depeche mix

Alan Wilder's live setup of synths (1982)

Depeche Mode instrumental covers/recreations by Jonas Öberg

dmrmx

08 02 3016

Coverversion DM

"Inner Peace" didn´t make the cut, and the lyrics are incomplete, but still, Enjoy if you want

Michigan-Inner Peace 2013 Demo

This is a cover with some original sounds sampled. Otherwise it´s all just about programming:)

Michigan-Depeche Mode "Welcome To My World"-Cover-2014

A cover of Depeche Mode`s "Higher Love". Obviously some original samples were used, 

Michigan-Depeche Mode´s Higher Love cover 2014

Re-Imagined: Enjoy The Silence by Depeche Mode

iTunes: http://bit.ly/1Fd2C3O

For More Info:
http://DenmarkAndWinter.com 
http://facebook.com/DenmarkAndWinter
http://twitter.com/DenAndWinter

Image By: Luc Lambert


Enjoy The Silence (Denmark + Winter Re:Imagined)

This is one´s made with 2-3 original samples. The rest of the sounds are made on NI instruments, such as, Massive, Battery, Rounds, and others.  Great sounding track imho!

Michigan - Should Be Higher (instrumental cover)-  origin appears on Depeche Mode´s Delta Machine

Now This Is Fun - feat. James New

Oberkorn

Sally Dige - Hard To Please

KellerTechnik - Personal Jesus

A couple of years ago me and some guys bought the original EMAX disc with Alan Wilders set-up for the "Music for the Masses tour-88". So I made this one for fun, a couple of years ago, using the actual sounds he did play. 

Depeche Mode´s  Blasphemous Rumours-88 version ( Alan Wilders original EMAX set-up`s used)

Well, we´ve all been a child sometime:) A corny yet, poppy track.

Depeche Mode`s Just Can´t Get Enough-88 version 82 Ending (Alan Wilders original Emax set-up´s used)

Depeche Mode`s The Sun&The Rainfall 82-Version (Sounds from A.W Emax was used)

A personal favourite. Some sounds from Alan Wilder´s EMAX set were used to create this.  For example: The "Oboe" sound in the beginning and in the end is from "Everything Counts". Some of the drums are from Drumulator and one sampled kick from "People Are People" `s used. The hardest part was actually to recreate the "Organsound" that is the mainriff throughout the whole track. I´ve used two organ sounds from NI.  Other instruments used on this track are: NEXUS, MASSIVE, VANGUARD, POLYPLEX (Drums), ROUNDS, JUPITER V2, HALION (Sampler), BATTERY-4.

Depeche Mode`s Ice Machine 84-version (Some sounds from A.W Emax setup were used)

Great track. 
Several sounds were taken from Banks of "Fly on the Windscreen", "Everything Counts", "Leave in Silence", and "Something to do". As I try to create the actual soundscape, I clearly begin to see how Alan really worked with the liveversions. Great fun it is:). Enjoy it!

Depeche Mode`s Puppets - 84 Version (Sounds from A.W Emax setup-88 were used)

Great intro to this track. Some samples used. Otherwise the sounds are created with Minimoog V, Monark, Massive and Nexus to mention a few

Depeche Mode`s My Secret Garden 82 version (No Alan Wilder Emax samples used. Now that´s shocking!!)

Again ....Alan´s thinking on how to reuse samples again is incredible. Sounds from Banks such as "FOTW-93", "Behind the Wheel-88", helped create this corny track. Enjoy!

Depeche Mode`s Boys Say Go 86-Version (Samples from Alan`s Emax setup were used)

Photographic...........Sounds from banks such as "Blasphemous Rumours", "Leave in Silence-93", "Fly on the Windscreen-93" "A Question of Lust", "Something to do" helped create this track. 

