Depeche Mode sample sources
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In audio production, sampling refers to the use of a portion (or sample) from a sound recording within another recording. As pioneers of the electronic music genre in the early 1980's, Depeche Mode were among the first acts to make use of new sampling technology within a traditional pop music format.
Among the thousands of original samples recorded and utilized by Depeche Mode to enhance the atmosphere of their musical output are many that originated elsewhere, including brief passages of musical recordings by other artists, snippets of audio from television shows, radio broadcasts, films, environmental sounds, and more. Analysis of these sample sources and how they are manipulated is a popular topic of discussion amongst fans of the group.
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The sample is confirmed to have been used in the specified song by a past/present member of Depeche Mode, an individual involved in its production, or band archivist Daniel "BRAT" Barassi. | |||
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The sample is independently confirmed to have been used in the specified song. | |||
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The sample is likely to have been used in the specified song but has not yet been confirmed. | |||
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The sample is not yet confirmed to have been used in the specified song. | |||
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The sample is confirmed to not have been used in the specified song. | |||
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It is unclear if the sample was used in the specified song. | |||
Within reason, this page aims to document all verifiable sound sources for many of the musical parts used by Depeche Mode in the production of their studio albums, official remixes, and live performances, as well as the samples used in the production of former Depeche Mode member Alan Wilder's Recoil studio albums, official remixes, live performances, and other works.
Due to the passage of time, fading memories, and the inherent nature of the samples described in this article (which were often transposed, reversed, tweaked, processed, layered, and otherwise manipulated nearly beyond recognition), there is unavoidable potential for journalistic error or misattribution. To combat this, the content of this article is comprised of verified quotes from band members and recording personnel, verifiable sources with citations wherever possible, audio examples, and independent research voluntarily contributed by Depeche Mode and Recoil fans across the world. It exists to provide an interesting document on this topic in a tabular format that is organized, well-researched, and reasonably accurate.
This article differentiates samples by their origin: Self-made samples, which describes any material originally recorded by Depeche Mode or Recoil, and Sourced samples, which describe samples which were not originally recorded by either group. In addition to confirmed samples, this article also covers samples that are commonly misreported as being used but have been directly refuted by a member or associate of Depeche Mode or Recoil.
As ever, if you notice an error or wish to request the removal of a sample source in this article, please feel free to contact us.
Depeche Mode
Speak & Spell (1981)
Speak And Spell does not contain samples from any identifiable sources.
A Broken Frame (1982)
A Broken Frame does not contain samples from any identifiable sources.
Construction Time Again (1983)
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Some Great Reward (1984)
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Catching Up with Depeche Mode (1985)
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Black Celebration (1986)
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Music For The Masses (1987)
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Violator (1990)
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Until The End Of The World (soundtrack) (1991)
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Songs Of Faith And Devotion (1993)
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Ultra (1997)
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Exciter (2001)
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Playing The Angel (2005)
Playing The Angel does not contain samples from any identifiable sources.
Sounds Of The Universe (2009)
Sounds Of The Universe does not contain samples from any identifiable sources.
Delta Machine (2013)
Delta Machine does not contain samples from any identifiable sources.
Spirit (2017)
Spirit does not contain samples from any identifiable sources.
Recoil
Upon his departure from Depeche Mode in 1995, Alan Wilder would expand upon the creative sampling techniques he perfected through the years as a member of Depeche Mode for his Recoil music project, utilising samples from contemporary music, films, film soundtracks, and samples from his own past work with Depeche Mode.
1 + 2 (1986)
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Hydrology (1988)
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Ebbhead (Nitzer Ebb album)
Between the conclusion of the World Violation Tour and the recording of Songs Of Faith And Devotion, Alan Wilder would enter London's KONK Studios to record Recoil's Bloodline between January and March 1991. A month later, he would return to the studio to produce Depeche Mode support act Nitzer Ebb's Ebbhead record in collaboration with producer Flood and mix engineer Steve Lyon. As was characteristic of his work in Depeche Mode and Recoil, Wilder would employ samples from a wide variety of sources in the production of Ebbhead.
Nitzer Ebb's Bon Harris on Wilder's musical prowess in 1991: "Alan has a very musical ear. He's classically trained, so he knows what he's doing when it comes to melody, but has no tolerance for pop - that's quite a good combination."[1]
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Bloodline (1992)
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Unsound Methods (1997)
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Liquid (2000)
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SubHuman (2007)
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Miscellaneous remixes
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References
