Category — Depeche Mode

Nadia Ali is one of the greatest natural voices on the dance floor scene.

Formerly of Iio (“Rapture”, “Is It Love?), the singer has since embarked on her own successful career as a solo artist. After a series of songs recorded with artists including Rosko and Armin van Buuren, Ali finally unveiled her long-awaited debut album Embers in September of 2009.

A stunning collection of heavenly trance music and ambient sound, the album showcases both Ali’s unique vocal delivery and her knack for scribing deeply personal, sophisticated electronica, proving why she’s since become such an overwhelmingly admired, oft-requested collaborator for producers and artists alike.

Last Friday, I had the honor of speaking to Nadia as she prepared for a trip to Brazil. She was amazingly kind and as sweet as expected, and she provided a lot of thoughtful, in-depth responses to my questions. Instead of drafting up a short feature, I thought her fans would instead appreciate the full-on Q&A. Below is the entire transcript. I hope you all enjoy!

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As Torrance Shipman once said in the 2000 classic, Bring It On, “Missy’s the poo…so take a big whiff.”

While that quote doesn’t really apply here (aside from suggesting that Gaga is indeed ‘the poo’), the point is this: As the driving force behind the writing and recording process of her music, the creative director of her album artwork, music videos, tour visuals, merchandising and just about every other minute facet of her career, Lady Gaga is a very new kind of pop star; one that sings live, writes and records, dances, styles photoshoots, and waxes poetic about the lifestyle of the artiste.

While many have managed to break the market on their own terms, I can’t think of a single mainstream female pop artist in recent times who has exercised nearly as much creative control in both the audio and visual department as Lady Gaga.

In fact, I can’t think of any.

November 23 will see the release of Lady Gaga’s The Fame Monster, an 8-track concept album originally intended to be a re-release of her debut, The Fame. Written as a kind of antithesis to the subject matter of The Fame, The Fame Monster centers around horror and fears–from love, to loneliness, to death.

After some squabbles with her label (and a few inspired writing sessions while out on her Fame Ball Tour), Lady Gaga decided that this newly formed collection of tracks was enough of a living creature in its own right to merit release into the wild all on its own, rather than being slapped onto her pre-existing album. Of course, you could opt to purchase the album as a 2-CD bundle, but as a whole, the record is capable of standing on its own feet–however many feet a monster may have.

Now then, let’s run down the tracklisting.

The Fame Monster begins with “Bad Romance,” the current single that continues to power its way up the radio play charts. Better known as the song of 2009, “Bad Romance” is an unstoppable barrage of catchy hooks, hymn-like chants, and soaring crescendos. It’s a raw, raucous affair, best served at max volume in cars and clubs, and arguably the greatest track that Gaga has ever recorded.  Starting off with such a praise-worthy number, it’s fairly easy to forget that “Bad Romance” is just the first song off of the album.

“Alejandro” comes next, an Ace of Base-like mid-tempo, tropical track. While my reaction to the track was initially lukewarm after hearing the song in demo form, the album’s revamp adds a nice punch to the mix, creating a solid introduction and some reworked vocals. Watch out, though–the repetitive melody is addicting, and you may find that the song’s play count racks up faster than you can say “Alejandro,” “Fernando,” or any other man-of-Latin-origin’s nombre.

“Don’t call me Gaga,” Lady G announces as “Monster” begins to play. At this point, there’s really no need to progress any further into the album, as Gaga’s about to nail it: “Monster” is the epitome of the album’s essence, mashing a killer bass line with cheeky, creature feature lyricism: “We french kissed on a subway train / He tore my clothes right off / He ate my heart, and then he ate my brain,” Gaga laments during the song’s massive, glitchy (perhaps even picopop inspired?) breakdown. It’s a major hit, and is pretty much destined to be an upcoming single sometime soon.

“Speechless,” the next song on the album, comes with plenty of baggage in the Gaga Claims Department over the past few months, with “My favorite song of all” and “The greatest song I ever recorded” being just a few of the quotes offered up by the pop star during interviews. As one might imagine, the song has built a substantial amount of hype.

