Review: Depeche Mode – Delta Machine Tour 2013

enjoy the silence

This concert should’ve been called Dave Gahan, the stripper Elvis and his pelvis. This was my first impression of the show. The second one – this concert was a little bit lighter in energy than the one in 2006.

FOX opened the show, with an hour-long of weird music. The lead singer tried to be everything from Debbie Harry to Lady Gaga, with little success. Her voice was good enough for a rock band, but not this mashup of things.

After FOX finished doing their thing (whatever that was), there was a little break before Depeche Mode entered the stage.

On time, as always (to prove that they’re pros), Depeche Mode engaged in full-blown awesomeness with Welcome To My World.

Dave Gahan manages to do what he knows best: he makes the audience his bitch. His energy fills up the stadium and more and his voice moves the great mass of people like a wave, a single organism.

With a balanced setlist, Depeche Mode brings out the best in Delta Machine, while not forgetting old favorites. Black Celebration and Precious, Barrel of a Gun and Soothe My Soul, Enjoy the Silence and Heaven, everything blends in perfectly, alternating Dave’s voice and hips with Martin’s sensibility.

A few observations:

What’s with the shambala bracelets lately? Even Martin wore one, and I must say I dislike them even more now. They are feminine on men and not feminine enough on women.

Dave owns the crowd through Black Celebration. For a slow track, everyone seemed so full of energy, it was amazing. Especially considering the fact that they didn’t sing that one live since 2001.

Dave also makes the perfect ballerina on Policy of Truth, one of my favorite songs. He’s a god, just like Elvis was, making the people go wild, men and women alike.

The visuals for The Child Inside made Martin look like Nightcrawler. And I’m not saying that’s a bad thing!

The biggest disappointment (for me) was A Pain That I’m Used To. Back in 2006, they started the show with this one and it totally took me by surprise. It also blew me a away. Being my favorite Depeche Mode song (then, as is now), I had high expectations. In 2006, they were met. In 2013, not so much. They chose to do a remix of the song (‘Jacques Lu Cont’s Remix version), a slower version of it. I’m not big with the remixes and all and this one ruined a perfectly good song. Where is my sex song, I ask you? Well, I don’t know, I didn’t got my sex song last night.

The classics Enjoy the Silence and Personal Jesus rocked the joint. There’s nothing I can say of these two, except they’re perfect. Enjoy the Silence is their signature song, after all, and you recognize it the second it starts. Personal Jesus is also one of my favorites, being covered by Marilyn Manson (one of the few covers I really-really like), so to me there was no surprise seeing the people moving and singing as one person with Dave.

For the encore, Martin came back with Home, which I declared „my new favorite song”. He transports you to his world when he sings and even though, at times, I find him a better singer than Dave, I like him in small portions. Strong essences are kept in small bottles or, in his case, emotions and thoughts are better shown rarely, for you to appreciate and understand them. I especially enjoyed the recognition the public had shown Martin, applauding his genius and his soul bared in front of us. He deserved it, that and much more.

Just Can’t Get Enough took us back to the 80s. And oh, man, we loved the 80s! Everyone was dancing, everyone was happy and free.

I remember thinking that, for the visuals on I Feel You, they took Ciara and made her dance. The figure behind Dave was funky and raw, and Dave was raw too.

I really loved the visuals. Anton Corbijn did a really good job with those, as usual.

Two hours of my life filled with music and energy. Two hourse when you can chose to listen to the lyrics or you can chose to dance like Dave. Two perfect little hours. And I am speachless again when it comes to Depeche Mode.


Personal pic, Enjoy the Silence pictured, credit GM.

HURTS + IAMX – Album Review

Science Fiction Double Feature, as one old song used to say. But my science fiction is my music, as usual, so my double feature will be comprised of HURTS and IAMX. Both of them are musical projects with their names written in capitals, so I’m guessing they mean business.

I remember the first time I heard about HURTS, while working for this website as a content editor of some sorts. They were having this concert in Romania, and it was sold out very fast, unusual for Romania and also for a band relatively unknown.


Pic here.

So far, I’ve missed their two concerts here, but I somewhat enjoyed their first album, Happiness (only about half of it, but still ok).

Another thing I remember is the comparison with Depeche Mode and White Lies. Even though I’m not a big Depeche Mode fan, I could recognize that their sound, electronica-ish as it was, it wasn’t depeche-y. But I am a big White Lies fan and for me, to be said that they are surpassed by these relatively unknown boys who like to dress up nicely to hide their pending deviations, it was too much! I was outraged by these suggested resemblances, so after the first listening of the album, I didn’t gave them a chance. That changed afterwards and I still have 2 or 3 songs from Happiness I like to listen to when I wanna feel down.

Their new album is called Exile. I’d like to think it’s their ugly child, because some of the lyrics are quite disturbing, and also the music is different. They sound so much darker than on Happiness, so now I’d like to think about them as balladeers crossed with Timbaland beats and weird, real electronica sounds. The vocals are outlandish, the music is so harsh and rough and wild and also well studied.

