Martin Gore & Daniel Miller @ Moogfest 2019 | interview + award acceptance | full webcast

Martin Gore & Daniel Miller @ Moogfest 2019 | interview + award acceptance | full webcast

remember Darla I think that had he had a
Moog prodigy yeah you have a new prodigy yes man Vince had some choir which I do
not remember the model number but there was about the kind of good moment you
know there was a kind of entry-level yeah by Yamaha CS by boys exactly two
hundred powers yeah and what was great about that time was up to that point if
you wanted to be in a band basically you were playing bass you know guitar synth
drums and guitar bass or drums but then the synthesizers came into the price
range of what a guitar on an AK would cost and it was and that was really
revolutionary wasn’t in the sense it gave people like you and many others the
opportunity to go into a different direction away from the kind of
conventional oil ops yeah so where we met you the the brick house was about
twenty minutes on the train 20 25 minutes on the train from Basel Dhin and
we would put our sincere in suitcases and just get on the train that’s all we
needed to take to the gig yeah no no I’m just bugged into the PA system very
practical and then and then Vince that accrued really early on he was leaving
before speaking spell was released you know I mean speaking spell came out
tonight September 81 and we brought two and I was supposed to marry during sound
personal time and yeah he said he could always come in during the year which is
very good but then the burden burden or privilege whichever way you look at it
of being the main songwriter landed on your shoulders what was the reaction
the remaining I think we were just so lucky that we were we’re so young yeah
you know if that kind of thing happened today I would probably you know have a
major crisis yeah but we didn’t even think about it I think we just decided
we would go into the studio as soon as we could and just carry on without him
which is amazing really considering he wrote apart from the two instrumentals
that you wrote he wrote the first album speed spell the other hits that are
associated with largest market in half a new life I mean the press were already a
successful band at that point was when you’re just starting out high-profile
bad did you did you feel I mean have you written songs before yeah well what I
wear by playing guitar at 13 yeah I’m writing songs that were
which did not very good but but I did start yeah I think one of the greatest
things that I ever did for myself was learn to play all the songs that were in
the charts we are from the age of 13 to the age of 18 I used to buy this
magazine called disco 45 and it had all the words every song beeping starts and
I just used to learn how to play them and I think that just taught me how to
write songs pretty good job of teaching you today so of course as the SU evolves and you
know you got more experience as your interest of course instrument product
people’s gear lust and always need to have more equipment you know can you
remember how that two bloke what what you you know you said he started out
with a cs5 what was your like you remember your next what the next few
things you got well firstly I would like to say that you know Daniel was a major
influence on us because you know obviously we had three mono sins and
that was that that a limit of our experience at that time and when we
started with the first thing we ever did with Daniel
photographic for the I think we actually played it as yes as you know yeah you
know yeah so before we’d met Daniel we’ve never seen a sequencer before so
everything was you know hand blade and then when we are after that when we went
into the studio for Speak & Spell yeah we were exposed to turns up 2600
and the ARP sequencer and yeah and I think that opened up possibilities maybe
that you know where you have realized that were possible before so use so yeah
so what do you get next what was your what instruments inspired you of that at
that time that was out there yeah that was a question we were talking about
this earlier so that I ever like a bit of a blank
for about 1982 because it was definitely at some point you know I think I fell
into the trap what a lot of what a lot of people did of for dx7 I went down the
digits will ruin it and kind of like didn’t worry about the analog stuff so
much which was a thing that happened to a lot of people at that time yeah and
you have another PPG I peered oh I think I had a prototype yeah it was not the
PVD was the one before PPG – yes – the next there was a good chance it wouldn’t
work so taking it on tour was not the best idea and I have to say after I
remember a gig at bacchanal disel Dorf and I remember right the craft work with
rumored to be at the gig yes and the PPG just broke down early on and you know I
think used a lot of switching it off and on again
yeah when the craft work were there and everybody was getting very humiliated
yes and another I remember another famous story around that time we we had
to do Top of the Pops in England and fly directly it must have been the next day
we had to go on Concorde because we had to get there so quickly to New York to
play at the Ritz and we were on at like 1:00 or 2:00 in the morning and we were
completely jet-lagged anyway and the PPG just did not work at all so after we
