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Depeche Fashion – Playing The Angel

1 A Pain That I'g Used To 4:11
2 John The Revelator 3:43
3 Endure Well 3:49
4 The Sinner In Me four:56
five Precious 4:ten
vi Macro iv:04
7 I Desire It All 6:09
8 Zero's Incommunicable four:22
9 Introspectre 1:42
ten Damaged People 3:thirty
eleven Lilian 4:50
12 The Darkest Star

Piano – Dave McCracken

6:55
  • Engineer – Ben Hillier, Richard Morris
  • Mastered By – Emily Lazar
  • Mastered Past [Banana] – Sarah Register
  • Mixed By – Ben Hillier, Steve Fitzmaurice
  • Producer – Ben Hillier
  • Programmed By – Dave McCracken, Richard Morris
  • Programmed By [Original Programming] – Andrew Phillpott ( tracks: 3, seven, 8 ) , Christian Eigner ( tracks: 3, 7, viii )
  • Recorded By [Assistant] – Arjun Argerwala*, Nick Sevilla, Rudyard Lee Cullers
  • Recorded By, Mixed By [Banana] – Devin Workman, Kt Rangnick
  • Written-By – Phillpott* ( tracks: 3, 7, 8 ) , Eigner* ( tracks: 3, 7, 8 ) , Gahan* ( tracks: 3, 7, 8 ) , Martin L. Gore ( tracks: 1, 2, 4 to 6, 9 to 12 )

Official release appointment of "Playing The Angel" was the 17th October (UK), only the international copy available via Mute Germany was released on the 14th Oct (Germany's release day is Friday).
The booklet mistakenly credits Dave McCracken as the piano role player in "I Want It All". However, there is no pianoforte in "I Want It All". He really should be credited for the piano in "The Darkest Star."

The two true cat.#(cdstumm260 0094634057707) are indicated on back cover and within booklet.
Subtitle on the back cover: "Pain and suffering in various tempos".

Produced for 140dB.
Recorded at Sound Design, Santa Barbara; Stratosphere Sound Studios, New York
Recorded and mixed at Whitfield Studios, London
Tracks 1, 2, 4, 5, six, 9, 10, 11 & 12 published by EMI Music Publishing Ltd.
Assigned by Grabbing Hands Music Overseas Ltd.
Tracks three, seven & 8 published by JJSR Productions Inc./Universal Music Publishing Ltd.
"John The Revelator" inspired by the traditional work of the same name.
All tracks mastered at The Social club, New York.

℗ 2005 Venusnote Limited © 2005 Venusnote Express nether sectional license to Mute Records Limited
------
Also after (2012) repress with identical catalogue number exist: Optimal media GmbH matrix, heavier newspaper booklet and ims Manufacturing

  • Barcode (Scanned only) : 094634057523
  • Matrix / Runout (Variant 1) : WWW.MEDIAMOTION.COM 3405770 @ one 010104-NL
  • Matrix / Runout (Variant 2) : Www.MEDIAMOTION.COM 3405770 @ 1 010113-NL
  • Matrix / Runout (Variant 3) : Www.MEDIAMOTION.COM 3405770 @ 1 010112-NL
  • Matrix / Runout (Variant 4) : WWW.MEDIAMOTION.COM 3405770 @ 1 010110-NL
  • Matrix / Runout (Variant 5) : Www.MEDIAMOTION.COM 3405770 @ one 010101-NL
  • Matrix / Runout (Variant half dozen) : WWW.MEDIAMOTION.COM 3405770 @ 1 010119
  • Mastering SID Code (Variants i, 2, iii, 4, v, 6) : IFPI LW03
  • Mould SID Code (Variant 1) : ifpi AAH12
  • Mould SID Code (Variant ii) : ifpi AAH38
  • Mould SID Code (Variant 3) : ifpi AAH13
  • Mould SID Lawmaking (Variant 4) : ifpi AAH80
  • Mould SID Code (Variant five) : IFPI 1537
  • Mould SID Lawmaking (Variant 6) : IFPI AAHY9
  • Rights Society : bel BIEM
  • Label Code : LC5834
Title ( Format ) Label Cat# State Twelvemonth
Playing The Angel ( CD , Anthology, Re-create Protected ) Mute, Mute int.cdstumm260 , 0094634057523 Europe 2005
Playing The Affections ( SACD , Hybrid, Multichannel, Stereo, Anthology , DVD , DVD-Video, Multichannel, PAL, Album, Stereo , All Media , Deluxe Edition , Super Jewel Box) Mute, Mute lcdstumm260 , 0094634243025 Europe 2005
Playing The Angel ( CD , Album ) Sire, Reprise Records, Mute 49348-2 US 2005