Exile (8) has this low volume, but such a high intensity. It’s not the peak of the album, but it’s the starting point from it can grow bigger and bigger.

Miracle (10) has passion and wilderness and fear and it’s disturbing and intense, and for that I wish I
could give it more than a 10. Also, I wish they didn’t remove the first video, it was perfect for the song. It was decadent and outrageous and I want it back!

Sandman (9) is a very disturbing composition, with Theo’s voice flowing and ticking like a clock along with the music, I almost have the impression he is dreaming.

Blind (7) starts really, really good vocally and musically, but then the lyrics hit in and… Nothing. Somehow, I don’t find it appealing listening to „Cut out my eyes and leave me blind”.

Only You (5) is not a memorable song, because it blends on the album between Blind and The Road. Lyricially speaking, I would say it’s a little bit more than the previous songs, but nothing remarkable.

The Road (9) is one of the songs that got promoted by the band. At first, I didn’t know whether I liked it or not, but when the chorus hit me, it was like a hurricane. And I couldn’t help but notice the ever present dubstep sound.

Cupid (6) is yet another song I didn’t bother remebering. The lyrics are quite simple, but the music fades away and merges perfectly with the album.

Mercy (7) sees the boys returning to their balladeers roots, along with the same dubstep rhythms on the chorus. I liked the spelling part of the word mercy, the vocals on that one verse are amazing.

The Crow (5) is another lyrically-full song, a ballad in the complete sense of the word. However, for my taste, is a little bit boring.

Somebody To Die For (8) is a song full of promises and hope, and I love it just for that one special feature of it.

The Rope (6) is yet another song about hope and all the other things that make you go on (yeah, I don’t know them, I have no name for such things), but it doesn’t have the special trait of Somebody To Die For. It does, however, have the dubstep-ish sound ever present on the album.

Help (5) is the last song of the standard edition of Exile. I was left under the impression that I wasted a lot of time listening to the second part of the album, so I can’t tell you what this part is all about.

I can definitely see progress here, more instruments, edgier sound, provoking lyrics, amazing vocals and choruses, but I will stick to my first half of the album, if I need some introspection and depression. All in all, 8/10 for HURTS and their Exile.

The second part of this double feature is IAMX. IAMX is a violent, decadent artist, with knick for saying the truth about a bunch of things, including love. His love is usually sick and twisted, and that’s the best part of it.


Pic here. I will forever and ever love this photo!

I listened to IAMX for the first time in 2008 and I was much appalled. In February 2009 I missed their concert, but in August (or September?) 2009 I listened to Missile and You Stick It In Me and I fell in love.

June 2011 saw me at their concert, watching and singing along and being genuinely happy. Volatile Times was a beautifully constructed album, but the live experience surpassed it by far.

So 2013 sees my beautiful Chris releasing The Unified Fields, another appropriate name for a beautiful piece of poetry-philosophy-depression infused music.

I Come With Knives (10) portrays Chris’ decadence perfectly, so what’s not to love about it? It’s beautiful and violent and it even has a verse in German (beautiful poetry, btw).

Sorrow (10) is here to say that, if you ever doubted Chris’ poetic abilities, you are so very wrong. Please let me enjoy my sorrow, with a Chris classic-to-be.

The Unified Fields (8). I can’t say much about this one, I’ll just let the lyrics speak for itself.

We are all insane
Counting down every single living day
We are prisoners of fate
I smile at the way everybody accepts the pain

Just because I don’t care doesn’t mean I don’t feel
Just because I don’t feel doesn’t mean I don’t understand
We are one in the unified field

The Adrenalin Room (7) is one of the songs that makes me think Chris took up Chemistry lessons. Oh, and also he studies anger!

Quiet the Mind (10) is definitely my favorite song off this album. How can I not love it? It deserves a special place in Chris’ work, alongside Spit It Out, Bloodsport, Missile, Volatile People, Tear Garden…

Under Atomic Skies (7) explores the same chemical issue, while suggesting nakedness. It wouldn’t have been Chris, if it were otherwise!

Screams (6) I don’t get. I listened to it, it’s tempo second-dependent, but it didn’t move me. I’m guessing he wanted to say too much, in too little time.

Come Home (9) hit me just were it should’ve. I feel like talking to myself, since I am for too long lost.

Animal Impulses (8). No explanations, just this.

I’m tired of this human duet
No civilizing hides
Our animal impulses.

Walk With The Noise (9) fool’s world, game, blows ripping, souls, killing me, terror, propaganda, flesh and blood. Excerpts of the song, powerful SOB!

Land of Broken Promises (8) starts out as weird, then we have a silent guitar, while Chris tells us the story. I have the feeling I listened to this song already, but I’m guessing it’s because the recurring theme in his work (The Stupid, The Proud).

Trials (8) of course it’s about demons in us, about acceptance and a half-hearted hope!

I couldn’t help but notice the score-y sound this album has. It’s full of instruments and it’s grandiose and it has power, I saw fit for Tarantino movies at least two of tracks (Walk With The Noise & The Adrenalin Room, maybe Land of Broken Promises too). 9/10 from my part. Please enjoy it!