left the theater we were walking to our van and this guy came walk past us and
he said what happened to you guys she used to be good yeah well you did used to be good
fortunately you still are and and then we got oh we got very well you we all
together got very into sampling in the early like around 83 or something like
that when sampling and we weren’t so much sampling records which became very
kind of we were more like sampling anything yeah because I mean we had some
funny experiences that you might want to relay yes yeah so sorry so I had an
emulator one and then Daniel went a Gaussian clavia which helped a bit yeah
we would literally sample anything and everything that was around so a lot of
our fashion at that time came from the kitchen but and then the heavier
percussion we would go out and there we were recording in Shoreditch so there
were lots of building sites with big slabs of metal around and fences so we’d
go take sledgehammers out and recall all of that stuff and there was one famous
sample of us smashing a bit of corrugated iron fence with a sledge
hammer and then the the site foreman saying and that’s it and that’s actually
on the record I think because we were working with the Gareth Jones at the
time he worked on number of Depeche albums and he had a Stella Vox really
high quality portable like a film you know standard tape recorder and he would
go out he was and we we just record everything then put it into the sync
live here and edit it and pitch it and make tunes out of it I mean pipeline the
song pipeline from construction time again is all taken from that building
site in Shoreditch I think and sampled and pitched and sequenced yeah which I
think for the time was actually pretty innovative wasn’t it
that I mean sampling was just pick just starting at that time as before acai
samplers before they became really accessible so we had some hilarious
so the Sinclair vo which is an amazing but ridiculous instruments and it’s a
computer obviously compute digital and I didn’t know much about computers but I
thought I immediately thought well if it’s a computer
it must it’s gonna stay in sync the whole time cuz we use up to then we’d
use like an MC 4 or 1601 sequencer well the 1601 is analog and just constantly
you know you just put a click down on tape and then run the click back into
the into the clock input and it just runs in time it’s great and I thought
the Sinclair where’s the computer it’s gonna it’s gonna be great that’s cuz
that’s how wrong could have been and in the ensuing years well you know you know
how much time we spend you know we yeah yeah anyone who started making music in
the last 20 25 years right it takes it for granted that it’s fairly easy to
sync stuff and we would spend days try to get something in sync and I remember
one famous incident where we we would run stuff to simp T and we would move it
backwards and forwards you know by 10 milliseconds and then you know we’d have
a big debate about is that better than where it was maybe try 5 milliseconds
this this one this particular isn’t it went on for ages and ages and ages where
we kept arguing one person wanted it forward one more person wanted it back
eventually we were working with Gareth and he said I’m really sorry guys it’s
not having any effect we’re using I remember using the Scylla
scope we had two clicks to try and line them up visually anyway and then of
course you have a period of obsession with soft sense remember that was here
much later yeah that was much later yeah you you you yeah I mean I’m jumping
around a bit but that was something and I you know because when soft synth
started to be you know a reality with the people that completed its portable
laptops used to have enough power it was it was um it was incredible to think
that you could have the whole studio in a laptop I remember you you were you
were very into the software since for awhile getting everything that came out
yeah yeah it just seemed you know was so you know instant you know they they may
not have sounded quite as good but they were they were pretty good and I think
now they’re even better you know I think that you know there are some since
substance out there there that sound pretty much as good as hardware I think
they’re just not as much fun to use I think I don’t know what you think about
that yeah you haven’t tried this seem clever go with the knob though no I’m
trying to Sinclair here on the iPad with the knob yet yeah that’s true just one
thing to go wrong go back to what you were saying about the dx7 and the first
wave of digital since and how everybody kind of just abandoned analog you know I
think of the bug I put it down to between the launch of the dx7 and the
start of acid house acid house was the thing that I think first got people back
into the thing now these analog synths don’t sound too bad after
but that was a golden period for you know people used to just throw away
amazing instruments because they just didn’t want because they were
old-fashioned they didn’t stay in tune they drifted they didn’t you know you
couldn’t have any presets on them and you could pick up I I mean I I was lucky
enough to go quite a few of those instruments at that time for virtually
nothing you know you guys Cindy 104 for virtually nothing I’ve got a cincy 100
