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“Playing The Angel” track by track: “Playing The Angel” track by track

Seven New Songs by Depeche Mode In A Rush

by Thomas Vänker of Intro magazine, translated by Niggels

Monday, 4th of July , 5:27 pm, London: A quick handshake by Mute boss Daniel Miller and here we go, deeper into what looked like a normal English house from outside. In fact it´s rather one of these private clubs, of which folks like us only hear about from the tabloids, when Boris Becker gets foisted yet another child upon him (okay, that happened actually in a high-end restaurant but you get the picture, don’t you?) or when some banker gets arrested red-handedly because of some sort of dubious financial transaction.

Today the ground floor of this salacious and beautiful club (a harmonic mix of British conservatism and Greek-ish interior design and art) is in the hands of the most important band in the world – no, not Kiss, I´m talking about Depeche Mode!

Miller is aware of the jumpiness of the attendees – journalists coming to Depeche Mode are always a little more excited than they would be with any other subject; not to mention the also attending label employees. This is a fans’ world, through and through. Miller keeps his speech accordingly short: The album will be called Playing The Angel and be released on 17th of October, and now we´re going to hear the world exclusive premiere of seven songs off the new album – unfortunately yet unmastered. A fact which Miller, the old perfectionist, visibly feels quite uncomfortable with. But there´s no other way. With a tour time-phased for January and the release of the album the Depeche Mode machine has restarted once more, four years and some months after Exciter, and the machine imperativly needs to be fed.

And one thing is clear after this bombastic listening session (bombastic both concerning the environment – the album was played on an unbelievably loud PA – and in respect of content): Nothing can stop the Depeche Mode machine!

Playing The Angel is a dark, thunderously rocking album, which lyrically digs into the infinite abysms of human existance and, in doing so, avails itself musically of a range from Industrial to contemporary electronic avantgarde. But after all it always comes back to this certain self-reliance and independence which is Depeche Mode known for for 25 years know.

So, here are the first hard facts. After a single listen. That is, don´t kill me if it feels a little different afterwards.

1. ‘Precious’

Will be the first single. And deservedly so. The song works from the start. Very homogenous and self-contained all in all, in short moments nevertheless with the very libertine Depeche Mode always get away with. For example the shortest fragment of a melody ever: Just a tap on the piano-synth and catchiness and significance still add up. It reminds myself a bit on the Black Celebration period but it’s also reminiscent of Violator. Pathos doesn´t get missed out, too. Excerpt: “If God had a masterplan…” – despair right away, then. As the track was played once again at the end of the listening session people virtually danced to it. Fire test has been passed with flying colours. The word ‘classic’ is in the air all over the place.

2. ‘The Sinner In Me’

A very dark, Industrial-like track which be could be as well Nine Inch Nails – well, until the vocals come in. The Italo lot among the British colleagues shiver in the face of too much harshness. Once more about agony and pain:”…still recover, still go over all the suffering..” (by the way, no warranty for accuracy at all when it comes to quotes off the lyrics). Towards the end the track appropriatley vanishes in digital noise and swoosh.

3. ‘Suffer Well’

And once again suffering – even though I Freudianly misheard “Suffer Weil”. Well-fitting to the flow of the record, Gahan talks later on about “one of the darkest Depeche Mode records ever”. This song, a very strong, lusty anthem, is penned by him, by the way. Just like another one in this listening session and a third one on the final album (which – so much for now – will be finished by the end of this week). The track ends with a surprising Hip Hop scratch of noise sounds. Once again one of those ambitious, at first intriguing but then sense making elements which the band has such a good grasp of.

4. ‘Macrovision’

“…Overflowing senses… I hear my blood flow…” Aptly to this short quote there´s only the voice present at the beginning of the song, haunting, coming in for all things – and when the wall of sound joins the voice still leads the track to higher levels. Nonetheless: A difficult track at first listen, somehow it has something pretentious about it. A feeling which is ultimately blotted out by the intoxicating melancholy, though.

5. ‘John The Revelator’

One of these tracks which work after a few seconds already, which needs no big introduction , which just enters the room and can be assumed as well-established. The leading 80s synth sound recalls slightly on “Space Invaders Are Smoking Grass” by I-F and is the ideal leitmotif for a song which has the ability to blend the best of the worlds of Rock and Electronics. Potential single. I would say.

6. ‘I Want It All’

The second track by Gahan in this session. And so far the least enthralling for me. A ballad and therefore very much produced pertinently for his voice which, blessed with all presence possible, narrates over layers of click sounds. Towards the end the sounds take over, step by step, grinding and rattling like the colossus in Björk’s “Army Of Me” video clip.

