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
A CD single is a music single in the form of a compact disc. The standard in the Red Book for the term CD single is an 8cm CD, it now refers to any single recorded onto a CD of any size the CD5, or 5-inch CD single. The format was introduced in the mid-1980s but did not gain its place in the market until the early 1990s. With the rise in digital downloads in the early 2010s, sales of CD singles have decreased. Commercially released CD singles can vary in length from two songs up to six songs like an EP; some contain multiple mixes of one or more songs, in the tradition of 12" vinyl singles, in some cases, they may contain a music video for the single itself as well as a collectible poster. Depending on the nation, there may be limits on the number of songs and total length for sales to count in singles charts. Dire Straits' "Brothers in Arms" is reported to have been the world's first CD single, issued in the UK in two separate singles as a promotional item, one distinguished with a logo for the tour, Live in'85, a second to commemorate the Australian leg of the tour marked Live in'86.
Containing four tracks, it had a limited print run. The first commercially released CD Single was Angeline by John Martyn released on 1 February 1986. CD singles were first made eligible for the UK Singles Chart in 1987, the first number 1 available on the format in that country was "I Wanna Dance with Somebody" by Whitney Houston in May 1987; the Mini CD single CD3 format was created for use for singles in the late 1980s, but met with limited success in the US. The smaller CDs were more successful in Japan and had a resurgence in Europe early this century, marketed as "Pock it" CDs, being small enough to fit in a shirt pocket. By 1989, the CD3 was in decline in the US, it was common in the 1990s for US record companies to release both a two-track CD and a multi-track maxi CD. In the UK, record companies would release two CDs but these consisted of three tracks or more each. During the 1990s, CD single releases became less common in certain countries and were released in smaller editions, as the major record labels feared they were cannibalizing the sales of higher-profit-margin CD albums.
Pressure from record labels made singles charts in some countries become song charts, allowing album cuts to chart based only on airplay, without a single being released. In the US, the Billboard Hot 100 made this change in December 1998, after which few songs were released in the CD single format in the US, but they remained popular in the UK and other countries, where charts were still based on single sales and not radio airplay. At the end of the 1990s, the CD was the biggest-selling single format in the UK, but in the US, the dominant single format was airplay. With the advent of digital music sales, the CD single has been replaced as a distribution format in most countries, most charts now include digital download counts as well as physical single sales. In Australia, the Herald Sun reported the CD single is "set to become extinct". In early July 2009, leading music store JB Hi-Fi ceased stocking CD singles because of declining sales, with copies of the week's No. 1 single selling as few as only 350 copies across all their stores nationwide.
While CD singles no longer maintain their own section of the store, copies are still distributed but placed with the artist's albums. That is predominantly the case for popular Australian artists such as Jessica Mauboy, Kylie Minogue and, most Delta Goodrem, whose then-recent singles were released on CD in limited quantities; the ARIA Singles Chart is now "predominantly compiled from legal downloads", ARIA stopped compiling their physical singles sales chart. "On a Mission" by Gabriella Cilmi was the last CD single to be stocked in Kmart and Big W, who concluded stocking newly released singles. Sanity Entertainment, having resisted the decline for longer than the other major outlets, has ceased selling CD singles. In China and South Korea, CD single releases have been rare since the format was introduced, due of the amount of infringement and illegal file sharing over the internet, most of the time singles have been album cuts chart based only on airplay, but with the advent of digital music the charts have occasionally included digital download counts.
In Greece and Cyprus, the term "CD single" is used to describe an extended play in which there may be anywhere from three to six different tracks. These releases charted on the Greek Singles Chart with songs released as singles; the original CD single is a music single released on a mini Compact Disc that measures 8 cm in diameter, rather than the standard 12 cm. They are manufactured using the same methods as standard full-size CDs, can be played in most standard audio CD players and CD-ROM disc drives; the format was first released in the United States, United Kingdom, France, West Germany, Hong Kong in 1987 as the replacement for the 7-inch single. While mini CDs have fallen out of popularity among most major record labels, they remain a popular, low cost way for independent musicians and groups to release music. Capable of holding up to 20 minutes of music, most mini CD singles contain at least two tracks, ofte
In music, sampling is the reuse of a portion or sample of a sound recording in another recording. Samples may comprise rhythm, speech, or other sounds, they are integrated using hardware or software such as digital audio workstations. A process similar to sampling originated in the 1940s with musique concrète, experimental music created by splicing and looping tape; the term sampling was coined by in the late 1970s by the creators of the Fairlight CMI, an influential early sampler that became a staple of 1980s pop music. The 1988 release of the first Akai MPC, an affordable sampler with an intuitive interface, made sampling accessible to a wider audience. Sampling is a foundation of hip hop music, with producers sampling funk and soul records drum breaks, which could be rapped over. Musicians have created albums assembled from samples, such as DJ Shadow's 1996 album Endtroducing; the practice has influenced all genres of music and is important to electronic music, hip hop and pop. Sampling without permission can infringe copyright.