Mercifully it delivers, and the pay off is rich: “Speechless” is the ’70’s power rock ballad that always been hinted at in her earlier work (“Brown Eyes”, “Again Again”), though never fully realized until now. Penned for her father, “Speechless” is the result of Lady Gaga’s appreciation for the arena-rock legends and glam gods of yore (David Bowie, Freddie Mercury) that avoids imitation and plays like the torch ballad Gaga always needed. It may not be the greatest ‘hit’ of the album, but it is the most aurally adventurous (and surely the most personal). “I’ll never talk again / Oh boy, you’ve left me speechless,” Gaga croons with a swagger hitting somewhere between classic Elton John and Liza Minnelli. Concertgoers, be prepared–this one’s made for the lighters-in-the-air moment.

Coming in thereafter is “Dance in the Dark,” the album’s chilliest moment. “Silicone, saline, poison, inject me / Baby, I’m a free bitch,” Gaga scowls at the song’s beginning, which happens to double as the greatest opening line of the year. A hands-in-the-air dance song about a woman being harassed by her boyfriend, Gaga’s “Dance” is a murderous slice of pop complete with industrial whirls, haunted synths and occasional screams of anguish in the distance.

Part of the songs appeal, aside from being as danceable as it is dark (thus, “Dance in the Dark”…get it, eh?), lies in its occasional nods to the classics–from the  pulsating injection of Depeche Mode’s “Strangelove” into the opening chords to its homage to Madonna’s “Vogue” throughout the song’s spoken word middle eight:  “Marilyn, Judy, Sylvia…tell ‘em how you feel, girls!”

However unlike Madge’s celebrity roll-call, Gaga limits her subjects according to theme, choosing only those who’ve suffered a tragic end by way of, or indirectly because of, the fame. By the end of it all, you’ll want to know only one thing: Who knew emotional abuse could inspire such happy feet?

The next track, “Telephone,” is a doozy–a duet with Beyonce? Even on print, you’re already asking for trouble. “Telephone” was originally penned and serviced to Britney Spears by Gaga, rejected, and then reclaimed by the writer herself.

Along with a beat recalling Timbaland’s “The Way I Are” and a frantic, stuttering electro-bass line, “Telephone” is a mish-mosh of synths, phone sounds and above all, rampant telephone talk. While Beyonce’s vocal runs are a welcome addition to the track, the song functions best as an unapologetic celebration of the vocoder. Just dance, as someone around here might say.

“So Happy I Could Die” seems to pick up where The Fame’s “Starstruck” left off, borrowing its squeaky synthesizers and urban flavoring to engage in some self-indulgence. “In the silence of the night, through all the tears and all the lies / I touch myself and its alright.” While some reviews have likened the track to Britney Spears‘ “Touch of My Hand,” the music and lyrics seem far too dark to place “Happy” in the same realm as Spears’ ode to self-exploration. As the verses fade, the unusual anti-chorus fills the void: “Happy in the club with a bottle of red wine / Stars in our eyes ’cause we’re having a good time / Yeah, yeah / So happy I could die.”

Minimal and moody, “Happy” provides food for the mind while moving back and forth between Gaga and an unidentified “she.” It could be herself she’s referencing, but I’m still uncertain. Sasha Gaga, perhaps?

“Teeth,” the album’s premature closer, takes a surprising turn in sound: A stomping, hoot-and-holler-worthy chant-along, the final track of The Fame Monster invites listeners to cut loose and…well, sink their teeth into the music. Part musical, part country, and a little bit tribal in spots, Gaga snarls and taunts above an incessant, stomping march: “Take a bite of my bad girl meat / Show me your teeth.”  It’s an odd choice to end the album, though a surefire crowd pleaser for live shows if the addictive backing beat is anything to judge by.

Out of the eight excellent tracks of the album, the greatest part about listening to The Fame Monster is not the catchy beats or silly lyrics (of which there are many), or even the lock of Gaga’s own hair included with the Super Deluxe Fan Edition (with which I still have no idea what to do with)–it’s the fact that the album is history in the making.

