Depeche Mode Violator (Remaster 2006) [EAC FLAC] [RePoPo]

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Name:Depeche Mode Violator (Remaster 2006) [EAC FLAC] [RePoPo]

Total Size: 673.45 MB

Magnet: Magnet Link

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Stream: Watch Full Movie @ Movie4u

Last Updated: 2016-11-07 05:52:13 (Update Now)

Torrent added: 2009-08-28 04:30:29

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COVERS (Size: 673.45 MB) (Files: 24)



2.54 MB


1.48 MB


851.73 KB



   89–90 If You Wanna Use Guitars, Use Guitars.rar

2.51 MB

   89–90 If You Wanna Use Guitars, Use Guitars.IFO

38.00 KB


   89–90 If You Wanna Use Guitars, Use Guitars.ENGLISH.srt

31.16 KB

   89–90 If You Wanna Use Guitars, Use Guitars.SPANISH.srt

29.92 KB

  89–90 If You Wanna Use Guitars, Use Guitars.avi

379.99 MB

 06.- Depeche Mode - Enjoy The Silence.flac

37.02 MB

 09.- Depeche Mode - Clean.flac

34.05 MB

 07.- Depeche Mode - Policy Of Truth.flac

34.04 MB

 08.- Depeche Mode - Blue Dress.flac

31.56 MB

 05.- Depeche Mode - Waiting For The Night.flac

31.23 MB

 02.- Depeche Mode - Sweetest Perfection.flac

30.79 MB

 03.- Depeche Mode - Personal Jesus.flac

29.76 MB

 01.- Depeche Mode - World In My Eyes.flac

28.86 MB

 04.- Depeche Mode - Halo.flac

28.67 MB

 Depeche Mode - Violator (Remaster 2006) [EAC-FLAC] [RePoPo].txt

18.85 KB

 Depeche Mode - Violator.log

4.35 KB


1.60 KB


1.07 KB

 Depeche Mode - Violator.m3u

0.74 KB


0.34 KB

 Torrent downloaded from Demonoid.com.txt

0.05 KB


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Torrent description

Depeche Mode - Violator (Remaster 2006)

This torrent contains both the Audio CD in its remastered stereo form, as
released in 2006, plus a short video, which tells the story of DM during the

The video is presented in XviD with .mp3 sound. There are spanish and english
subtitles already ripped and a subpack which also includes subs in Deutsch,
Français and Italiano. You have to rip it yourself (I currently use SubRip on
Windows), in order to use them.

Note: There's no 5.1 audio here. I repeat: there's no 5.1 audio here. Only the
2.0 stereo album remastered. And sounds great!

CD: Depeche Mode - Violator

01. World In My Eyes [0:04:27.03]
02. Sweetest Perfection [0:04:43.61]
03. Personal Jesus [0:04:55.73]
04. Halo [0:04:30.14]
05. Waiting For The Night [0:06:07.35]
06. Enjoy The Silence [0:06:12.61]
07. Policy Of Truth [0:04:55.14]
08. Blue Dress [0:05:38.28]
09. Clean [0:05:32.70]


89–90 If You Wanna Use Guitars, Use Guitars [0:32:31]


by Ned Raggett

In a word, stunning. Perhaps an odd word to use given that Violator continued in
the general vein of the previous two studio efforts by Depeche Mode: Martin
Gore's upfront lyrical emotional extremism and knack for a catchy hook filtered
through Alan Wilder's ear for perfect arrangements, ably assisted by top English
producer Flood. Yet the idea that this record would both dominate worldwide
charts, while song for song being simply the best, most consistent effort yet
from the band could only have been the wildest fantasy before its release. The
opening two singles from the album, however, signaled something was up. First
was "Personal Jesus," at once perversely simplistic, with a stiff, arcane
funk/hip-hop beat and basic blues guitar chords, and tremendous, thanks to sharp
production touches and David Gahan's echoed, snaky vocals. Then "Enjoy the
Silence," a nothing-else-remains-but-us ballad pumped up into a huge, dramatic
romance/dance number, commanding in its mock orchestral/choir scope. Follow-up
single "Policy of Truth" did just fine as well, a low-key Motown funk number for
the modern day with a sharp love/hate lyric to boot. To top it all off, the
album itself scored on song after song, from the shuffling beat of "Sweetest
Perfection" (well sung by Gore) and the ethereal "Waiting for the Night" to the
guilt-ridden-and-loving-it "Halo" building into a string-swept pounder. "Clean"
wraps up Violator on an eerie note, all ominous bass notes and odd atmospherics
carrying the song. Goth without ever being stupidly hammy, synth without
sounding like the clinical stereotype of synth music, rock without ever sounding
like a "rock" band, Depeche here reach astounding heights indeed.