Recently Edited

 Playing The Angel ( 2 × LP, Album, Stereo ) Mute, Mute stumm260 , 0094634020114 Europe 2005
Playing The Angel ( CD , Anthology , DVD , DVD-Video, Multichannel, NTSC , All Media , Deluxe Edition, Limited Edition , Super Precious stone Box) Sire, Reprise Records, Warner Reprise Video, Mute 49456-2 US 2005

dokka.chapman's avatar

Edited i year ago

The outset studio release in 4 years Depeche Mode's 11th anthology 'Playing The Angel' proved that once over again they were unlikely to stay in one creative spot. Deciding to involve Ben Hiller - a human fresh off of working for the likes of Blur, Doves & Elbow - in the production procedure allowed the ring's use of hard & smooth room to breathe and garner many memorable moments throughout its runtime.
From the distorted siren call of 'A Hurting That I'm Used To' (a track that is sure to brand y'all jump out of your skin on first listening) we are welcomed into the new chapter of Depeche Manner'due south career. Standing the trend of confidence from the previous anthology the trio manage to pause out a fashion not heard since the likes of 'Songs Of Faith & Devotion', making proficient use of guitars over their well honed electronic lilt.
In that location is picayune incertitude that the singles are the strongest tracks in 'Playing The Angel'. From its commencement teaser in the wildly sollum 'Precious' to the fantastic earworm 'John The Revelator' these tracks rise in a higher place the calmer sea of deep cuts like 'The Sinner In Me' & 'I Want It All' to give a perfect rise & fall that compliments each in turn.
Mayhap not the strongest slice in their vast back catalogue only welcome all the same, 'Playing The Angel' is a great example of Depeche Mode adapting to the always irresolute electronic genre, making use of the misty 00'southward atmosphere made famous by the likes of I Monster, FC Kahuna and Boards Of Canada. It may demand a couple of listens to really get into it, merely the album is worth obtaining on the singles alone, and if you're a fan of Depeche Mode (fifty-fifty only casually) 'Playing The Angel' is seen to some equally essential listening.

brewfourtwo's avatar

Songs are then-and so - nice enough, but doesnt affair due to the fact that the album is sonically ruined and effectively unlistenable (see other comments related to horrible mastering/loudness war)

mrogen's avatar

The DVD with the 5.1 and PC Stereo Mix really makes the deviation and gives you an idea how information technology could or should have sounded. If yous can manage to transfer it to MP3 or Flac, y'all'll hear information technology within the first xx seconds.

synapticflow's avatar

This is the worst Depeche Style release I have ever heard. I like maybe one song and I'm and then disappointed I bought this.

VincentPresley's avatar

One of the all-time DM albums. Even the songs Martin Gore sings are less painful then they usually are. This album has way more balls then some people would like. If yous are into the horribly cheesy Ultra and Exciter you will want to stay away from this one but if you desire your DM with some industrial and goth edge to it then check this out.

TRANSWAVES's avatar

This album is not fifty-fifty worth having!! It is anthology with songs you volition never recall when yous have heard them. None of them volition get stuck on your mind!!! By now DM should have lay of their hat and leave the music scene to someone else?? The 2 first albums were a revolution at the music scene and some albums after that but now they are an boilerplate band that has no soul or stick from other bands. Make the states a favor and quit now so other meliorate bands tin take over!!!

E808D's avatar

Edited 9 years ago

This album suffers greatly from it's mastering at such high loudness levels which gives the music a very artificial and apartment audio. Looking at the waveforms of the songs shows nigh every one pushed up to maximum levels throughout resulting in all peaks clipped, producing little subtlety and no relenting from a wall of noise.

A foghorn deluge opens one of the worst culprits in A Pain That I'm Used To followed by the equally unforgiving John The Revelator, both decent plenty songs only with no space to jiff and little variation in levels throughout, merely racket. Later tracks seem better until a precipitous stab of bass seems to overcome everything, a dissonance from the groundwork seems to suddenly spring wildly in volume (The Sinner In Me) or the chorus is just pushed and so high that you want to plough it down (Suffer Well/Precious/Macro).

Precious is the most accessible and commercially popular vocal but not the easiest to listen to due to the overbearing elevation to which everything is pushed. The intricacies of sound are often very much lost. Being two of the quieter songs, I Want Information technology All and Nothing'south Impossible, should, in the context of the album, be a respite from the loudness but, in the latter's case especially, it is about as if the sound is muffled as well as beingness muted with vocals pushed far back in the mix which muddies the track.

The album credits show the mastering to be by Emily Lazar of The Club and, from experience and research, that name seems synonymous with the "Loudness State of war" (http://www.sharoma.com/loudness_war.htm / http://www.stereo.net.au/forums/index.php?/topic/15278-shame-list-bad-redbook-cd-transfers/ ). BT's album, These Hopeful Machines (http://world wide web.discogs.com/BT-These-Hopeful-Machines/release/2188060 ), is one example that suffers due to Lazar's over-loud mastering and resultant compression of sound levels and detail.

It is a shame that this album wasn't treated more sympathetically, information technology would have fabricated for a far better listening feel. Some good songs and good vocal performances are hidden away in the sonic blast.