For better or worse, Gaga is on the path of legendary status:  With only one album under her belt, Lady Gaga has already broken a world record for most #1 singles from a debut album, written for Britney Spears, Keri Hilson and the Pussycat Dolls, collaborated with high-profile photographers and artists including David LaChapelle, Araki, and Markus Klinko (which is not to forget her sheer influence on the runway, as well as scoring the devotion from runway legends like Alexander McQueen and Marc Jacobs). Along the way, she’s performed across the world to millions from San Francisco to Jerusalem, including a recent concert in New York where a newfound fan named Madonna watched along with her daughter, Lourdes, in the audience.

While I may be prone to hyperbole, I do believe that The Fame Monster is without a doubt the pop album of the year, if not one of the finest pop records of the decade.

And to think, this was just going to be a re-release.

Pre-Order The Fame Monster from Lady Gaga’s Official Store | Buy tickets to The Monster Ball Tour | MySpace | Official Website

For the Scissor Sisters guitarist, Del Marquis, the mainstream music industry can be a little, well…limiting.

In the interim between Scissors albums (they’re preparing their latest now!), the artist chose to go his own way and explore an independent solo project for himself, collaborating with several different producers and artists (including Joan as Police Woman and Basement Jaxx) along the way.

After completing a handful of releases over the course of a year and a half, Del Marquis is now rolling out the final thrust of his indie turn with the Runaround EP–a maxi-single complete with eight new tracks and remixes.

“Runaround,” the main single off of the EP, is both a funky, stomping explosion of sound and a passing wink to the leading gentlemen of the New Wave movement–all without ever sounding inauthentic.

Other album tracks include “Lies By the Bed,” a jaunty, sauntering tune, and my personal favorite, “Each Time I Reach the Sun,” a six minute triumph that pits Marquis’ dark, echoey vocals against melancholy guitar chords and a crashing drum beat, at times recalling the greatest melodies from Depeche Mode. “As strange as it ever was, each time I reach the sun,” Marquis distantly coos along the devastatingly addictive chorus, only demanding to be put on repeat time and time again.

As a whole, The Runaround EP is vibrant, fun, and–dare I say–”hip,” proving that a good grove is forever timeless.

Click below to stream “Runaround” in full.

DL: Runaround (Louis La Roche ‘In 1995’ Remix)

The Runaround EP will be released on September 22.

Purchase more from Del Marquis on iTunes | MySpace | Official Website

Who’s ready for another round of reinvention?

Nouvelle Vague, the creative cover project backed by producers Marc Collin and Olivier Libaux, is known for stewing up some of the finest bossa-nova tinged reinterpretations of punk hits and New Wave classics. After three years, it’s time for Round 3.

This time however, the rhythm has slightly changed: For one thing, the songs are no longer bossa nova-infused, but rather inspired by the sounds of country and bluegrass.

Additionally, the covers are getting a bit more authentic, as the original artists are sharing the crooning credits with the long list of breathy French chanteuses on each track of the record.

And yes, you’re correct–”Master and Servant” is a Depeche Mode cover, and Martin Gore IS on the record!

I won’t lie, hearing that the new record would be given a country twang upsets me greatly. But after hearing the preview of the first track on their MySpace (with Martin Gore!), I’m certainly keeping the faith.

I suggest you do the same.

1. Master And Servant (Depeche Mode)
2. Blister in The Sun
3. Road To Nowhere (Talking Heads)
4. All My Colours (Echo And The Bunnymen)
5. The American
6. Heaven (Psychedelic Furs)
7. Parade (Magazine)
8. Metal (Gary Numan)
9. Ca Plane Pour Moi (Plastic Bertrand)
10.Our Lips Are Sealed (Go-Go’s)
11.God Save The Queen (Sex Pistols)
12.Say Hello Wave Goodbye (Soft Cell)

Click here for further details from Altsounds.com.