Violator is the seventh studio album by the English electronic group Depeche
Mode, released by Mute Records on March 19, 1990. Preceded by the hit singles
"Personal Jesus" and "Enjoy the Silence" (a Top 10 hit on both sides of the
Atlantic), Violator propelled the band into international stardom. The album
yielded two further hit singles, "Policy of Truth" and "World in My Eyes". This
album is the first of the band to achieve the Top 10 on the Billboard 200—
reaching #7—and staying 74 weeks in the chart. It was supported by the World
Violation Tour.

As part of Mute's 2006 reissue schedule, Violator was re-released as a hybrid
Super Audio CD + DVD-Video package on April 3, 2006 which included two-channel
and 5.1 surround mixes of the album. The six B-sides to the Violator
singles—"Dangerous", "Memphisto", "Sibeling", "Kaleid", "Happiest Girl", and
"Sea of Sin"—also appear, albeit without the surround sound treatment. The
reissue didn't reach the US till June 6, 2006. The US version lacked the hybrid
SACD and instead just had a CD, but the DVD was included, and was identical to
the European DVD.

A 32-minute short film entitled Depeche Mode 1989-90 (If You Wanna Use Guitars,
Use Guitars) and featured interviews with the band Daniel Miller, Flood,
François Kevorkian (who mixed the album), Anton Corbijn (who directed the music
videos and did the album's photography/cover), and others. It also includes news
footage from the infamous "riot" in Los Angeles which gave the band media
publicity the day before Violator came out. The band were scheduled to do
autographs in an LA music store, and the line reached into the 10,000's. The
event had to be cancelled shortly after it began due to problems keeping the
line in order. There is also footage from Strange Too, notably clips from the
music videos for "Halo" and "Clean".

The remastered album was released on "deluxe" vinyl March 2, 2007 in Germany and
March 5, 2007 internationally.


WORLD IN MY EYES by Tim DiGravina

The first thing that becomes abundantly clear when "World in My Eyes" kick-
starts Violator is that Depeche Mode has massively upgraded its sound. Where
things were somewhat rough and minimal on past albums, a new fullness or
lushness is in place. The hiring of producer and all-around musical guru Flood
to co-produce the album is most likely the catalyst for the sound upgrade. Where
industrial-tinged bangings and clangings marked the band's output on the
immediately preceding albums, Violator absolutely charges to life without
pretense. "World in My Eyes" sees David Gahan's vocals in the foreground, but
Martin Gore's high-pitched background vocals stalk Gahan step for step. The
lyrics detail a lover's wish to "show you the world in my eyes." Such a conceit
is classic Depeche Mode. Through sexuality and love, Gahan/ Gore's lover will
see the world through the eyes of the singers. Twitching, perfectly-in-tune
electronic samplers and keyboards race around the musical map as Gahan implores
that no map is needed at all, because his "body [will] do the moving, and [his]
hands [will] do the soothing." A somewhat lo-fi beat, almost reminiscent of a
video game, loops throughout the track's running time. Gorgeous keyboards rest
on the loop's base, as alternating piercing and bubbly electronic effects
skitter about in a beautiful, complex arrangement. "World in My Eyes" is a
glorious start to Violator.