EMS Cindy 104 virtually nothing I got our system 700 rolling system 700 mode
modular but you’ve got a big collection of you you you started to become a real
proper collector of vintage since what triggered that will gated it I don’t if
it’s a trigger or a gate I don’t know I I started obviously collecting like
things as just as I went along mmm I don’t know what year it was but it
was it was late later in my career really like you know it wasn’t like in
nineteen you know when everyone was ditching yeah that the analog stuff like
you you you got stuff yeah you know I think I think it with the advent of like
eBay and stuff I started just like looking and hunting for everything um
what do you have any things in particular you were looking out for at
that time I suppose I was just lightly looking for like all the classics really
yeah yeah and it just went from there and it you mentioned the word addiction
earlier it is an addiction yeah you know I have a gear addiction yeah and your
name is Martin and I mean that led to I’m interested to know I mean and that
and then that led into your you know addiction other addiction to modular
like modern modular tha’s which you’ve got an incredible
collection not only a vintage since but of contemporary mostly you’re a rapid
also 5u things as well talk about your that addiction yeah
again it’s it it’s so easy to get addicted to use the euro racket yeah you
know I think I look every day to see what’s coming out yeah and you know it
gets to a point I mean I’m trying to like say to myself now you really don’t
need another envelope generator you really don’t need another VCA but but
there’s always a little twist with them so it’s I mean how do you manage it I
mean how do you manage your system in the sense of when you’re working on
something how do you I mean how do you decide do you have so much choice how do
you decide what you’re gonna what you’re gonna start with I think you know I’ve
realized that I reached the tipping point a long time ago yes because I used
to say that the more equipment I have around me the more creative I will be
because it just inspires me to do stuff but I think now I have so much stuff
that I just walk into the studio I think where do I start
yeah I think limitations are inspiration as well you know I think limitations are
very important yeah I think when when a picture went online of my eurorack wall
people assumed that I you know take modules out and put them in a little box
and then use that but the whole thing works
it’s all connected yeah it’s overwhelming I’ve seen it and it’s like
your eyes just you know I was just kind of glaze over you don’t know
really but I mean modular synths music the music made by modular synths
generally is associated with kind of absolute kind of more abstract music
and/or ambient music and and now more and more people are playing like techno
live but you’re working in a different way when you’re writing or recording
you’re working in a much more of a structured way your songs are much more
structure they’re not so kind of free-flowing how do you incorporate your
modular work within those song structures I often don’t work on you
know five or six things at once so I’ll get a basic song structure yeah and then
I usually work on you know one two maybe two sounds at a time that fit in the
song so you say you up so you’re you’re using the modular you’re not necessarily
using the modular to start something off sometimes there’s there have been
occasions yeah where I like some kind of beat going and some kind of atmosphere
and then just start singing along to that so that does happen but that’s
that’s the exception to the rule because I remember I mean some of your I mean
your demos at the beginning we was used to call Casio and foot tap I remember
the basic demos for the songs it was good but as time went on your demo your
demos got more and more sophisticated – and you know I remember there was some
very specific sounds in those demos however crude or whatever they were that
that that remained in the tracks you know afterwards that kind of lived on
into the final mixes I remember especially the kind of motor sound in
stripped which is like a rhythmic that part which is amazing I’m talking of
songwriting and enjoy the silence had a very interesting birth and maturity I
mean you know it started off with something
very different yeah it was things that maybe people yeah be interesting to know
how that developed so originally the the demo for that was just me singing along
to a basic pad and it was really Alan and flood who suggested that we speed it
up and put a beat to it and I was dead against it I remember because I thought
it went completely against the aesthetic of the words and the meaning behind the
song so I soaked off for a little bit yeah we were you were in there in that
in the middle of nowhere in Denmark at the time yes in a studio called puck
puck yeah and they had these kind of residential little houses around the
studio so you disappeared for a few days and solved yeah so what did you think of
it when you when you got back I mean they what they said they’d sped it up
and they put a beat on it what did you think about it wins it so when I came
back it was yeah I had like a basic drum pattern and there kind of baseline and
that was all and I still wasn’t convinced and then flood said to me can