Nouvelle Vague’s 3 is due for release in France on June 15, June 29 in the UK, and July 3 in Germany & Austria.

Passing along this message to all you Boston-based Muusers out there,

In case you’ve not yet heard, Depeche Mode is releasing their latest album, Sounds of the Universe on April 21. To help ring in the celebration, Capitol Records is holding an exclusive listening session at Paradise Lounge later tomorrow (April 20) from 6-8 PM. Apparently they’ll be giving out Depeche goodies, so do attend if you can!

Here we have the forefathers of all things electronica and New Wave, Depeche Mode, performing their newest single, “Wrong” at the 2009 Echo Awards.

It’s all a bit embarrassing, isn’t it? I suppose “Wrong” works as a proper buzz single (in that it’s a minimal builder of a number), but something strikes me as particularly awkward throughout this entire performance. The track’s flatness? The lip-synching, perhaps? Hell, even Gahan looks as though he’s eager to burst out of his own skin.

I much prefer the demo of “Fragile Tension” currently making the rounds after the track’s leak some days ago. It’s got a bite to it, however unfinished it may be.

Now then…Let’s remember what was for a moment.

Mmm…Perfection.

It’s a miserable Sunday, so let’s cheer ourselves up with a lap or two around the blogosphere, shall we?

As usual, D-Luv’s got the low down on the charts game across the pond. More specifically, he’s discovered that Robyn is still putting out old music, Girls Aloud is preparing an epic second single release, and Beyoncé finally found a way to the top on her own.

Raj of ElectroQueer has put up an incredible review of Darren Hayes‘ much anticipated project, This Delicate Film We’ve Made. The result sounds absolutely luscious, and I’m so looking forward to seeing the end product myself!

JJS III of It’s The Money Shot! continues in his tradition of posts eclectic: This time, a remix of Beyoncé’s “Single Ladies” by the incomparable, tranny-tastic Ashley Breathe. He’s also opted to push my buttons with some minor Circus hate, but I’m holding my tongue…sheerly out of blogger-to-blogger love.

Near and dear Muu friend 8/1 has posted about unsigned UK band, The Golden Filter. Judging by “Solid Gold,” this may be THE new band to watch for in ‘09! A bit Goldfrapp, a touch of Hercules & Love Affair, a glitter drop of Róisín Murphy, and all DIY electro-pop…I’m absolutely in love with this band’s sound. Will be exploring further!

My good friend Faisal of Ohh! Crapp has been posting in his usual, nonsensical manner. A nice, long rant about Lady GaGa, followed by an MP3 from…Lady GaGa. It’s okay, Faisal…Love you, anyway

XOLondon has bunched together some of the greatest musical moments of ‘08. While we don’t always see eye to eye on our artists, I absolutely adore his selections. Prime opinions and keen pickin’s, as usual!

HardCandyMusic is keeping the beat alive with some nice “Justify My Love” remixes.

And to throw into the mish-mash of already scattered thoughts, I’ve decided to include a favorite of mine from Depeche Mode that I fancied for myself tonight. Miserably bleak, wry, and slightly damning, “Blasphemous Rumors” is an ominous recounting of life’s most unexpected events. It’s a slightly horrifying mix of industrial clangs, music box strings, and a series of horned synth blares. The song also happens to feature one of the greatest choruses of all time: “I don’t want to start any blasphemous rumours, but I think that God’s got a sick sense of humor. And when I die, I expect to find him laughing.” Absolutely essential material.

DL: Depeche Mode – Blasphemous Rumors

Hold on to your hard hats, everyone–it’s time to take a brief sweep through Pitchfork territory. Go ahead and gather up the 1980’s (sans the Speak-N-Spell), dark pop, sprinkles (shots, if you will) of indie-electro shivers, Anthony Gonzales, and a few good producers including Ken Thomas, Ewan Pearson, and Morgan Kibby. Jumble that all up together and what have you? Nope, not Xanadu, though kudos to you for your unwavering optimistic attitude toward the film’s revival. No, it’s the latest album by M83, entitled Saturdays=Youth.