That "Sweetest Perfection" wasn't released as a single is a tribute to the fact
that Violator is such a masterpiece as a whole. It seems somewhat odd that
Martin Gore handles the vocals, because Gore usually turns vocal duties over to
David Gahan on more snarling numbers, but his vocals here are a kind of
revelation. Gore sounds positively bothered about his sweetest perfection, and
his lyrical obsession is tied up in the usual sexual and emotional imagery. It's
hard to decipher if he's singing about a drug addiction or about human
attraction, but his passionate delivery and dark words resonate powerfully over
Alan Wilder's bleak, percolating shuffle. Infections and "injections of any
kind" cause Gore to "stop and stare too much, afraid that (he cares) too much"
as the sound of swirling strings and racing keyboard notes engulfs his voice.
Screeching sampled guitars and ominous drum punches provide a brutal edge to the
song's otherwise bubbly underbelly. "Sweetest Perfection" is a song about
desperation, but it's about loving and even needing desperation in one's life.
That Gore feels comfortable singing a somewhat angry confessional, rather than
his usual redemptive ballad, is as much a testament to his ability as a
songwriter as it is to his maturity as an artist.


One of the Depeche songs that seemingly everyone knows -- in large part thanks
to blanket MTV coverage and record sales in late 1989 and early 1990 --
"Personal Jesus" saw Depeche tackling the ridiculous canard that "bands without
guitars don't make real music" with vicious gusto. That Depeche had always used
guitars in one form or another -- or that guitars or lack thereof don't
determine quality -- had been ignored by said doubters, who had to swallow their
words as the group's knowing revamp of an old blues lick became a smash hit.
Starting with a soft two-note guitar chime, a massive overdubbed vocal echoes up
-- "Reach out, touch faith!" -- and the song is off, its distinct, big but
shuffling rhythm created from samples of the band stomping on travel cabinets.
Compared to the busy arrangements of recent songs like "Strangelove" and "Never
Let Me Down," "Personal Jesus" is a touch more spare, its extras more suggested
in the mix than overtly calling attention to themselves, like the simple bass
stabs or the brief orchestral swirls on the chorus. Otherwise, it's all beat,
Martin Gore's not-a-note-wasted guitar twangs and slides and David Gahan's
seductive delivery of a lyric inspired by Priscilla Presley's relationship with

HALO by Tim DiGravina

"Halo" expertly merges a chilled but edgy dance beat and flanged guitar samples
with sweeping cinematic strings. Following the hard-rocking "Personal Jesus" on
Violator, the song feels like a brisk drive down the highway in a convertible.
Underneath its suave atmosphere, the song is built on a companion melody to
"Policy of Truth." Indeed, "Halo" might be considered a kind of musical marriage
between "Policy of Truth"'s steady, bubbly beat and "Behind the Wheel"'s fuzzy
tension, of course merged with an artsy film score thanks to the recurring
strings. David Gahan's vocal delivery couldn't fit the music any better. He
sings with a detached confidence, only sounding slightly worried as he sings
about the "world falling apart" and walls tumbling in. That "Halo" is actually a
love song is kind of remarkable. Buried beneath its electronic veneer and
driving rush of melody, Gahan sings that it will be worth it to face the worst
that life can offer just to have his lover fall into his arms. Even among the
equally stellar moments on Violator, "Halo" stands tall as one of Depeche Mode's
finest songs. It's the sound of the band firing on all cylinders, and showing
great sonic and thematic restraint in the process.


David Gahan's hushed voice might dominate the musically minimal "Waiting for the
Night," but the song's somber electronic tones and Martin Gore's harmonies emit
a dark, touching cloud of their own. If one listens closely, Gore's voice
matches Gahan note for note through a majority of the song, adding vibrato and a
hint of unease. The song opens with spare, bubbly digital notes, as if one is
under the spell of a futuristic art installation. Gahan and Gore sing repeatedly
that they are "waiting for the night to fall." In the night everything is
"bearable" and "all that you feel is tranquility." Gore's closing moans are
stark and haunting. It seems safe to say that previous to Violator, "Waiting for
the Night" wouldn't have been possible. Co-producer Flood's hand steadies
Depeche Mode here, adding subtlety where before there may have been grit or a
yearning toward realms more epic. That's not to say that Black Celebration and
Music for the Masses aren't gorgeously arranged and executed albums, but there's
a sense on Violator that every note and emotion is in its proper place. "Waiting
for the Night" is a powerful representation of how expertly Depeche Mode
balanced emotion and restraint in a sweeping musical vision at this point in its


