pezzi con una scrittura interessante, ad esempio Bricks and Mortar, ma la realizzazione, miodio, no dai, sono arrivato fin qua per dover ascoltare tutto ciò?

Ora io, oltre che essere appassionato di musica, sono un instancabile studioso delle nuove forme di comunicazione digitale,

adoro vedere prevalere la cultura contemporanea che prende il sopravvento e trasforma alla radice quello che noi abbiamo considerato regole.

La canzone è fatta con canzoni di altri, ogni cosa è modificata per somigliare il più possibile a chi la vuole. Il pre-esistente non interessa più di tanto.

Ma questa operazione qui io la trovo non riuscita, forzata, poco convincente.

Continuerò ad ascoltare questo album (mentre cercherò di scrivere una mail al chitarrista degli Editors ) ma qualcuno mi dica se nel 2010, in piena rivoluzione culturale/digitale ispirata da e al futuro abbiamo veramente bisogno di citazioni direttamente dal passato come queste.