The process of acquiring permission for a sample is known as clearance, which can be a complex and costly process. Landmark legal cases, such as Grand Upright Music, Ltd. v. Warner Bros. Records Inc in 1991, changed how samples are used; as the court ruled that unlicensed sampling constitutes copyright infringement, samples from well known sources are now prohibitively expensive. In the 1940s, Pierre Schaeffer developed musique concrète, an experimental form of music created by recording sounds to tape, splicing them, manipulating them to create sound collages, he created pieces using recordings of sounds including the human body and kitchen utensils. The method involved the creation of tape loops, splicing lengths of tape end to end, by which a sound could be played indefinitely. Schaeffer developed a tape recorder, the Phonogene, which played loops at twelve different pitches triggered by a keyboard. Composers including John Cage, Edgar Varèse, Karheinz Stockhausen and Iannis Xenakis experimented with musique concrète, Bebe and Louis Barron used it to create the first electronic film soundtrack, for the 1956 science fiction film Forbidden Planet.
It was brought to a mainstream audience by the BBC Radiophonic Workshop, which used these early sampling techniques to produce soundtracks for shows including Doctor Who. In the 1960s, Jamaican dub reggae producers such as King Tubby and Lee "Scratch" Perry began using pre-recorded samples of reggae rhythms to produce riddim tracks, which were deejayed over. Jamaican immigrants introduced dub sampling techniques to American hip hop music in the 1970s; the term sampling was coined by in the late 1970s by Kim Ryrie and Peter Vogel to describe a feature of their Fairlight CMI synthesizer. Designers of early samplers used the term to describe the technical process of the instruments, rather than to describe how users would use the feature. While developing the Fairlight, Vogel sampled around a second of a piano piece from a radio broadcast, discovered that he could imitate a real piano by playing the sample back at different pitches, he recalled in 2005: It sounded remarkably like a piano, a real piano.
This had never been done before... By today's standards it was a pretty awful piano sound, but at the time it was a million times more like a piano than anything any synthesiser had churned out. So I realised that we didn't have to bother with all the synthesis stuff. Just take the sounds, whack them in the memory and away you go. Compared to samplers, the Fairlight offered limited control over samples, it allowed control over pitch and envelope, could only record a few seconds of sound. However, its ability to sample and play back acoustic sounds became its most popular feature. Though the concept of reusing recordings in larger recordings was not new, the Fairlight's built-in sequencer and design made the process simple. According to the Guardian, the Fairlight was the "first world-changing sampler". Though it was it was unaffordable for most hobbyists, early users included Kate Bush, Peter Gabriel, Thomas Dolby, Duran Duran, Herbie Hancock, Todd Rundgren and Ebn Ozn. An early pulse-code modulation digital sampler was Toshiba's LMD-649, created in 1981 by engineer Kenji Murata for Japanese electronic music band Yellow Magic Orchestra, who used it for extensive sampling and looping in their 1981 album Technodelic.
The LMD-649 played and recorded PCM samples at 12-bit audio depth and 50 kHz sampling rate, stored in 128 KB of dynamic RAM. The success of the Fairlight inspired competitors, improving the technology and driving down prices dramatically. Early competitors included the E-mu Emulator and the Akai S950. Drum machines such as the Oberheim DMX and Linn LM-1 began incorporating samples of drum kits rather than generating sounds from circuits; the designers of early samplers anticipated that users would sample short sounds, such as drum hits or individual notes, to use as "building blocks" for compositions. However and producers began sampling longer passages of music. In the words of Greg Milner, author of Perfecting Sound Forever, "They didn't just want the sound of John Bonham's kick drum, they wanted to loop and repeat the whole of'When the Levee Breaks'." Roger Linn, designer of the LM-1 and MPC, said: "It was a pleasant surprise. After sixty years of recording, there are so many. Why reinvent the wheel?"In response to demand, samplers such as E-mu's SP-1200 were developed to allow users to store longer samples.