Muse – Madness

Review neasteptat (din lipsa de rabdare si din prea mult entuziasm). Madness are o zi pe YouTube. A fost pe repeat toata ziua. Comentarii pe marginea articolului de pe Wikipedia:

According to NME, „Madness” draws influences from Queen’s „I Want to Break Free”, George Michael’s „Faith” and some instrumental elements of his other hit I Want Your Sex.

During a preview on French site Jeuxactu, the song was said to resemble Depeche Mode and describes it as ‘calm, languid and sweet’. It is also said to heavily resemble the track „Undisclosed Desires” from the band’s previous album, The Resistance.

Can’t really see the resemblance, doar o tenta de Angels and Airwaves in aer, sunetul distant rock pe care-l au ei de fiecare data, sunet care vine cu goose bumps la pachet, si vocea lui Bellamy, la fel de sigura pe ea ca intotdeauna, indepartata si rece, si totusi calda si sfioasa.

Matthew Bellamy stated that the song started as a personal reflection after a fight with his girlfriend; and how after she had gone to her mothers house he began to realise „yeah, she was right, wasn’t she?”.

By now, he should’ve known that she’s always right. 🙂

In a separate interview, Bellamy stated the song was the band’s attempt to strip down the sound of the album, and that the song has its roots in 12 bar blues with gospel, soul and R&B influences. He went on to conclude that, „It’s the song I’m probably most proud of on the album for sure.”

Iar in ciuda fanilor pe care ii vor pierde cu acest album, ma bucura sa-l vad atat de mandru de ceea ce a facut. Pentru ca tot timpul vede alta cale, si chiar daca nu e apreciata de ortodocsi, ii vine ca o manusa.

N-am avut rabdare sa ma uit la clip. Am vazut ca e mostly un amestec de imagini haotice si mi se pare ca seamana la culori foarte mult cu „Time Is Running Out”.

Ca sunet, Muse s-a indepartat de ce faceau pana acum. Au imbratisat dubstepul si-l folosesc peste tot. Sound-ul e clear de alte sunete, iar repetitia lor poate deveni obositoare pentru fanii obisnuiti cu stadium anthems pline de energie livrate de Muse pana in 2009. Bine, dupa „The Resistance” am observat un curent intre fanii vechi, care si-ar fi dorit ca trupa sa aprofundeze directia aia mai mult. Pe mine, albumul din 2009 m-a lasat un pic indecisa, eu nefiind fana a muzicii fara cuvinte (intre timp, lucrurile s-au mai schimbat, dar nu de tot).

Mi-a placut cum a descris Matthew Bellamy albumul – „christian gangsta rap jazz odyssey, with some ambient rebellious dubstep and face melting metal flamenco cowboy psychedelia.” si am incredere in his mixing capabilities, asa ca abia astept sa vad cum suna.

„Madness” pare statica. Ar fi putut fi promovata si fara album. E o piesa care se descurca bine si singura si sunt sigura ca va reusi sa prezinte albumul exact asa cum e. E o piesa cu personalitate. In prima faza, pare usor inchisa, datorita ritmului cadentat si fix, fara prea multe inflorituri. Sunetele sunt putine, ritmul nu e elaborat, instrumentele ies in fata unul cate unul si ocupa bune bucati din piesa. Cel mai mult mi-a placut declaratia Rolling Stone:

Rolling Stone stated that the single sees Muse „swap bombastic bass brutality with wubby subtleties as Matthew Bellamy croons over a surprisingly gentle pop track.”

Desi n-as descrie bass-ul ca fiind brutal, the wubby subtleties sunt un pic mai mult de atat si piesa evolueaza si creste incet, dar sigur catre momentul cheie de la minutul 3:30, unde se intampla minuni:

And now I have finally seen the end
(Finally seen the end)
And I’m not expecting you to care
(Expecting you to care)
But I have finally seen the light
(Finally seen the light)
I have finally realized
I need to love
I need to love

Come to me,
Just in a dream
Come on and rescue me.
Yes I know, I can be wrong
Maybe I’m too headstrong
Our love is

Spre asta creste toata piesa si merita sa asculti 3 minute si jumatate de dubstep-wannabe, pentru a simti energia asta. Goose bumps moment.

A new „Happy Birthday”!

Astazi sarbatorim domni grei din muzica, pentru ca li se cuvine sa fie sarbatoriti.
Anul de gratie ’49, secolul trecut, ni l-a dat pe Billy Joel – pianist, cantaret si compozitor. Il stim drept „Piano Man”, cantandu-ne despre „Book of Love”, s-a luptat cu depresia si a baut nitica furniture polish si s-a iubit cu alcoolul si fotomodelele, asa cum ii sta bine unui star. Pentru o viata tumultoasa, but hey – didn’t start the fire!

In ’62, pe lume a venit Dave Gahan – idolul femeilor in anii’80, membru al trupei Depeche Mode, dar si zburator solo, cu o cariera impresionanta si o iubire bolnava (heroina). Dupa ce a fentat moartea de vreo 4 ori, Dave s-a hotarat sa se faca cuminte si sa ne mai cante putin…