A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Barcelona is a city in Spain. It is the capital and largest city of the autonomous community of Catalonia, as well as the second most populous municipality of Spain. With a population of 1.6 million within city limits, its urban area extends to numerous neighbouring municipalities within the Province of Barcelona and is home to around 4.8 million people, making it the sixth most populous urban area in the European Union after Paris, Madrid, the Ruhr area and Milan. It is one of the largest metropolises on the Mediterranean Sea, located on the coast between the mouths of the rivers Llobregat and Besòs, bounded to the west by the Serra de Collserola mountain range, the tallest peak of, 512 metres high. Founded as a Roman city, in the Middle Ages Barcelona became the capital of the County of Barcelona. After merging with the Kingdom of Aragon, Barcelona continued to be an important city in the Crown of Aragon as an economic and administrative centre of this Crown and the capital of the Principality of Catalonia.
Barcelona has a rich cultural heritage and is today an important cultural centre and a major tourist destination. Renowned are the architectural works of Antoni Gaudí and Lluís Domènech i Montaner, which have been designated UNESCO World Heritage Sites; the headquarters of the Union for the Mediterranean are located in Barcelona. The city is known for hosting the 1992 Summer Olympics as well as world-class conferences and expositions and many international sport tournaments. Barcelona is one of the world's leading tourist, trade fair and cultural centres, its influence in commerce, entertainment, fashion and the arts all contribute to its status as one of the world's major global cities, it is a major cultural and economic centre in southwestern Europe, 24th in the world and a financial centre. In 2008 it was the fourth most economically powerful city by GDP in the European Union and 35th in the world with GDP amounting to €177 billion. In 2012 Barcelona had a GDP of $170 billion. In 2009 the city was ranked one of the world's most successful as a city brand.
In the same year the city was ranked Europe's fourth best city for business and fastest improving European city, with growth improved by 17% per year, the city has been experiencing strong and renewed growth for the past three years. Since 2011 Barcelona has been a leading smart city in Europe. Barcelona is a transport hub, with the Port of Barcelona being one of Europe's principal seaports and busiest European passenger port, an international airport, Barcelona–El Prat Airport, which handles over 50 million passengers per year, an extensive motorway network, a high-speed rail line with a link to France and the rest of Europe; the name Barcelona comes from the ancient Iberian Barkeno, attested in an ancient coin inscription found on the right side of the coin in Iberian script as, in ancient Greek sources as Βαρκινών, Barkinṓn. Some older sources suggest that the city may have been named after the Carthaginian general Hamilcar Barca, supposed to have founded the city in the 3rd century BC, but there is no evidence that Barcelona was a Carthaginian settlement, or that its name in antiquity, had any connection with the Barcid family of Hamilcar.
During the Middle Ages, the city was variously known as Barchinona, Barçalona and Barchenona. Internationally, Barcelona's name is wrongly abbreviated to'Barça'. However, this name refers only to the football club; the common abbreviated form used by locals is Barna. Another common abbreviation is'BCN', the IATA airport code of the Barcelona-El Prat Airport; the city is referred to as the Ciutat Comtal in Catalan, Ciudad Condal in Spanish, owing to its past as the seat of the Count of Barcelona. The origin of the earliest settlement at the site of present-day Barcelona is unclear; the ruins of an early settlement have been found, including different tombs and dwellings dating to earlier than 5000 BC. The founding of Barcelona is the subject of two different legends; the first attributes the founding of the city to the mythological Hercules. The second legend attributes the foundation of the city directly to the historical Carthaginian general, Hamilcar Barca, father of Hannibal, who named the city Barcino after his family in the 3rd century BC, but there is no historical or linguistic evidence that this is true.
In about 15 BC, the Romans redrew the town as a castrum centred on the "Mons Taber", a little hill near the contemporary city hall. Under the Romans, it was a colony with the surname of Faventia, or, in full, Colonia Faventia Julia Augusta Pia Barcino or Colonia Julia Augusta Faventia Paterna Barcino. Pomponius Mela mentions it among the small towns of the district as it was eclipsed by its neighbour Tarraco, but it may be gathered from writers that it grew in wealth and consequence, favoured as it was with a beautiful situation and an excellent harbour, it enjoyed immunity from imperial burdens. The city minted its own coins. Important Roman vestiges are displayed in Plaça del Rei underground, as a part of the Barcelona City History Museum; some remaining fragments of the Roman walls have been incorporated into the cathedral. The cathedral known as the Basilica La Seu, is said to have been founded in 343; the city
Blu-ray or Blu-ray Disc is a digital optical disc data storage format. It was designed to supersede the DVD format, is capable of storing several hours of video in high-definition and ultra high-definition resolution; the main application of Blu-ray is as a medium for video material such as feature films and for the physical distribution of video games for the PlayStation 3, PlayStation 4, Xbox One. The name "Blu-ray" refers to the blue laser used to read the disc, which allows information to be stored at a greater density than is possible with the longer-wavelength red laser used for DVDs; the plastic disc is 120 millimetres in diameter and 1.2 millimetres thick, the same size as DVDs and CDs. Conventional or pre-BD-XL Blu-ray discs contain 25 GB per layer, with dual-layer discs being the industry standard for feature-length video discs. Triple-layer discs and quadruple-layer discs are available for BD-XL re-writer drives. High-definition video may be stored on Blu-ray discs with up to 2160p resolution and at up to 60 frames per second.