In 1988, Akai released the first MPC sampler, which allowed artists to assign samples to separate pads and trigger them independently to playing a keyboard or drum kit. It h
Mute Records Ltd. is a British independent record label owned and founded in 1978 by Daniel Miller. It has featured several prominent musical acts on its roster, such as Depeche Mode, Fad Gadget, Grinderman, Inspiral Carpets, New Order, Nitzer Ebb, Yeasayer, Nick Cave and the Bad Seeds, M83. During 1978, Daniel Miller began recording music using synthesisers under the name The Normal, he recorded the tracks "T. V. O. D." and "Warm Leatherette", distributed them through Rough Trade Shops under the label name Mute Records. The label was formed just to release the one single. "T. V. O. D." / "Warm Leatherette" became. "Warm Leatherette" was covered by Grace Jones and Chicks on Speed as well as Rose McDowell. After meeting Robert Rental, Miller began playing live as Robert Rental & The Normal. In 1979 the band went on tour supporting the punk band Stiff Little Fingers, which had just released an album, being distributed by Rough Trade. In 1980, Miller released the single, "Kebab-Träume", by the German band Deutsch Amerikanische Freundschaft, who had moved to London.
The band's 1980 album, Die Kleinen und die Bösen, was the first album released by the new label. The album had the catalogue prefix "STUMM", a play on the record label's name, meaning "mute" in German; this prefix would continue to be used through most of the label's album catalogue. In 1980, Miller recorded and released the cover single, "Memphis Tennessee", under the name Silicon Teens; the band was Miller’s realisation of a dream Mute Records group, whose main instruments were synthesisers. In mid-1980, Mute Records released the Silicon Teens' album, titled Music For Parties. Around this time the artist Fad Gadget had begun recording new demos, including the track "Back To Nature"; this was released as a single in 1980, followed by the next single "Ricky's Hand" and the album Fireside Favourites recorded at Blackwing Studios. September 1980 saw the release of the double-holed, multi-speed 7" single by Non & Smegma, one of the first experimental noise releases from the label. Boyd Rice went on to release several more recordings with Mute Records.
After touring with Daniel Miller as Robert Rental & The Normal, Robert Rental released his only Mute Records single, "Double Heart", a rare, remaining trace of this late electronic music pioneer. Miller approached Depeche Mode in 1980, after seeing them perform in London, wanting them to record a single for his label. Emerging out of the British electronic pop scene, Depeche Mode asserted themselves as a radio-friendly pop group, had hits with their next three singles, including the UK top ten single, "Just Can't Get Enough", their loyalty to Mute was reciprocated by the label’s rapid expansion to cope with their success. In defiance of the major record labels predictions of failure, Depeche Mode became a successful charting band worldwide; the band's consistency was unbroken by the departure of principal songwriter Vince Clarke. Martin Gore took over the main songwriting role, opening the band up to different influences and sustaining their creativity as a band. Mute continued to support other experimental artists, such as NON, releasing an album of Boyd Rice's pre-NON recordings, titled Boyd Rice.
1982 began with the release of the 12-inch single, "Rise", by Boyd Rice, released under the name NON. Fad Gadget released his third album for the label, titled Under the Flag, influenced by the current Falklands War and the feeling of being British in the most unseemly of times; the album spawned the singles "For Whom the Bells Toll" and "Life on the Line". Mute Record's big commercial success of 1982 was the band Yazoo, the duo of Vince Clarke and Alison Moyet. After leaving Depeche Mode, Clarke had set up a studio in the Blackwing Studios complex, where he recorded the singles "Only You" and "Don’t Go"; that year, Mute licensed the single, "Fred Vom Jupiter", from the German record label Atatak. The track was recorded by Andreas Dorau and the schoolgirl Marinas. From Germany was the single, "Los Ninos Del Parque", by Liaisons Dangereuses released by Mute. Liaisons Dangereuses included Chrislo Hass, in the German band DAF. After returning from a world tour in 1983, Depeche Mode released the industrial-influenced hit single "Everything Counts".
Bruce Gilbert and Graham Lewis, of the band Wire, teamed up with Daniel Miller to form a project known as Duet Emmo, an anagram of Mute and Dome. They released an album and 12-inch single, both titled Or So It Seems. Miller secured the rights to the back catalogue of the experimental bands Throbbing Gristle, Cabaret Voltaire and Richard H. KirkDuring 1983, the Australian band The Birthday Party transferred from 4AD to Mute Records; the band broke up after releasing their final 12-inch EP, "Mutiny". Birthday Party's singer, Nick Cave, stayed with Mute and released his debut single as Nick Cave and the Bad Seeds; the single was a cover of the song, "In the Ghetto", by Mac Davis made famous by Elvis Presley. Yazoo disbanded. Vince Clarke began working at Blackwing Studios under the name The Assembly; the project's first single, "Never Never", was a hit. D. A. F. Split up, in 1983, ex-member Robert Görl released the single "Mit Dir" on Mute, he recorded the album, Night Full of Tension, the following year, including the single "Darling Don’t Leave Me", featuring Annie Lennox.