you just try playing some guitar along to it so so I played a gnome and then I
came up with that the guitar line for it yeah and then the kind of choir part and
then it kind of died making a bit more sense to me does it make sense to you
now it does okay that’s good I’d like to take this moment to
apologize to allenham Flood I know that’s a really good example of how
songs when you have a great song you know it doesn’t matter what format is
played in it’s still a great song you know I mean another great example
as Johnny Cash’s version of personal Jesus for instance which is obviously
sounds completely different to the original but it’s absolutely you know
spellbinding spending it’s really really fantastic and so and so what do you so
what are you excited to see here at mogh fest I am really waiting I’ve been
waiting till we finish this today yeah and then I’m gonna go and explore I
don’t know exactly yeah but I’m gonna I’m gonna watch your speech which is not
long after this I’m coming to see you DJ – no well that’d be nice
thank you you’ve already got a mug one haven’t you I do yeah how is it have you
study you start playing with it yet yes I’ve had it for probably a couple of
months now yeah sounding good yes yeah I really like it in the how
it’s almost you know module of the way you can like you know send that yeah you
can send anything to any destination any any controller to any destination and
you of course you made an album a few years ago called mg well yeah which was
just a solo album I think pretty much just done on modular is that right and
pretty much but obviously there were some poly sounds on it so there was I
did use a few poly Cygnus as well I mean that’s a really that’s a that’s a really
great album and I think surprised quite a lot of people who look at you as more
of a broad term pop songwriter they you know you’ve made a very kind of much
more abstract kind of record did you um was that something that you how did that
come about did you were you thinking I’m going to make a record like this or did
you just start recording – how’d you root when you’re doing
things like that how do you work in the studio you just start with a sound and
build them like a sound and build it up and yeah yeah well with around that time
when Depeche Mode have always recorded a lot of instrumentals and with the advent
of Dave now writing songs there there really isn’t as much space on the boom
on the album unless we want to put out like – our albums you know a minute
power 30 albums which we really don’t want to do so at the end of the project
prior to mg I had a bunch of instrumentals I’d written that we that
we just didn’t use and you know I didn’t think that much about it I think it was
you know my friend Christopher Berg who we were working with at the time said
why don’t you do a solo record you should put those out and that’s how I
you know and I had about six at the time so I thought yeah it’s a good idea so I
just carried on writing instrumentals when we finished at the tour and you
between I mean for the last I don’t know how many albums you’ve been on like a
four year cycle really haven’t you with writing recording touring and then a
break and in those breaks you know Dave’s made solo albums and you’ve made
so realms you did the album with Vince Clarke VCM G which is a great and you
have a lot of techno don’t you and that’s a great techno of are you so
would in the more like when you’re on long break do you have like you spend
every day in the studio or do you add what’s your date what’s your life like
when you’re in your studio life like on the break I do tend to go to the studio
yeah pretty much every day unless I’ve got something you know on yeah and so
you’re always recording and always always doing something you know fiddling
around but you know at the moment I don’t feel like I should be
making a solo project just I have like two daughters of you know ones too and
ones three so it seems like I should be spending my time with them rather than
you know making it so no record at this point
I think that’s a good idea both would be great but priorities Shoei throws thrown
open to the audience for any questions yeah I’m throwing it open to the
audience for any questions nothing okay okay the with the glasses I actually can you hear very difficult to hear yeah I like I said earlier like you know just
loved music so III used to really and I still do listen to absolutely everything
and I used to think that and I probably still think that it’s you know it’s
important to know the history of music where what what’s happened before and be
aware of it when you’re a songwriter and you know I think that a lot of people
make the mistake of you know like being into a specific genre and listening to
music from that genre and then you know making music in that style whereas I
think I took in everything from like 100 years of music before you know before we
started I listened to everything I possibly could yeah I don’t know if
there’s a roving mic actually that would be really helpful like we should have
talked about that before but anyway yeah you have to everyone’s
gonna have to speak up a little bit I’m afraid actually love I wasn’t excited Depeche Mode as an
influence so who do you listen to do you listen to any modern electronic music
maybe people that were influenced by you and it kind of completes the circle or