DVD-Video discs were limited to a maximum resolution of 576p. Besides these hardware specifications, Blu-ray is associated with a set of multimedia formats; the BD format was developed by the Blu-ray Disc Association, a group representing makers of consumer electronics, computer hardware, motion pictures. Sony unveiled the first Blu-ray disc prototypes in October 2000, the first prototype player was released in April 2003 in Japan. Afterwards, it continued to be developed until its official release on June 20, 2006, beginning the high-definition optical disc format war, where Blu-ray Disc competed with the HD DVD format. Toshiba, the main company supporting HD DVD, conceded in February 2008, released its own Blu-ray Disc player in late 2009. According to Media Research, high-definition software sales in the United States were slower in the first two years than DVD software sales. Blu-ray faces competition from the continued sale of DVDs. Notably, as of January 2016, 44% of U. S. broadband. The information density of the DVD format was limited by the wavelength of the laser diodes used.
Following protracted development, blue laser diodes operating at 405 nanometers became available on a production basis, allowing for development of a more-dense storage format that could hold higher-definition media. Sony started two projects in collaboration with Panasonic, TDK, applying the new diodes: UDO, DVR Blue, a format of rewritable discs that would become Blu-ray Disc; the core technologies of the formats are similar. The first DVR Blue prototypes were unveiled at the CEATEC exhibition in October 2000 by Sony. A trademark for the "Blue Disc" logo was filed February 9, 2001. On February 19, 2002, the project was announced as Blu-ray Disc, Blu-ray Disc Founders was founded by the nine initial members; the first consumer device arrived in stores on April 10, 2003: the Sony BDZ-S77, a US$3,800 BD-RE recorder, made available only in Japan. But there was no standard for prerecorded video, no movies were released for this player. Hollywood studios insisted that players be equipped with digital rights management before they would release movies for the new format, they wanted a new DRM system that would be more secure than the failed Content Scramble System used on DVDs.
On October 4, 2004, the name "Blu-ray Disc Founders" was changed to the Blu-ray Disc Association, 20th Century Fox joined the BDA's Board of Directors. The Blu-ray Disc physical specifications were completed in 2004. In January 2005, TDK announced that they had now developed an ultra-hard yet thin polymer coating for Blu-ray discs. Cartridges used for scratch protection, were no longer necessary and were scrapped; the BD-ROM specifications were finalized in early 2006. AACS LA, a consortium founded in 2004, had been developing the DRM platform that could be used to securely distribute movies to consumers. However, the final AACS standard was delayed, delayed again when an important member of the Blu-ray Disc group voiced concerns. At the request of the initial hardware manufacturers, including Toshiba and Samsung, an interim standard was published that did not include some features, such as managed copy; the first BD-ROM players were shipped in mid-June 2006, though HD DVD players beat them to market by a few months.
The first Blu-ray Disc titles were released on June 20, 2006: 50 First Dates, The Fifth Element, House of Flying Daggers, Underworld: Evolution, xXx, MGM's The Terminator. The earliest releases used the same method used on standard DVDs; the first releases using the newer VC-1 and AVC formats were introduced in September 2006. The first movies using 50 GB dual-layer discs were introduced in October 2006; the first audio-only albums were released in May 2008. The first mass-market Blu-ray Disc rewritable drive for the PC was the BWU-100A, released by Sony on July 18, 2006, it recorded both single and dual-layer BD-Rs as well as BD-REs and had a suggested retail price of US $699. As of June 2008, more than 2,500 Blu-ray Disc titles were available in Australia
A music video is a short film that integrates a song with imagery, is produced for promotional or artistic purposes. Modern music videos are made and used as a marketing device intended to promote the sale of music recordings. There are cases where songs are used in tie-in marketing campaigns that allow them to become more than just a song. Tie-ins and merchandising can be used for food or other products. Although the origins of the music video date back to musical short films that first appeared in the 1920s, they again came into prominence in the 1980s when the channel MTV based their format around the medium. Prior to the 1980s, these kinds of videos were described by various terms including "illustrated song", "filmed insert", "promotional film", "promotional clip", "promotional video", "song video", "song clip" or "film clip". Music videos use a wide range of styles and contemporary video-making techniques, including animation, live action and non-narrative approaches such as abstract film.