Intending to supply a nod or two to those golden days of yore, Mr. Gonzales has thrown a wrench into his typical electro-ambient stylings with the occasional blips and bleeps that made the ’80’s so undeniably cheesy and wonderful. Now don’t roll your eyes just yet. I, like you, am quite beyond the whole ’80’s revival scene (it’s so mid-’00’s), but when I say revival, it’s not in regards to the mere usage of a few blaring synthesizers, but more of a subtle recapturing of the sounds and noises of 1980’s New Wave pop.

Saturdays=Youth is stunning, truly. The moody, breathy male and female vocals of the album carry well over its collection of strumming guitars and clouded synths, allowing each track its own unearthly sound. Layered tracks like the first single, “Couleurs” as well as lead-off track “You Appearing” and “Highway of Endless Dreams” prove that the involved producers are adept at doing more than merely recreating yesterday’s sounds, but rather carving complex monuments devoted to previous conquerors of all things synthesized. Gonzales also proves to pave his own inroads into dark pop, providing songs like “Graveyard Girl” and “Kim & Jessie,” unmistakably legitimate tracks that fall in line perfectly with the best of them–from Depeche Mode to New Order. There’s also the breathtaking sixth track, “Up!” of which I’m convinced features Allison Goldfrapp’s tender vocals. Through the album’s deeply dark melodies and brighter flourishes however, Gonzales never loses his way for a second.

If you’re interested in learning more about the album, head over to Amazon to hear clips of the tracks, or to the M83 MySpace for additional information.

In a word, haunting. Instilling unconventional vocals along with distorted ’80’s power synth sounds, Zeigeist just may be the new “it” group to lead their proudly pop-happy country to the top of the pop charts yet again. Chock full of unforgettable riffs and crisp electro noises from the year 2010, the band’s album The Jade Machine is one long breath of Swedish electro bliss. Though many of the songs featured are undeniably similar to the output of fellow Swedes The Knife (“Dawn Night” is essentially “We Share Our Mother’s Health”), the album retains an originality of its own within its more mainstream, digestable pop-electro sound. Sure, that’s not always a better thing, but it certainly works for them.

There’s even a hint of Goldfrapp hidden beneath the fragmented synthesizer, especially within “The Lake.” “Wrecked Metal” might as well have come directly from the Depeche Mode back catalog, bouncing along with the original synth-band’s familiar air of hopelessness, darkness, and pure sex. “Cuffs” is uncomfortably similar to Kelly Osbourne’s genius pop-noir hit, “One Word,” but I’ll consider it a posthumous nod to the original. (No, she’s not dead, but that career sure is.) I’m even getting some waves of The Presets every now and then while listening. This is an incredibly promising, incredibly exciting release, and I highly encourage you to check out their MySpace now and order the album. Make sure you check out their pictures as well. I don’t know if they’re promotional or actual lives, but the visuals of their performances seem epic.

It’s quite difficult to track down a proper live, so enjoy this thirty second clip. I’ve no idea what’s happening here (there looks to be some triangle lights, a giant dancing space creature, and Liza Minelli) but it appears they make for a rather good show.

Australian-based group, The Presets, first burst onto the scene back in 2005 with their incredible debut album, Beams, a varied mix of cold vocals and skittish, grinding beats that garnered plenty of critical success. Well now they’re back, and dare I say…better than ever. At least, that’s what I’m thinking after hearing their latest single, “This Boy’s In Love”, to be released later this month.

First off, the accompany video is all shades of homoerotic, mainly consisting of two men wrestling in milk, while glitter falls all around the screen. Sounds a lot like my Saturday nights. But as for the song itself, there’s much brilliance to be found. The sound is something more nostalgic and structured than their other releases, bringing Depeche Mode to mind. By the time the ghostly chorus kicks in, you’ll be right on board too. The single comes at the same time of their second album’s release Apocalypso on April 12, so give the song a shot and then research them madly.

Check out the video to their first single from Apocalypso, the increasingly addictive “My People”.

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DL: The Presets – This Boy’s In Love