House music is a genre of electronic dance music created by club DJs and music producers in Chicago in the early 1980s. Early house music was characterized by repetitive 4/4 beats, rhythms provided by drum machines, off-beat hi-hat cymbals, synthesized basslines. While house displayed several characteristics similar to disco music, which preceded and influenced it, as both were DJ and record producer-created dance music, house was more electronic and minimalistic; the mechanical, repetitive rhythm of house was one of its main components. Many house compositions were instrumental, with no vocals. House music developed in Chicago's underground dance club culture in the early 1980s, as DJs from the subculture began altering the pop-like disco dance tracks to give them a more mechanical beat and deeper basslines; as well, these DJs began to mix synth pop, rap and jazz into their tracks. Latin music salsa clave rhythm, became a dominating riff of house music, it was pioneered by Chicago DJs such as Steve Hurley.
It was influenced by Chicago DJ and record producer Frankie Knuckles, the Chicago acid-house electronic music group Phuture, the Tennessee DJ/producer Mr. Fingers; the genre was associated with the Black American LGBT subculture but has since spread to the mainstream. From its beginnings in the Chicago club and local radio scene, the genre spread internationally to London to American cities such as New York City and Detroit, globally. Chicago house music acts from the early to mid-1980s found success on the US dance charts on various Chicago independent record labels that were more open to sign local house music artists; these same acts experienced some success in the United Kingdom, garnering hits in that country. Due to this success, by the late 1980s, Chicago house music acts found themselves being offered major label deals. House music proved to be a commercially successful genre and a more mainstream pop-based variation grew popular. Since the early to mid-1990s, house music has been infused into mainstream pop and dance music worldwide.
In the 2010s, the genre, while keeping several of its core elements, notably the prominent kick drum on most beats, varies in style and influence, ranging from soulful and atmospheric to the more minimalistic microhouse. House music has fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house. One subgenre, acid house, was based around the squelchy, deep electronic tones created by Roland's TB-303 bass synthesizer. Major acts such as Madonna, Janet Jackson, Paula Abdul, Martha Wash, CeCe Peniston, Robin S. Steps, Kylie Minogue, Björk, C+C Music Factory were influenced by House music in the 1990s and beyond. After enjoying significant success which started in the late 1980s, house music grew larger during the second wave of progressive house; the genre has remained popular and fused into other popular subgenres, notably ghetto house, deep house, future house and tech house. As of today, house music remains popular on radio and in clubs while retaining a foothold on the underground scenes across the globe.
House music is created by DJs, record producers, music artists with contributions from other performers on synthesizer and other electronic instruments. The structure of house music songs involves an intro, a chorus, various verse sections, a midsection and an outro; some songs do not have a verse, repeating the same cycle. The drum beat is one of the more important elements within the genre and is always provided by an electronic drum machine Roland's TR-808 or TR-909, rather than by a live drummer; the drum beats of house are "four on the floor", with bass drums played on every beat and they feature off-beat drum machine hi-hat sounds. House music is based on bass-heavy loops or basslines produced by a synthesizer and/or from samples of disco or funk songs. One subgenre, acid house, was based around the squelchy, deep electronic tones created by Roland's TB-303 bass synthesizer; the tempo of most house songs is between 115 BPM and 132 BPM. Various disco songs incorporated sounds produced with synthesizers and electronic drum machines, some compositions were electronic.
As well, the audio mixing and editing techniques earlier explored by disco, garage music and post-disco DJs, record producers, audio engineers such as Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, Ron Hardy, M & M, others was important. These artists produced longer, more repetitive, percussive arrangements of existing disco recordings. Early house producers such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers and drum machines; the electronic instrumentation and minimal arrangement of Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat, an album of Indian ragas performed in a disco style, anticipated the sounds of acid house music, but it is not known to have had any influence on the genre prior to the album's rediscovery in the 21st century. Rachel Cain, co-founder of influential dance label Trax Records, was involved in the burgeoning punk scene. Ca
A Pain That I'm Used To
"A Pain That I'm Used To" is a song by English electronic band Depeche Mode. It is the opening track on their eleventh studio album; the song was released on 12 December 2005 by Mute Records as the album's second single, the 42nd DM single overall.. The single contains remixes by UK Mute label mates Goldfrapp, Jacques Lu Cont. There are two radio versions; the first one is only a slight remix, whereas the second contains a different, more electronic introduction and instrumentation. Although "Better Days" was mentioned to be the B-side for the single in its press release, it ended up being a track called "Newborn" when the track lists were released. "Better Days" went on to be the B-side to the following single, "Suffer Well". "Newborn" is a slow song. It is a fan-favourite in terms of B-sides; the single was only physically released in the UK. The US only had a digital release; the song reached number 15 upon UK release. In the US, the song debuted at number 45 on the Hot Dance Music/Club Play chart on 14 January 2006.