Some music videos combine different styles with the music, such as animation and live action. Combining these styles and techniques has become more popular because of the variety for the audience. Many music videos interpret images and scenes from the song's lyrics, while others take a more thematic approach. Other music videos may not have any concept, being a filmed version of the song's live concert performance. In 1894, sheet music publishers Edward B. Marks Joe Stern hired electrician George Thomas and various performers to promote sales of their song "The Little Lost Child". Using a magic lantern, Thomas projected a series of still images on a screen simultaneous to live performances; this would become a popular form of entertainment known as the illustrated song, the first step toward music video. In 1926, with the arrival of "talkies" many musical short films were produced. Vitaphone shorts featured many bands and dancers. Animation artist Max Fleischer introduced a series of sing-along short cartoons called Screen Songs, which invited audiences to sing along to popular songs by "following the bouncing ball", similar to a modern karaoke machine.
Early 1930s cartoons featured popular musicians performing their hit songs on-camera in live-action segments during the cartoons. The early animated films by Walt Disney, such as the Silly Symphonies shorts and Fantasia, which featured several interpretations of classical pieces, were built around music; the Warner Bros. cartoons today billed as Looney Tunes and Merrie Melodies, were fashioned around specific songs from upcoming Warner Bros. musical films. Live action musical shorts, featuring such popular performers as Cab Calloway, were distributed to theaters. Blues singer Bessie Smith appeared in a two-reel short film called St. Louis Blues featuring a dramatized performance of the hit song. Numerous other musicians appeared in short musical subjects during this period. Soundies and released from 1940 to 1947, were musical films that included short dance sequences, similar to music videos. In the mid-1940s, musician Louis Jordan made short films for his songs, some of which were spliced together into a feature film, Lookout Sister.
These films were, according to music historian Donald Clarke, the "ancestors" of music video. Musical films were another important precursor to music video, several well-known music videos have imitated the style of classic Hollywood musicals from the 1930s to the 1950s. One of the best-known examples is Madonna's 1985 video for "Material Girl", modelled on Jack Cole's staging of "Diamonds Are A Girl's Best Friend" from the film Gentlemen Prefer Blondes. Several of Michael Jackson's videos show the unmistakable influence of the dance sequences in classic Hollywood musicals, including the landmark "Thriller" and the Martin Scorsese-directed "Bad", influenced by the stylised dance "fights" in the film version of West Side Story. According to the Internet Accuracy Project, disc jockey–singer J. P. "The Big Bopper" Richardson was the first to coin the phrase "music video", in 1959. In his autobiography, Tony Bennett claims to have created "...the first music video" when he was filmed walking along the Serpentine in Hyde Park, London in 1956, with the resulting clip being set to his recording of the song "Stranger in Paradise".
The clip was sent to UK and US television stations and aired on shows including Dick Clark's American Bandstand. The oldest example of a promotional music video with similarities to more abstract, modern videos seems to be the Czech "Dáme si do bytu" created in 1958 and directed by Ladislav Rychman. In the late 1950s the Scopitone, a visual jukebox, was invented in France and short films were produced by many French artists, such as Serge Gainsbourg, Françoise Hardy, Jacques Dutronc, the Belgian Jacques Brel to accompany their songs, its use spread to other countries, similar machines such as the Cinebox in Italy and Color-Sonic in the USA were patented. In 1961, for the Canadian show Singalong Jubilee, Manny Pittson began pre-recording the music audio, went on-location and taped various visuals with the musicians lip-synching edited the audio and video together. Most music numbers were taped in-studio on stage, the location shoot "videos" were to add variety. In 1964, Kenneth Anger's experimental short film, Scorpio Rising used popular songs instead of dialog.