7. ‘A Pain That I’m Used To’

The track begins with an unsettling vocal line, which in its flow rather reminds on Italo-Pop-House canto than Depeche Mode. But at latest when the sublime melody rises above the darkness of the words, when the elevated raptures presage, the song falls back into the world where it really belongs. Perhaps the track with the best dramaturgy on the album. Another potential single for me.

The Bottom Line: An album like a lustful punch in your face - so to speak the “Fight Club” album of Depeche Mode. No chance at all to step aside and evade.

source: http://www.intro.de/musik/news/1120563041 - original text written by Thomas Vänker of Intro magazine - translation into English by Niggels (www.depeche-mode.com/forum)”

Siouxsie & The Banshees re-release entire album back catalogue - NME.COM: “SIOUXSIE & THE BANSHEES RE-RELEASE ENTIRE CATALOGUE

SIOUXSIE & THE BANSHEES’s entire album back catalogue has been digitally re-mastered and will be reissued over the next year.

The series will kick off with the re-release of debut ’The Scream’ on October 3.

The album will also come backed with a second CD of period rarities.

Originally released in November 1978, ’The Scream’ featured the tracks ’Switch’, ’Jigsaw Feeling’ and a cover of The Beatles’ ’Helter Skelter’.

The second bonus CD will include the first ever release of the early Banshees live favourite ’Make Up To Break Up’, the two 1978 John Peel sessions, the band’s first two single ’Hong Kong Garden’ and ’Staircase (Mystery)’ as well as five prototype tracks from ’The Scream’, recorded at Pathway Studios.

The full tracklisting for the reissued ’The Scream’ is:

Disc One

* ‘Pure’

* ‘Jigsaw Feeling’

* ‘Overground’

* ‘Carcass’

* ‘Helter Skelter’

* ‘Mirage’

* ‘Metal Postcard’

* ‘Nicotine Stain’

* ‘Suburban Relapse’

* ‘Switch’

Disc Two

* ‘Make Up To Break Up’ (Riverside Session)

* ‘Love In A Void’ (Peel Session)

* ‘Mirage’ (Peel Session)

* ‘Metal Postcard’ (Peel Session)

* ‘Suburban Relapse’ (Peel Session)

* ‘Hong Kong Garden’ (Peel Session)

* ‘Overground’ (Peel Session)

* ‘Carcass’ (Peel Session)

* ‘Helter Skelter’ (Peel Session)

* ‘Metal Postcard’ (Pathway Session)

* ‘Suburban Relapse’ (Pathway Session)

* ‘Staircase (Mystery)’ (Pathway Session)

* ‘Mirage’ (Pathway Session)

* ‘Nicotine Stain’ (Pathway Session)

* ‘Hong Kong Garden’ (7” Single Version)

* ‘Staircase (Mystery)’ (7” Single Version)

For an interview with Siouxsie Sioux, pick up this week’s NME, which comes out nationwide today (July 27).”

Recuperando CD

POLIDISC

Recuperando CD`s Arranhados

Todo usuário alguma vez na vida já se deparou com o problema de ter um CD arranhado. No caso de CDs de dados (CD-ROM), o CD não é lido corretamente pela unidade, dando erro de leitura. Já no caso de CDs de áudio, o CD “pula” quando colocamos para tocar.

A primeira providência ao encontrar um CD dando erro de leitura é limpá-lo, para ver se não é uma sujeira que está em sua superfície que está impedindo a sua leitura. Você pode inclusive lavar o CD suavemente com um pouco de detergente, usando os dedos da mão para limpar o CD (não use esponja, pois a esponja pode arranhar o CD). Se continuar dando erro, experimente ler ou tocar o CD em outra unidade. Se em outra unidade (ou em outro aparelho de som, no caso do CD de áudio) o CD estiver apresentando o mesmo sintoma (dando erro de leitura ou pulando, no caso de CDs de áudio), então significa que ele está arranhado.

Olhando contra a luz a superfície de gravação (o lado oposto ao do rótulo) de um CD dando esse tipo de problema, você conseguirá facilmente identificar um ou mais arranhões existentes. Os dados de um CD estão gravados em uma camada metálica dentro dele, camada essa que é prateada nos CDs comerciais e normalmente dourada nos CDs-R. Essa camada metálica é envolvida por uma camada plástica transparente (policarbonato), que tem justamente a função de proteger a camada metálica do CD e permitir que um rótulo seja impresso no lado que não é usado para a leitura.