Depeche Mode`s Photographic 86-version (Sounds from Alans Emax Banks were used)

Limited 12": smarturl.it/MariaUsbeckVinyl
Spotify: smarturl.it/MariaUsbeckSpotify
Apple: smarturl.it/AmparoApple
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Maria Usbeck's solo debut, Amparo, is a collection of songs written and recorded across the span of three years in Ecuador, Buenos Aires, Santiago, Barcelona, Lisbon, Easter Island, Costa Rica, Florida, L.A. and her home in Brooklyn. Though the songs were composed electronically, Amparo called for an acoustic treatment, so Usbeck spent a winter in the studio recording the arrangements live with producer Caroline Polachek and mixer & engineer Miles Benjamin Anthony Robinson. Fleshed out in full sonic color on the marimba, xylophone, quena flute, piano, and harp, the album stretched into something hi-fi and expressive, meditative but not meandering.

Amparo stems from Usbeck's desire to compose in Spanish, her native language. Growing up in Quito, Usbeck was immersed in salsa, merengue, bachata, and Andean music, but was more attracted to German and American culture than to her own, and moved to America by herself at 17. After five years of fronting new wave outfit Selebrities and writing songs in English, Usbeck experienced a delayed-onset homesickness and knew it was time to "let the mother tongue speak." The impulse manifested itself directly: Amparo takes its title from Usbeck's middle name and her mother's name, and translates roughly as "to guide, protect, and embrace." Usbeck wields her Spanish lyrics cleverly while folding in snippets of several other far-flung tongues: Rapa Nui from Easter Island, Quichua from Ecuador, Bribri from Costa Rica, and Catalan. Because these lyrics were composed while visiting the countries from which they originate, their usage is more impressionistic than literal, like a mockingbird imitating fragments of other bird calls. Similarly, Usbeck reinterprets the Ecuadorian music that she grew up with as a newcomer, returning home with fresh ears, and as such the sounds are very much her own.

The backbone of Amparo is percussion, vibrating throughout with timbales, tumbas, a talking drum, bongos, shakers, and an Indian flat drum, with the gaps filled in by her field recordings of birds, beaches, and jungles. The songs were written and recorded chronologically, with the exception of the closing track, a cover of Colourbox’s “Tarantula” reimagined in Usbeck’s Spanish translation. Amparo is a reflection of the textures of Usbeck's childhood. It is also a distinctly grown-up pop record – a travel diary, music made by a visiting outsider to tap into a shared core of human expression. Emotively, Usbeck is her most powerful on piano ballads "Uno De Tus Ojos" and "Jungla Inquieta," but is a magnetic narrator throughout, moving between whispers, chants, and lullabies. Amparo pulses with many stories in many voices, but they flow together seamlessly like water, leaving behind a wordless hum.

Amparo is released May 27 via Cascine in North America, Labrador in Euope and Rallye in Japan.
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Cascine on FB: bit.ly/1QTpyHQ

Maria Usbeck - Jungla Inquieta

Remix from 'Fleshed Out' by Gazelle Twin. Released on Anti-Ghost Moon Ray Records, 29 July 2016.

Bandcamp: gazelletwin.bandcamp.com/album/fleshed-out
Double Vinyl: gazelletwin.tmstor.es/cart/product.php?id=28946

Still Life (Blanck Mass Remix)

Time was of the essence, more so now than ever. The waterfall roared as the leaves blew in the rising wind. The storm was only going to get worse from here on in and they had to escape. They were running out of time, what had been a pleasant adventure had become a perilous affair and if they weren't careful this trip may well be their last. Time was everything now. 
Dimitri Veimar is the latest producer to release music as part of the Omnidisc Swim Series. He steps up to deliver four tracks with a dancefloor orientation

PREMIERE: Dimitri Veimar - Time [Omnidisc]

An oldie. Original drums (Except for the snares in the solopart). The rest is made on a Minimoog.

Depeche Mode`s Dreaming Of Me -81 version

Exclusive mix by Dj Marcelo Mellao aka Dj Dark Side. From lmtd promo compilation "The Dark Side Mixes Volume 14" (2011).

Depeche Mode`s Dreaming Of Me -81 version

Modular State