In 1964, The Moody Blues producer, Alex Murray, wanted to promote his version of "Go Now". The short film clip he produced and directed to promote the single has a striking visual style that predates Queen's similar "Bohemian Rhapsody" vid
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
Enjoy the Silence
"Enjoy the Silence" is a song by the English electronic band Depeche Mode, taken from their seventh studio album, Violator. The song was released on 16 January 1990 as the album's second single; the single is Gold certificated in the Germany. The song won Best British Single at the 1991 BRIT Awards."Enjoy the Silence" was re-released as a single in 2004 for the Depeche Mode remix project Remixes 81–04, was titled "Enjoy the Silence" or, more "Enjoy the Silence 04". Songwriter Martin Gore created a ballad-like first version of the song, which the band took into the studio in 1989. At band member Alan Wilder's insistence, the song was re-worked into the up-tempo version released on the album; the "Harmonium" mix, released on the 12" single, is not the demo version, but rather a new version created to sound like the original demo. There are two instrumental B-sides to "Enjoy the Silence". "Sibeling" is a soft piano-tune. The title of "Sibeling" refers to Finnish classical composer Jean Sibelius. According to Martin Gore, "Memphisto is the name of an imaginary film about Elvis as a Devil, that I created in my mind", is a portmanteau of "Memphis" and "Mephisto".
The Anton Corbijn-directed music video for "Enjoy the Silence" references the themes and storyline of the philosophical children's book The Little Prince from Antoine de Saint-Exupéry. Footage of Dave Gahan dressed as a stereotypical king wandering the hillsides of the Scottish Highlands, the coast of Algarve in Portugal and the Swiss Alps with a deck chair is intercut with black-and-white footage of the band posing. Brief flashes of a single rose appear throughout the scenes; when Corbijn presented the concept of the video to the band, which at the time was "Dave dressed up as a king, walking around with a deck chair", they rejected it. They changed their minds, when he explained that the idea was that the King represented "a man with everything in the world, just looking for a quiet place to sit". Andy Fletcher jokes that he favoured the video because " only had to do about an hour's worth of work"; the video uses a different mix of the album version of the song that has not been released in any audio format.
The final long shots of the king walking through the snow are not Gahan but rather the video's producer, Richard Bell. Gahan had left the set, tired of the cold in Switzerland. There are two edited versions of the Corbijn-directed video. One version begins with Andy Fletcher looking towards his right. Shots of Dave Gahan dressed as a king singing directly to the camera are intercut with scenes of his walking through the Scottish Highlands, the coast of Portugal and the Swiss Alps; the video ends with Gahan singing the last line, "Enjoy the silence" putting his finger in front of his lips as if to quiet the viewer. This video is blocked in Japan, United States; the second version begins with Martin Gore looking to his right. This version omits the shots of Gahan singing directly to the camera. In this version, the only lines Gahan is shown singing are "Words are unnecessary/They can only do harm." The video ends with Gahan sitting on a deck chair in the snow while the last line, "Enjoy the silence", is sung.
There are differences in the group shots of the band standing together between the two versions. In 1990, a promotional video for "Enjoy the Silence" was shot by French TV featuring Depeche Mode lip-synching the song while standing atop the World Trade Center at the WTC rooftop World observatory, south Tower #2. Pitchfork Media included the song at number 15 on their Top 200 Tracks of the 90s. In a review, Tim Di Gravina wrote that Enjoy the Silence is one of Depeche Mode's "greatest songs" with a "pristine and lush yet punishing musical environment" and "lyrics of violence and darkness". Di Gravina wrote the song is a "love song" as the narrator seems unable to form loving relationships with anyone, demands silence from the world as "words are meaningless and forgettable", clashing into his world; the act of communication where "words are meaningless and forgettable" causes the narrator so much pain, thus leading him to seek silence and to hide himself away as the only form of happiness he can find.
Another reviewer, Stephen Gore, noted the juxtaposition on Violator between "Enjoy the Silence" – where the narrator wants silence from the world as words are "like violence" – and the next song "Policy of Truth", which argues that a successful relationship can only be based on lies. "Enjoy the Silence" is the second single by Lacuna Coil from their album Karmacode. It made the New York Post's Top 100 Cover Songs list. There is a UK version of an international one. Both videos, shot with "Closer" music video on 12 March 2006, came out on June 2006, include the band performing in a dark room, but aside from that the UK version shows live clips of the London Forum show, while the international one shows scenes of a city, the countryside, a bay. There are three "volumes" of the single; the only other version to be a hit single in the UK was by Mike Koglin. Re-titled as "The Silence" it reached number 20 in 1998. Single information from the official Depeche Mode web site Allmusic review Lyrics of this song at MetroLyrics Enjoy the Silence arranged by Eric Whitacre for SATB
Never Let Me Down Again
"Never Let Me Down Again" is Depeche Mode's nineteenth UK single, released on 24 August 1987, the second single for the upcoming album Music for the Masses. A moderate hit in the UK at number 22, it was a smash in West Germany, where it hit number 2, a Top 10 success in several other European countries; the cover art features fragments of a Soviet map of Russia and Europe, with different fragments used for the different editions of the single. Studio impresario Alan Wilder and the other members of the band considered the track an "obvious single" with much potential, they developed it throughout so that dramatic-type elements such as the Led Zeppelin-influenced drum patterns and Martin Gore's distinctive guitar riffs sound in the forefront. The lyrics of the song, starting with the strident vocals of "I'm taking a ride with my best friend", are regarded as reflecting drug use, with the track being labeled by NME music journalist Jane Solanas as a "masterpiece" that well conveys the feeling of "drug euphoria".