A unidade de CD-ROM ou o CD player utilizam um feixe laser para ler a camada metálica. Esse feixe laser atravessa a camada plástica transparente e efetua a leitura. Se a camada plástica estiver arranhada, o feixe não consegue ultrapassá-la, dando erro de leitura ou “pulando” a música. Ou seja, os dados a serem lidos ainda estão dentro do CD, o problema é em sua camada plástica.

Como o conteúdo do CD está preservado, é possível recuperar um CD arranhado fazendo um polimento da sua superfície plástica. Se após os procedimentos de limpeza que sugerimos acima o CD continuar dando erro de leitura, basta você polir a superfície do CD com pasta de dentes. Isso mesmo, pasta de dentes. Funciona que é uma beleza e você não irá gastar uma fortuna comprando kits de limpeza profissionais. O polimento deverá ser feito usando um chumaço de algodão sobre os arranhões. Esfregue suavemente o chumaço de algodão com a pasta de dentes até os arranhões sumirem ou então você perceber que eles já saíram ao máximo. Pode ser que a pasta de dente crie novos arranhões, mas esses serão superficiais que sairão facilmente depois. Após ter removido os arranhões, limpe o CD na água.

Se ainda existirem arranhões que a pasta de dentes não removeu, use um polidor de metais (Brasso), da mesma maneira descrita. Por fim, passe vaselina na superfície do CD, bem suavemente (não use força), no sentido de dentro para fora.

O passo final é testar o CD. Se ele passar a funcionar, maravilha. Caso contrário, repita o procedimento descrito em nossa coluna de hoje, tentando localizar visualmente o arranhão que está causando o erro e concentrando seu polimento nesse arranhão.

In Liverpool

In Liverpool
On Sunday
No traffic
On the avenue
The light is pale and thin
Like you
No sound, down
In this part of town

Except for the boy in the belfry
He’s crazy, he’s throwing himself
Down from the top of the tower
Like a hunchback in heaven
He’s ringing the bells in the church
For the last half an hour
He sounds like he’s missing something
Or someone that he knows he can’t
Have now and if he isn’t
I certainly am

Homesick for a clock
That told the same time
sometimes you made no sense to me
if you lie on the ground
in somebody’s arms
you’ll probably swallow some of their history

And the boy in the belfry
He’s crazy, he’s throwing himself
Down from the top of the tower
Like a hunchback in heaven
He’s ringing the bells in the church
For the last half an hour
He sounds like he’s missing something
Or someone that he knows he can’t
Have now and if he isn’t
I certainly am

I’ll be the girl who sings for my supper
You’ll be the monk whose forehead is high
He’ll be the man who’s already working
Spreading a memory all through the sky

In Liverpool
On Sunday
No reason to even remember you now

Except for the boy in the belfry
He’s crazy, he’s throwing himself
Down from the top of the tower
Like a hunchback in heaven
He’s ringing the bells in the church
For the last half an hour
He sounds like he’s missing something
Or someone that he knows he can’t
Have now and if he isn’t
I certainly am

In Liverpool
In Liverpool

Notes:

Suzanne explaing the mood of “In Liverpool”:
“It’s a little sad, but it’s not as sad as it seems to be. It’s actually a romantic fantasy, based on one Sunday that I had in Liverpool two years ago. Where I was lying on the bed in a hotel room listening to the bells ringing outside the hotel room, I was thinking about an old boyfriend that I had, that I knew about fifteen years ago. So I was remembering him. It’s like a nostalgic song. It’s a romantic song.”
Interview in The Language Magazine (http://www.vega.net/language/922sthlm.htm) transcribed by Steve Zwanger

On the inspiration to write the song:
“This was one I wasn’t sure would fly, because it’s bits and pieces, it’s a mood really and a fantasy. It came about because I was on tour and I was in Liverpool and I was lying on the bed of the hotel we were staying in. And I was trying to take a nap and there was this enormous clamoring going on across the street. We were staying across the street from a cathedral. I started to think about one of my first boyfriends, who was from Liverpool. That started to put me in the mood of the books like “The Hunchback of Notre Dame,” and things that had to do with bells, and the ringing of bells. I was thinking about old loves, so there was this sort of nostalgic feeling to the whole afternoon. So I took the moments that made sense and put them altogether in the song.”
The Performing Songwriter Magazine Interview, by Bill DeMain (http://www.vega.net/perfsong.htm)