It reached number 6. The track is one of the few Depeche Mode songs to feature a real bass, played by Andy Fletcher in this one. 7" Picture disc / Bong36"A Pain That I'm Used To" – 4:39 "Newborn" – 5:2612" Mute / 12Bong36"A Pain That I'm Used To" – 7:51 "A Pain That I'm Used To" – 8:0012" Mute / L12Bong36"A Pain That I'm Used To" – 6:07 "A Pain That I'm Used To" – 7:21CD Mute / CDBong36"A Pain That I'm Used To" – 4:11 "Newborn" – 5:34CD Mute / LCDBong36"A Pain That I'm Used To" – 7:51 "A Pain That I'm Used To" – 8:00 "A Pain That I'm Used To" – 4:39 "A Pain That I'm Used To" – 7:22 "A Pain That I'm Used To" – 3:28DVD Mute / DVDBong36"A Pain That I'm Used To" – 3:49 "A Pain That I'm Used To" – 3:52 "Newborn" – 5:26Promo 12" Mute / P12Bong36"A Pain That I'm Used To" – 7:51 "A Pain That I'm Used To" – 8:00Promo 12" Mute / PL12Bong36"A Pain That I'm Used To" – 6:07 "A Pain That I'm Used To" – 7:21Radio Promo CD 1 Mute / RCDBong36"A Pain That I'm Used To" – 3:23 "A Pain That I'm Used To" – 4:12Radio Promo CD 2 Mute / RLCDBong36"A Pain That I'm Used To" – 3:27 "A Pain That I'm Used To" – 4:12Club Promo CD Mute / PCDBong36"A Pain That I'm Used To" – 7:51 "A Pain That I'm Used To" – 8:00 "A Pain That I'm Used To" – 6:07 "A Pain That I'm Used To" – 7:21 "A Pain That I'm Used To" – 4:39 "Newborn" – 5:26Club promo CD single.
Promo CD Reprise / PRO-CD-101694"A Pain That I'm Used To" – 7:51 "A Pain That I'm Used To" – 8:00 "A Pain That I'm Used To" – 4:39 "A Pain That I'm Used To" – 7:21 "A Pain That I'm Used To" – 3:29 "A Pain That I'm Used To" – 6:07 "Newborn" – 5:34Digital Downloads"A Pain That I'm Used To" - 5.49 "A Pain That I'm Used To" - 3.26 "A Pain That I'm Used To" – 4:15 "A Pain That I'm Used To" – 4:04 "A Pain That I'm Used To" – 4:47 Single information from the official Depeche Mode web site Allmusic review Lyrics of this song at MetroLyrics
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
Röyksopp are a Norwegian electronic music duo from Tromsø, formed in 1998. The duo consists of Torbjørn Brundtland. Røyksopp is the Norwegian word for the class of mushrooms known as puffballs, but the band's name substitutes ö for the second letter. Berge and Brundtland were introduced to each other through a mutual friend in Norway, they enjoyed the same films and music, shared an interest in electronics. The two experimented with various forms of electronic music, bought a drum machine together during the Tromsø techno scene before going their separate ways. Several years the two met up again and formed Röyksopp during the Bergen Wave. After experimenting with different genres of electronic music, the band solidified their place in the electronica scene with their 2001 debut album, Melody A. M. released on the Wall of Sound record label. Röyksopp has experimented with various genres pertaining to electronic music. Stylistically, the band makes use including ambient, house music and synth-pop.