who what modern electronic artists do you tend to listen to I mean I listen to
a lot of electronic easy realities a lot of techno music you know not those
people often silences influences our names and names is I I do like really
like Alberto and diamond version you know both competent Nikolay projects
always says he’s very influenced by a big fan we’re open to tax that believe it or not but you know again my
first wave or something and something will come on and they know that’s you
know that’s interesting on May 10th late generally the same Salisbury now again
you’ll get something that’s slightly more it’s you I haven’t heard for a long
time and it is always interesting to hear something I think what you says I
mean the thing is you when you’re recording an album you hear every song
thousands and thousands and thousands of times and this is my impression either
you know that the last thing you want to do when they are just more a question of
relief when the records finished look of course there’s excitement when it when
it’s released and everything to see what people think of it that you’ve had
enough of it by then you know oh it’s even painful when the you know when the
master comes through and you have to listen through to it that’s fine he’ll
do whatever I can’t listen to it again yeah I’m sure it’s fine that reminds me
so that I know the people but you should tell the story about master and servant
and what happened with mastering sir yes so so we were recording in Berlin at
honza and we’ve really gone like crazy at this point of that you know spending
way longer than we ever had before on absolutely everything recording and then
heat mixing had gone crazy so I think we spent nine days me me we we’re discussing about how straights can
help you if you had to take all of your options
and consolidate and LT was minimal setup what would that look like that’s very good question is something
happening you know obviously thinking about recently because you know some
point will have to be created to begin sometimes I think he’s five good idea
get back to real places and just sit down with a guitar or a keyboard or
piano hello Horace people’s own and work on the melody and the lyrics I think
that’d be a good idea and not get lost in technology the voltage law and the noise
engineering is very unique you can get some really aggressive progressive
digital noise yeah really probably yeah we we always work with a producer
so sometimes you know license by a few salvaged tanks here in there 20 little
bit better sometimes they’re completely into something maybe different ever
since by the universe was a really really powerful sounding nothing like
that ever repent and our health a track and it’s a
sacred song I think we need different ideas about
where the soul should go it is nice to have somebody in control a master saying yeah you know anything to rice and now he
will sometimes anyone a modular system and the first course so
it really depends on itself differently one thing I will say which I think he’s
gonna be slightly sacrilege is here when we play dive I really enjoyed playing
the guitar all the banking balls I still much more of a connection with
the audience yeah we ride the front and you notice see you’re going to be nice
and when what probate behind the keyboard is so completely disconnected
and I find that person equally Night Live
I think this you’re playing such huge audiences they must be hard so I mean
you know 67,000 people it doesn’t show that with what we start 500 people have no quit playing for
7,000 people you know they just this is amazing breathing of togetherness and
you know he said – how many – Jonathan what’s the last tour and when I came on
stage that got me through it because before I would not know what I’m
completing really not very well we can sing and I came off as I said I didn’t
even notice it what the oh my god they’re PRD a feeling that’s it
I mean which lol more than five you know for my
20 years something’s work with you long to see
that Williamsburg really gratifying certainly you guys must be yeah I just one thing I want to say Marceline’s much for any 40 years Thank
You Martin thank you we would not be we were being offered
large sums of money by major record labels and we chose mute because we were
huge fatter than you and because you lose an economic label and because we
trust in tandem all those years ago and released by so thank you master thank you lady and
now I’d like to welcome on stage CEO music my hands oceans and people on behalf of the
employee hunters of music and our music fest fans that are here today to present
you with the 2019 both Innovation Award Martin lower thank you more here so this is our our matriarch
that we were just launching here at the show Martin we couldn’t we couldn’t get
him a mug one because he’s got the first one that we ever built and when we knew
we knew we were safe with this because we just started building it today so we
knew we could count on giving you this without you beating us to the punch so I
hope you’ll enjoy it I’m sure well maybe this will be the piece of gear I’ve been
looking for to write all those songs to give me anything
this is such an honor you know it’s it’s incredible the the electronic music
scene thank you hard Gurion crochet your own personal