The diary pages on which the song is inspired:
“The bells are clanging and clamouring from what appears to be a church. Now they have stopped, rung twice — now the ceremony is over. It had gone on for a good five or ten minutes. Two clocks look into my hotel room and from the window I see a small river. Is this the river Mersey that Andy once told me about? I thought of him today as the bus rolled into town, how homesick he was for Liverpool, for the big clock that always told the same time. Where is it? For the river Mersey which, if this is it, is much smaller and browner than the Hudson which I am homesick for right now. The light is pale and thin here like the inhabitants of this country. A pale watery light, not unpleasant but not substantial. Here the bells have started again, it begins at the top of the scale and hurls itself down in a mad clamor over and over again in an uneven rhythm. There must be some mad boy in the belfry hurling himself across the ropes like a hunchback. Perhaps he loves someone who doesn’t love him. Perhaps he is remembering an old lost love. Now the scale is confused and is sounds like a carnival of bells, a dull peculiar melody, with a lilt but no reason to it.
Now it returns to the scale from the beginning over and over from the top down to the bottom, the low notes hitting with a dark clanging resonance, the top bells more cheerful. Besides this banging and clamouring there is no other sound, no shouts, traffic, people. Nothing except the stone, the pale sunlight, the small brown river and the bells on Sunday afternoon.
This morning I lay awake from four am to 730 am. a long treacherous
stretch of time to think things over again. Unfortunately lately I fall into
idle daydreams about his brown skin, open generosity, blunt…”
“The Open Hand Book - Notes on her New Album”, Musician, 1991, also published in Language and in the Limited Edition of 99.9F° (http://www.vega.net/handbook.htm) transcribed by Eric Szczerbinski

About the Hunchback:
“No, it was not a reference to my boyfriend. The thing is, the day that I was in Liverpool there was a Sunday where I was sitting in Liverpool and I was in the hotel that’s across the street from the Cathedral, and the bells were ringing and ringing and ringing, and they rang for about an hour. And I guess that started me thinking of who might be ringing the bells. And so I started to imagine that it was some kind of…if not a hunchback exactly, he was some kind of crazy lovesick boy who was amusing himself by flinging himself across the bells in the tower. He’s NOT committing suicide, by the way, he is only ringing a bell….and then the monk, I guess, is supposed to be my old boyfriend. So, if you see the video that’s me twirling and dancing around with the tambourine and the curly hair. That’s in fact me as the gypsy.”
In Session on the Nicky Campbell Show, Summer, 1992 Suzanne Vega - in Session on the Nicky Campbell Show, BBC Radio 1, c. August 1992 [The transcript starts just into the interview] http://www.suzannevega.com/about/1992/nickycampbell.htm

Hoje eu estou muito afim de mudanças, sei lá, vai ver porque a data é muito especial. Eu e a Larissa estamos comemorando 1 ano e 10 meses de namoro, e está sendo a melhor época da minha vida, até porque ela me faz muito feliz!!! A Larissa é uma namorada maravilhosa, perfeita, completa, eu te amo demais mesmo minha Lissinha!!!

Desde ontem resolvi fazer algumas mudanças na minha vida, sei lá, acho que vou fechar esse blog, que já não me serve pra mais nada, acho que vou apagar o Orkut, ou então apagar e criar um novo profile do Zero, e sei lá, enxugar minha lista do messenger. Estou afim de mudar tudo na minha vida mesmo!!!

Acho que vou fazer o seguinte: Vou largar o blog do jeito que tá, até porque esporadicamente me dá vontade escrever alguma merda aqui, mas vou trocar o headder. Vou limpar minha lista de comunities do Orkut, e de Friends também, tem gente que eu nem sei quem é! E no messenger idem, vou deletar pessoas que não falo, mas não vou bloquear, algum dia elas podem querer falar comigo. Ah sei lá, estou muito feliz, e talvez por isso eu queria… “deletar” algumas coisas da minha vida!!!

Estou completamente zerado de grana!!! E sem tempo também, quer dizer, até eu tenho de noite mas ando sem tempo pro blog. Estou em um momento de decisão, se deleto esse blog ou se faço uma mudança total nele. Sei lá, ando sem saco pra blog!

Mesmo de férias da faculdade, tenho trabalhado bastante, e também não tenho tido muito o que falar por aqui. Mas com certeza assunto vai aparecendo, ainda estou devendo as listas da Diamond da semana passada e dessa, de noite prometo dar um revamp nesse blog, tá precisando mesmo!!!

O Live 8 foi foda, muito bom (tirando as bandas americanas), agora, o principal foi o Pink Floyd, caralho, que foda, me arrepiei todo, mesmo a MTV não transmitindo o The Cure em Paris, não me senti puto, porque o Pink Floyd e o Paul McCartney foram fodas em Londres…

Assinem a lista: Live 8