The band is known for its elaborate concert performances, which feature eccentric outfits. Since their 1998 debut, the duo has gained critical acclaim and popular success around the world. To date, Röyksopp has been nominated for two Grammy Awards, won seven Spellemannprisen awards, performed worldwide tours, produced albums that have topped the charts in several countries, including four consecutive number-one albums in their native country. Svein Berge and Torbjørn Brundtland were introduced at a friend's house in Tromsø, began experimenting with electronic instruments in the early 1990s as a part of the Tromsø techno scene; the two met when Berge was 12 years old and Brundtland was 13, the two began playing music together due to a shared interest in electronica. Their childhood in Tromsø and the natural scenery of Northern Norway have been mentioned as some of their most important inspirations; the pair separated before obtaining any popular success with their music, but reunited with each other in 1998 in Bergen, Norway.
Bergen, a city of 212,944 people in 1990, had overtaken Tromsø's position as the most vital scene for underground electronic music in Norway, Röyksopp worked with other Norwegian musicians like Frost, Those Norwegians, Drum Island, Kings of Convenience's guitarist and singer Erlend Øye in what was called the Bergen Wave. During this time, the duo befriended Geir Jenssen. Under the tutelage of Jenssen, the duo started a band called Aedena Cycle with Gaute Barlindhaug and Kolbjørn Lyslo. In 1994 Aedena Cycle recorded; the EP was released under the R&S Records sublabel Apollo. Following the release of the EP, Jenssen convinced the band to sign a full record deal with Apollo Records. After recording as part of Aedena Cycle and Brundtland left the group to form their own band, Röyksopp; the word röyksopp is a stylized version of the Norwegian word for the puffball mushroom, "røyksopp". The band has stated that the word could evoke the mushroom cloud resulting from an atomic blast. Röyksopp's debut single was released by local Bergen Wave-era independent label Tellé.
Röyksopp's first single "So Easy", re-released on their first album, was the second record released by Tellé. After being used in a UK T-Mobile advertisement, "So Easy" became popular in the UK market and was re-released, combined with their single "Remind Me". After leaving Tellé, the band signed with British label Wall of Sound and released Melody A. M. which became certified platinum in the band's native Norway and sold over a million copies worldwide. The album peaked at number one in Norway, produced the UK Top 40 singles "Eple", "Poor Leno", "Remind Me". A final single, "Sparks", was released. Eple – meaning "apple" in Norwegian – was licensed by Apple Inc. for use as the welcome music to the company's Mac OS X Panther operating system, playing the first time a user booted a new Apple-brand computer. The band's popularity was boosted by several graphically experimental music videos, many of which were put into heavy rotation by MTV; the music video for "Remind Me", featuring an infographic-style video by French company H5, won the 2002 MTV Europe Music Award for best music video.
In this same event the duo was nominated in three more categories: "Best Nordic Act", "Best New Artist" and "Best Dance Act". The duo performed the song "Poor Leno" at the event. One year they received a nomination for "Best Group" at the Brit Awards. During this period Röyksopp gained popularity in the United States. "Remind Me", one of the two Röyksopp and Erlend Øye collaborations found on Melody A. M. was featured in a Geico car insurance commercial. The commercial was the fourth of the "It's so easy a caveman could do it" ads, featured said caveman riding a moving sidewalk in an airport terminal when he comes across a poster displaying the advertisement campaign. During this time, Röyksopp were approached to compose the soundtrack for The Matrix Reloaded, although they declined the offer. Röyksopp's second studio album, The Understanding, was released on 12 July 2005, preceded by the single "Only This Moment" on 27 June 2005; the single managed to peak at number 33 in the United Kingdom. The video for "Only This Moment" is based on the events of the Paris 1968 riots, elements of propaganda are found throughout the video clip.
The album's second single, "49 Percent", with the vocals of Chelonis R. Jones was released on 26 September 2005. A third single, "What Else Is There?", including vocals from Swedish singer Karin Dreijer "Fever Ray" Andersson of The Knife, became the album's biggest single, peaking at number 32 in the Unit
Digitalism are a German electronic music duo formed in Hamburg in 2004, consisting of Jens "Jence" Moelle and İsmail "Isi" Tüfekçi. The duo are signed to French label Kitsuné, as well as Virgin Records and Astralwerks in other parts of the world. Digitalism have remixed tracks for The Presets, Tom Vek, The Futureheads, Daft Punk, Klaxons, The White Stripes, Depeche Mode, Cut Copy and many others, including a re-edit of "Fire in Cairo" by The Cure, their tracks and remixes are played by DJs such as Erol Alkan, Boys Noize and Justice. Digitalism have made appearances at festivals such as Coachella, South by Southwest and Vines, Electric Picnic and Ultra Music Festival as well as various clubs worldwide. Moelle has two solo releases on Kitsuné, he has since released "Vesuvia/Theme of Palermo Disko Machine" as Palermo Disko Machine on Vulture Music. Moelle and Tüfekçi became friends; the store's owner asked them to DJ a party, they began mixing and recording. According to Moelle, they record their music in a World War II bunker.