57 thoughts on “Martin Gore & Daniel Miller @ Moogfest 2019 | interview + award acceptance | full webcast

  1. The songs all touch my soul in the weirdest way, but I still don't understand Martin Gore as a person 😀 😀 😀

  2. 30:35 Pop Music, don't care about it. Money. 48:45 Underground talent and artist care about all music like Martin states.

  3. There's an odd chemistry between these two. Daniel has been there since day one. Daniel produced the first five albums he had a profound influence on them.

  4. thank god for daniel miller and alan wilder's passion for analogue remaining, or everything dm did between 84 and 87 would've been bathed in lame DX7, etc. sounds like so many other bands that went through the period.

  5. Why is it that such precious little is mentioned of Alan Wilder? Within any DM interview? Wilder was the true composer of the group.

  6. Martin's an official lyric instrumentalist & the second singer who has experience composing different classical songs with his band Depeche Mode.Very good interview;I love him.

  7. Thank you for posting this! It's good to see talented, creative, articulate and intelligent people in music.

  8. Why on earth did Gore get a Moog award? He seems to think he's a guitar player rather than a synth player, although his playing is pretty basic…

  9. 2:36 Not quite accurate. One of the two tracks Martin wrote that appeared on 'Speak & Spell' was indeed an instrumental ("Big Muff") but the other was a song, sung by Dave Gahan, and IMHO one of the best songs on the album 'Tora! Tora! Tora!". Martin was too polite to correct him of course. Or didn't care to!

  10. They gave MG an electronic keyboard. It reminds me of that gentlemanly wizard in keyboards and arranger that was once a part of DM.

  11. Not a more deserving musician – glad they awarded it to him. He sure was excited about the new gear – can't wait to hear it on the next album!

  12. can't believe that a company as iconic as Moog giving a prestigious award to a major star – didn't film this properly for web broadcast! would 2 more cameras on close up have killed you Moog??

  13. Great Martin, I feel good when I listen to your voice and I tell myself everything's okay now. Thank you so much for this video!

  14. Ladies and gentlemen, Mr. Martin L. Gooooooooore👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏

  15. It was easy to get in the music biz in the Earley eighties. You only needed a good catchy song and after the signing you'd be on top of the pops the next day. When Vince Clarke left dm he thought he was the important one and dm would be no more. But step up Martin gore and dm surged ahead of yazoo, the assembly and erasure combined. I bet vince was kicking himself later on after dm broke America. Live using a tape machine was a bit of a cheek but it worked, so why not. Sampling construction time, blasphemous rumours with the Emulator one and emulator 2
    Peace ✌️ out people

  16. Daniel Miller believes that Martin L Gore is the greatest living songwriter. He admires his talents very much. I am inclined to agree with him and I admire the both of them. Martin for his Elvis-like mien and his voice and songwriting skills and Daniel for creating, by hazard, mute records, my very favourite label.

  17. Dear Depeche Mode funs, please have a look on my new cover for "Where's the Revolution" song. Your comments would be highly appreciated.

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