Memento Mori

Product Information

has seen the release of Sounds Of The Universe | The 12" Singles in August with Delta Machine | The 12" Singles following in September.

Color variants are also available — including translucent red and opaque — for a few dollars more, depending on where you look. Note - Violater was constructed using many 8-bit instrument sound sources, at best 10-12 bit samples were used. First and foremost, the 180g 2LP pressings are very nice, thick, black, dead-quiet, and well-centered.Released in 1990, Strange Too (aka "Strange Too – Another Violation by Anton Corbijn") was shot in full-color, opening up a visual/sonic palette for the director and the band as they explored songs from Violator plus bonus videos for "Halo"and "Clean. I would have rather they included more songs on Side 4, or at least a few remixes, to give fans some better value here.

This amount includes seller specified domestic postage charges as well as applicable international postage, dispatch, and other fees.Two 180 Gram BLACK vinyl discs in a tri-fold jacket with foil print on cover, printed inner sleeves and 12”x 24” poster. Now in their 43rd year, Depeche Mode are back on the road on a wildly successful tour supporting Memento Mori with numerous sellouts prompting more shows being added in key markets.

With this new partnership, the focus becomes the environment - making tangible change toward sustainability, waste reduction, and environmental clean-up. Before we get into the meaty beaty big and bouncy manifesto that is Memento Mori, here are some of the key album pressing stats we’ve ascertained thus far. On the Memento Mori tour, Hublot and Depeche Mode are proud to announce they'll be supporting and raising funds for The Conservation Collective, a UK-based environmental charity. This process likely began back in the 1950s with Rudy Van Gelder, who left his beloved “RVG” seal of approval in the runout grooves of many classic albums on Blue Note, Prestige, and other vintage labels.Certain songs bear more of a vintage "bleep bloop" feel, akin to the band’s early ’80s synth-pop hits — replete with punchy, 8-bit-sounding drum machines and Casio-like keyboard tones — while other tracks deliver more of that darkly expansive soundscape luster, a lusher acoustic design featuring haunting guitar textures, ominous and at times thunderous sub-sonics, and deep reverberation that many of us relative late-comers to Depeche Mode fandom initially were drawn towards circa the Violator era. I realized this some years ago when I was reviewing their fine November 2014 release, Live in Berlin.