Digitalism's debut album, was released in Japan on 9 May 2007 by Toshiba EMI, in France on 21 May 2007 by Kitsuné, in North America by Astralwerks, in Australia and New Zealand by etcetc and Virgin Records. The album includes re-edits of the released singles "Jupiter Room" and "Zdarlight" as well as their "Digitalism in Cairo" original re-edit of a track by The Cure; the Pogo EP was released as a single in support of the album in May, with two alternate versions of the track. Digitalism released their EP Blitz under Kitsuné on 8 November 2010. On 7 April 2011 they announced a new album, I Love You Dude, released on 20 June 2011. On 18 June, they played at the Hurricane Festival. Over the course of two years—early 2012 to the end 2013—Digitalism released 13 original tracks on 5 separate international dance labels from America to England, Germany to the Netherlands with sub-releases of these singles in Japan and France; these releases featured 3 Digitalism remixes of their peers and a mix album that released on International Record label Studio!
K7 featuring all but a few of tracks. The DJ-Kicks album debuted the band in the UK Albums sales charts; the majority of the music was written and recorded in Los Angeles during the Winter and early spring months from 2012 to 2013. During this time the band toured both as DJs and a live act, playing all of these dance-oriented releases as well as material from the first and second albums in Europe, Australia, Canada, South America and the United Kingdom. In January 2014, Digitalism released Fahrenheit 32 on their Soundcloud profile and announcement of a tour in the US and period of recording; the release of "Fahrenheit 32" was an immediate success for Digitalism, featuring on BBC Radio, KCRW and Sirius Radio in the US. During the Winter of 2014, the band once more relocated from Hamburg, Germany to Los Angeles, United States to record new material. In May 2014, the band released "Wolves" featuring American indie band Youngblood Hawke, debuting in Germany and receiving radio playlist support in the US on KCRW and Sirius XM.
The release of "Wolves" was backed by the international telecommunications company Vodafone, who used the record in a national campaign for a period of eight months, employing Digitalism to front the campaign with DJ shows and interviews. On 4 March 2016, the duo announced their first album in five years entitled Mirage, released on 13 May, along with promotional singles "Utopia" and "Battlecry". On 7 March 2016, the band announced the Mirage world tour in support of the album, including dates in France, the United States, the United Kingdom, more; the first official video for the Mirage campaign was for "Utopia", it was premiered on KALTBLUT Magazine on 19 March 2016. Digitalism cite Daft Punk and film soundtracks as influences, as well as computer game music, Ennio Morricone, The Strokes, Stewart Price and Roule Records; the song "Zdarlight" is not named after Philippe Zdar of Cassius, as thought. Rather, it is named after the word "starlight", but with a different spelling. To mirror the influence of their second studio album I Love You Dude, the band rebuilt their live show and incorporated more modular synthesisers, which they would play live—this involved adding a live drummer.
As a live act, they shared the stage with many acts including as Queens of the Stone Age, DJ Shadow and Justice. At the same time as DJs, they developed a following with techno sets. Following the run of live shows, Digitalism started recording dance oriented records and releasing "singles" on labels that demanded fast turn-around for both recordings and release commitment; these stringent time constraints forced them to craft a more progressive musical sound, which furthered their status as musical pioneers of modern dance music. Idealism I Love You Dude Mirage Video games The 2007 single "Pogo" was utilized in various forms of media, including in the official soundtracks of Electronic Arts video games Need for Speed: ProStreet and FIFA 08; the track "Idealistic" was used in the first trailer for Rockstar Games' title Midnight Club: Los Angeles. A remix of "Zdarlight" was used in the trailer for Nadeo's TrackMania Nations Forever released in early 2008; the song "Blitz" is featured in SSX, released on Xbox 360 and PlayStation 3 in early 2012.