In 1984, Depeche Mode had one of their biggest hits in the UK with the single "People Are People". Their album that year, Some Great
The twelve-inch single is a type of gramophone record that has wider groove spacing and shorter playing time compared to LPs. This allows for louder levels to be cut on the disc by the mastering engineer, which in turn gives a wider dynamic range, thus better sound quality; this record type is used in disco and dance music genres, where DJs use them to play in clubs. They are played at either 45 rpm. Twelve-inch singles have much shorter playing time than full-length LPs, thus require fewer grooves per inch; this extra space permits a broader dynamic range or louder recording level as the grooves' excursions can be much greater in amplitude in the bass frequencies important for dance music. Many record companies began producing 12-inch singles at 33 1⁄3 rpm, although 45 rpm gives better treble response and was used on many twelve-inch singles in the UK; the gramophone records cut for dance-floor DJs came into existence with the advent of recorded Jamaican mento music in the 1950s. By at least 1956 it was standard practice by Jamaican sound systems owners to give their "selecter" DJs acetate or flexi disc dubs of exclusive mento and Jamaican rhythm and blues recordings before they were issued commercially.
Songs such as Theophilus Beckford's "Easy Snappin'" were played as exclusives by Sir Coxson's Downbeat sound system for years before they were released in 1959 – only to become major local hits pressed in the UK by Island Records and Blue Beat Records as early as 1960. As the 1960s creativity bloomed along, with the development of multitrack recording facilities, special mixes of rocksteady and early reggae tunes were given as exclusives to dancehall DJs and selecters. With the 1967 Jamaican invention of remix, called dub on the island, those "specials" became valuable items sold to allied sound system DJs, who could draw crowds with their exclusive hits; the popularity of remix sound engineer King Tubby, who singlehandedly invented and perfected dub remixes from as early as 1967, led to more exclusive dub plates being cut. By 10-inch records were used to cut those dubs. By 1971, most reggae singles issued in Jamaica included on their B-side a dub remix of the A-side, many of them first tested as exclusive "dub plates" on dances.
Those dubs included drum and bass-oriented remixes used by sound system selecters. The 10-inch acetate "specials" would remain popular until at least the 2000s in Jamaica. Several Jamaican DJs such as DJ Kool Herc exported much of the hip hop dance culture from Jamaica to the Bronx in the early 1970s, including the common Jamaican practice of DJs rapping over instrumental dub remixes of hit songs leading to the advent of rap culture in the United States. Most the widespread use of exclusive dub acetates in Jamaica led American DJs to do the same. In the United States, the twelve-inch single gramophone record came into popularity with the advent of disco music in the 1970s after earlier market experiments. In early 1970, Cycle/Ampex Records test-marketed a twelve-inch single by Buddy Fite, featuring "Glad Rag Doll" backed with "For Once in My Life"; the experiment aimed to energize the struggling singles market, offering a new option for consumers who had stopped buying traditional singles. The record was pressed at 33 rpm, with identical run times to the seven-inch 45 rpm pressing of the single.
Several hundred copies were made available for sale for 98 cents each at two Tower Records stores. Another early twelve-inch single was released in 1973 by soul/R&B musician/songwriter/producer Jerry Williams, Jr. a.k.a. Swamp Dogg. Twelve-inch promotional copies of "Straight From My Heart" were released on his own Swamp Dogg Presents label, with distribution by Jamie/Guyden Distribution Corporation, it was manufactured by Jamie Record Co. of Pennsylvania. The B-side of the record is blank; the first large-format single made for DJs was a ten-inch acetate used by a mix engineer in need of a Friday-night test copy for famed disco mixer Tom Moulton. The song was; as no 7-inch acetates could be found, a 10–inch blank was used. Upon completion, found that such a large disc with only a couple of inches worth of grooves on it made him feel silly wasting all that space, he asked Rodríguez to re-cut it so that the grooves looked more spread out and ran to the normal center of the disc. Rodriguez told him.