The coda of "Never Let Me Down Again" references Soft Cell's song "Torch". The main remix version of the track, known as the "Split Mix", came about with direct involvement from the band; the 12" maxi release stretched to nine and a half minutes long. Oddly enough, despite the pleasing results from the point of view of the band, that proved to be the last time in decades that a remix came out with their direct involvement; the song became a favourite among fans live. Shows during Depeche Mode's 1988 tour were concluded with this song. Notable in the 101 video is when Dave Gahan waves his arms in the air toward the end of the song, the sold out crowd of 60,000 mimics Gahan's movements, it is now customary at Depeche Mode shows for fans to wave their arms in the air during the coda section of "Never Let Me Down Again". During the 1990 World Violation Tour, the band played a different version of the song, known as the "Split Mix", including their massive live performances at the Giants and Dodger Stadiums, which were being broadcast live on MTV.
On 8 November 2001, shortly after their final Exciter Tour concert in Mannheim, the band played "Never Let Me Down Again" during the MTV Europe Music Awards in Frankfurt, which aired in the US on MTV2. The main 12" remix of "Never Let Me Down Again" is known as the "Split Mix", as stated above, the nine-and-a-half-minute track featured direct involvement from the band during its creation. In detail, the remix features the regular song, an added intro piece, a techno-like musical arrangement appended at the end; the arrangement was expanded to the "Aggro Mix" on the 12" B-side, a piece additionally available as a bonus track on the CD and cassette tape versions of Music for the Masses. The "Split Mix" appears on the album collection Remixes 81–04, a release that came out on October 2004. Another remix of the track, done by the German group Digitalism, came out in 2006 as one of the'Digital Deluxe Bonus Tracks' found in The Best of Depeche Mode Volume 1; that remix appears on the band's remix compilation Remixes 2: 81–11 as well.
Eric Prydz remixed the song for this album. There are two music videos for "Never Let Me Down Again", directed by Anton Corbijn; the long version is featured on the Strange video, uses the "Split Mix" and during the EBM portion of the song, Gahan's shoes are shown walking without anyone wearing them, before someone puts them on and wears them to dance. There is a short video with just the single version of the song, which ends before the animated shoes; the short version appears on The Videos 86>98, the DVD of The Best of Depeche Mode Volume 1 and on Video Singles Collection. There are two b-sides. "Pleasure, Little Treasure" is a short dance track. An extended version called the "Glitter Mix" ends with fragments of vocal recordings that have been reversed and treated with delay effects. Notably, some of these sounds can be heard in the track "Mothers Talk" from the 1985 Tears for Fears album Songs from the Big Chair, engineered by Dave Bascombe; the "Glitter Mix" showed up as a bonus track on the CD/Cassette versions of Music for the Masses and in remastered form on the 2006 CD/DVD release.
The rarer b-side is "To Have and To Hold". Martin Gore's original plan for the song sounded a lot like upbeat electropop, but Alan Wilder turned it into the dark wave track it became. While Alan's version was always set to be the final version, Martin wanted his version to be recorded as well. However, not all of the lyrics are sung in the song, it shows up as one of the bonus tracks on the CD/Cassette version of Music for the Masses and is on the CD versions of "Never Let Me Down Again". The regular version of "To Have and To Hold" is one of the main tracks on the Music for the Masses LP. All songs written by Martin Gore. "Never Let Me Down Again" – 4:20 "Pleasure, Little Treasure" – 2:52 "Never Let Me Down Again" – 9:34 "Pleasure, Little Treasure" – 5:34 "Never Let Me Down Again" – 4:53 "Never Let Me Down Again" – 4:22 "Pleasure, Little Treasure" – 4:53 "To Have and to Hold" – 2:33 "Never Let Me Down Again" – 9:34 "Pleasure, Little Treasure" – 5:34 "Never Let Me Down Again" – 4:53 "Never Let Me Down Again" – 9:34 "Pleasure, Little Treasure" – 4:53 "To Have and to Hold" – 2:33 "Never Let Me Down Again" – 4:53Originally released in Cardsleeve Rereleased as 4track CD Single in Slim Jewel Case in 1991.
"Never Let Me Down Again" – 4:20 "Pleas