The song "Circles" is part of FIFA 12's soundtrack. The song "Encore" was part of the soundtrack of
Electronic music is music that employs electronic musical instruments, digital instruments and circuitry-based music technology. In general, a distinction can be made between sound produced using electromechanical means, that produced using electronics only. Electromechanical instruments include mechanical elements, such as strings, so on, electric elements, such as magnetic pickups, power amplifiers and loudspeakers. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, the electric guitar, which are made loud enough for performers and audiences to hear with an instrument amplifier and speaker cabinet. Pure electronic instruments do not have vibrating strings, hammers, or other sound-producing mechanisms. Devices such as the theremin and computer can produce electronic sounds; the first electronic devices for performing music were developed at the end of the 19th century, shortly afterward Italian futurists explored sounds that had not been considered musical.
During the 1920s and 1930s, electronic instruments were introduced and the first compositions for electronic instruments were made. By the 1940s, magnetic audio tape allowed musicians to tape sounds and modify them by changing the tape speed or direction, leading to the development of electroacoustic tape music in the 1940s, in Egypt and France. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds. Music produced from electronic generators was first produced in Germany in 1953. Electronic music was created in Japan and the United States beginning in the 1950s. An important new development was the advent of computers to compose music. Algorithmic composition with computers was first demonstrated in the 1950s. In the 1960s, live electronics were pioneered in America and Europe, Japanese electronic musical instruments began influencing the music industry, Jamaican dub music emerged as a form of popular electronic music. In the early 1970s, the monophonic Minimoog synthesizer and Japanese drum machines helped popularize synthesized electronic music.
In the 1970s, electronic music began having a significant influence on popular music, with the adoption of polyphonic synthesizers, electronic drums, drum machines, turntables, through the emergence of genres such as disco, new wave, synth-pop, hip hop and EDM. In the 1980s, electronic music became more dominant in popular music, with a greater reliance on synthesizers, the adoption of programmable drum machines such as the Roland TR-808 and bass synthesizers such as the TB-303. In the early 1980s, digital technologies for synthesizers including digital synthesizers such as the Yamaha DX7 were popularized, a group of musicians and music merchants developed the Musical Instrument Digital Interface. Electronically produced music became prevalent in the popular domain by the 1990s, because of the advent of affordable music technology. Contemporary electronic music includes many varieties and ranges from experimental art music to popular forms such as electronic dance music. Today, pop electronic music is most recognizable in its 4/4 form and more connected with the mainstream culture as opposed to its preceding forms which were specialized to niche markets.
At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments. These initial inventions were not sold, but were instead used in demonstrations and public performances; the audiences were presented with reproductions of existing music instead of new compositions for the instruments. While some were considered novelties and produced simple tones, the Telharmonium synthesized the sound of orchestral instruments, it achieved viable public interest and made commercial progress into streaming music through telephone networks. Critics of musical conventions at the time saw promise in these developments. Ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments, he predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music. Futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery.
They predicted expansions in timbre allowed for by electronics in the influential manifesto The Art of Noises. Developments of the vacuum tube led to electronic instruments that were smaller and more practical for performance. In particular, the theremin, ondes Martenot and trautonium were commercially produced by the early 1930s. From the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger to adopt them, they were used within orchestras, most composers wrote parts for the theremin that could otherwise be performed with string instruments. Avant-garde composers criticized the predominant use of electronic instruments for conventional purposes; the instruments offered expansions in pitch resources that were exploited by advocates of microtonal music such as Charles Ives, Dimitrios Levidis, Olivier Messiaen and Edgard Varèse. Further, Percy Grainger used the theremin to abandon fixed tonation while Russian composers such as Gavriil Popov treated it as a source of noise in otherwise-acoustic noise music.
Developments in early recording technology paralleled that of electronic instruments. The first means of recording and reproducing audio was invented in the late 19th century with the mechanical phonograph. Record players became a common household item, by the 1920s comp
Martin Lee Gore is an English songwriter, guitarist, record producer, DJ. He is its primary songwriter. Gore is the band's keyboardist and guitar player, contributes backing vocals, provides lead vocals. In 1999, Gore received the Ivor Novello Award from the British Academy of Songwriters and Authors for "International Achievement". Martin Lee Gore was born in Essex in England. Gore's biological father was an African American G. I. stationed in Britain. Gore was raised by biological mother, he believed his stepfather was his biological father until age 13, when he learned of his biological father. As an adult, Gore met his biological father in the American South, he took a job as a bank cashier. During evenings and any other spare time, he was involved with the local band Norman and the Worms with school friend Phil Burdett who went on to become a singer/songwriter himself. Gore has two younger half-sisters, born in 1967, Jacqueline, born in 1968. In 1980, Gore met Andy "Fletch" Fletcher at the Van Gogh club.