Because of the wider spacing of the grooves, not only was a louder sound possible but a wider overall dynamic range as well. This was noticed to give a more favorable sound for discothèque play. Moulton's position as the premiere mixer and "fix it man" for pop singles ensured that this fortunate accident would become industry practice; this would have been a natural evolution: as dance tracks became much longer than had been the average for a pop song, the DJ in the club wanted sufficient dynamic range, the format would have enlarged from the seven-inch single eventually. The broad visual spacing of the grooves on the twelve-inch made it easy for the DJ in locating the approximate area of the "breaks" on the disc's surface in dim club light. A quick study of any DJs favorite discs will reveal mild wear in
Alan Charles Wilder is an English musician, arranger, record producer, a former member of the electronic band Depeche Mode from 1982 to 1995. Since his departure from the band, the musical project called Recoil became his primary musical enterprise, which started as a side project to Depeche Mode in 1986. Wilder has provided production and remixing services to the bands Nitzer Ebb and Curve, he is a classically trained musician. Alan Charles Wilder was raised in Acton, West London, he began piano through the encouragement of his parents. On, he learned the flute at St Clement Danes grammar school and became a leading musician in his school bands. After school, Alan worked as a studio assistant at DJM Studios; this led to him ending up working for bands such as The Dragons and the Tenderspots, Real to Real, The Hitmen, The Korgis, appearing on the UK No. 13 single "If I Had You". Following the departure of Vince Clarke, Depeche Mode placed an advertisement in the music magazine Melody Maker: "Keyboard player needed for established band – no timewasters."
Though the ad was looking for someone under 21 he lied about his age to get the job, got away with it. He joined Depeche Mode in January 1982 as a tour keyboardist, soon thereafter as a full member of the recording band. Wilder wrote a handful of songs for Depeche Mode, including "Two Minute Warning" and "The Landscape Is Changing" from the album Construction Time Again, "If You Want" from the album Some Great Reward and co-wrote "Black Day" from the album Black Celebration. However, Wilder's more notable contributions to Depeche Mode were as a musician and producer. In addition to playing synthesizer throughout his time with Depeche Mode, Wilder played piano on the band's signature ballad "Somebody," and oboe on the band's hit anthem, "Everything Counts." In the documentary film 101, Wilder demonstrates how different synthesizer parts of a song are split and arranged across a sampling keyboard for playing them live during the concert, just one small example of Wilder's ongoing contributions to Depeche Mode during his time as a member of the group.
For the recording of the album Songs of Faith and Devotion and its corresponding Devotional Tour Wilder played live drums. For "Enjoy the Silence" from the album Violator, Wilder took Martin Gore's melancholy ballad-esque demo and re-envisioning the song as a percolating, melodic dance track; the resulting single went on to become one of the most commercially successful songs in Depeche Mode's history. On 26 June 1995, Wilder announced his departure from Depeche Mode: "Due to increasing dissatisfaction with the internal relations and working practices of the group, it is with some sadness that I have decided to part company from Depeche Mode. My decision to leave the group was not an easy one as our last few albums were an indication of the full potential that Depeche Mode was realizing. Since joining in 1982, I have continually striven to give total energy and commitment to the furthering of the group's success and in spite of a consistent imbalance in the distribution of the workload, willingly offered this.
Within the group, this level of input never received the respect and acknowledgement that it warrants. Whilst I believe that the calibre of our musical output has improved, the quality of our association has deteriorated to the point where I no longer feel that the end justifies the means. I have no wish to cast aspersions on any individual. Given these circumstances, I have no option, it seems preferable therefore, to leave on a relative high, as I still retain a great enthusiasm and passion for music, I am excited by the prospect of pursuing new projects. The remaining band members have my support and best wishes for anything they may pursue in the future, be it collectively or individually."After his split from Depeche Mode, Wilder was approached by Robert Smith with an offer to join The Cure. Wilder respectfully declined. According to Wilder himself, the possibility was offered on behalf of The Cure by Daryl Bamonte, he declined as joining another band was the last thing on his mind, he reunited with Depeche Mode during the Teenage Cancer Trust concert at the Royal Albert Hall in London on 17 February 2010, enjoyed a rapturous reception.
During the encore, Wilder accompanied Martin Gore on piano for "Somebody". Gore played a DJ set on one of Recoil's Selected Events. In 2011, Wilder provided two mixes for the Depeche Mode track "In Chains". Recoil began in 1986 as a two-track experimental EP. Entitled 1 + 2, this collection of primitive demos caught the attention of Mute Records label boss Daniel Miller and was inconspicuously released as a mini-album on 12" vinyl. An album, soon followed in 1988 and both were re-issued by Mute on CD as Hydrology plus 1 + 2. Wilder described the project at the time as "an antidote to Depeche Mode. Wilder found himself back in the studio to record what would become the most successful Depeche Mode album to date, Violator, it wasn't until the band allowed themselves
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