Fletcher recruited Gore into his band Composition of Sound along with Vince Clarke. Soon the band drafted Dave Gahan to be the lead singer after hearing him sing "Heroes" by David Bowie. Gahan is credited with the name "Depeche Mode" after seeing the phrase as a title of a French fashion magazine, which considered taking them to court, but thought it would be good publicity for the magazine to let the band have the name. Clarke left Depeche Mode in late 1981, shortly after the release of their debut album Spell. Clarke wrote most of the album, with Gore contributing two tracks, "Tora! Tora! Tora!" and the instrumental "Big Muff". "Any Second Now" features Gore's first lead vocals for the band. Gore sings lead vocals on several of the band's songs, notably ballads, his tenor voice providing a contrast to Gahan's dramatic baritone; when Clarke announced his departure from Depeche Mode in 1981, Gore became the principal songwriter for the band. Gore had been writing material since the age of 12. Songs Gore wrote for Depeche Mode's second album, A Broken Frame differed musically and lyrically from Clarke's.
Gore's writing became darker and more political on subsequent Depeche Mode albums. Gore sometimes plays guitar on Depeche Mode songs; the first time guitar was used as the main instrument was on "Personal Jesus", although he used small guitar parts on previous songs, such as "Behind the Wheel" and "Love, in Itself". Gore's guitar playing developed more on Songs of Faith and Devotion. However, in live performances, he switches his keyboards for his guitar on some older Depeche Mode songs, such as "Never Let Me Down Again" and "A Question of Time". In mid-1990, Gore said, "I think in a way. Gore lives in California, he started dating lingerie designer and model Suzanne Boisvert after meeting in Paris in 1989. They married in August 1994, he has three children with Boisvert: daughter Viva Lee Gore, daughter Ava Lee Gore, son Calo Leon Gore. Gore and Boisvert divorced in 2006. Gore married Kerrilee Kaski in June 2014. On 19 February 2016, Kaski gave birth to a baby girl named Johnnie Lee, his fourth child.
On 13 March 2017, she gave birth to their second daughter named Mazzy Lee, Martin Gore's fifth child. Gore suffered from stress-induced seizures during the band's 1993 Devotion tour, he has publicly acknowledged his past alcoholism. Gore became a vegetarian for health and moral reasons in 1983. Ssss Former Depeche Mode colleague Vince Clarke collaborated with Gore for the first time since 1981 as techno duo VCMG on an instrumental minimalist electronic dance album called Ssss, released on 12 March 2012; the first EP entitled Spock was first released worldwide on Beatport on 30 November 2011. The second EP Single Blip was once again first released on Beatport on 20 February 2012, their third EP Aftermaths was released on 20 August 2012. In late February 2015, several teaser images were displayed on Martin Gore's official Facebook page, citing a hashtag "MGxMG", revealed to be a promotional tool for his new solo studio album, titled MG. In a news post on his official website and various social media on 2 March, this confirmation of his new studio album announced its release would be on 27 or 28 April and previewed a track, Europa Hymn, from the new album.
Gore played keyboard on two tracks by Annette & Inga Humpe, called "Happiness Is Hard to Take" & "Don't Know Where I Belong" from their 1985 album Humpe Humpe He played guitar on the Gwen Stefani song "Wonderful Life" on her 2006 album The Sweet Escape. Gore collaborated on the band Onetwo's track "Cloud Nine" by playing the guitar and as songwriter of the song, which can be found on their 2007 album called Instead. In 2010, Tim Simenon's Bomb the Bass album Back to Light was published, which contains the instrumental "Milakia", co-written by Martin Gore during the Ultra sessions. Gore played synthesiser on the track. Compact Space's album Nameless includes the track "The Unstoppable Collision" with Gore on guitar. Compact Space is formed by Depeche Mode's collaborators Christian Eign