Longtime underground favorites for their pioneering use of synthesizers in
alternative rock, Depeche Mode finally scored their first (and only) Top Ten
single in the U.S. with "Enjoy the Silence," the second single from their 1990
best-seller Violator. "Enjoy the Silence" begins with a melancholy ballad feel
in spite of the busy bass lines underneath; a clean-toned guitar plays a
haunting melody over synthesizers mimicking a gothic choir. The electronic beats
begin to kick in with greater prominence during the first chorus, and
immediately afterwards there is a funky percussion break which alerts the
listener to the song's rhythmic underpinning. When the rest of the
instrumentation returns, it's suddenly just as danceable as it is gloomy. The
lyrical subject matter of "Enjoy the Silence" is typical Depeche Mode bleakness,
in this case with a more personal slant. Its main point is that the more people
talk, the more likely they are to hurt each other, and so a sense of doom hangs
over the romance alluded to in the chorus ("All I ever wanted, all I ever needed
is here in my arms/Words are very unnecessary, they can only do harm"). On a
deeper level, "Enjoy the Silence" suggests that getting to know someone more
intimately destroys any romantic illusions about them, and the singer seems to
prize those illusions as a form of perfection that doesn't exist in the outside
world. It's a little solipsistic and all very dramatic, but the music supports
those ambitions with a chilly sadness and an austere grandeur that perfectly
expresses the sentiments of the lyrics.

POLICY OF TRUTH by Tim DiGravina

Taking hints from R&B, yet adhering entirely to Depeche Mode's stylish
electronic swoosh, "Policy of Truth" is a silky smooth and funky highlight among
highlights from Violator. More than perhaps anywhere else previous to the album,
vocalist David Gahan effects a kind of sinister, romantic croon. It's a style
he'd gravitate to again on Ultra and Exciter, though with perhaps more
confidence and humor on those later albums. From its groovy opening to its jazzy
dance club conclusion, "Policy of Truth" oozes an addictive, uneasy kind of
suaveness. It's clear that the fuzzy, wobbly electronics come largely from Alan
Wilder and Flood, as Violator is largely considered to be Wilder's album, and
because so much of Violator's success stems from Wilder's masterful, edgy
arrangements. Gahan isn't truly the star of the song, for better or worse, but
because his voice takes a kind of background role, the smarmy keyboards, synths,
and samplers absolutely bleed emotion and atmosphere. It's almost as if Gahan
was told to find an indifferent mood, stick with it, and let the music take
control. "Policy of Truth" feels experimental in construction, as electronic
sounds ring out and disappear from just about every angle. But it's an
experiment that resoundingly works. That it's difficult to imagine a more
perfect lead-in for the startlingly sweet "Blue Dress" is just another example
of how great an album Violator is, in both its songs and its sequencing.


Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

EAC extraction logfile from 2. August 2009, 15:46

Depeche Mode / Violator

Used drive : HL-DT-STDVD-RAM GSA-H55N Adapter: 0 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 102
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Installed external ASPI interface
Gap handling : Appended to previous track

Used output format : User Defined Encoder
Selected bitrate : 1024 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : F:Archivos de programaExact Audio
Additional command line options : -8 -V -T "ARTIST=%a" -T "TITLE=%t" -T
"ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %s -o


[Verification date: 02/08/2009 15:47:04]
[Disc ID: 000f8da1-007384f4-860b0709]
Track [ CRC ] Status
01 [7f35de30] (89/145) Accurately ripped as in pressing(s) #1
02 [46e6c1ef] (89/144) Accurately ripped as in pressing(s) #1
03 [a45519ef] (89/144) Accurately ripped as in pressing(s) #1
04 [bea5031e] (88/143) Accurately ripped as in pressing(s) #1
05 [b88640db] (89/144) Accurately ripped as in pressing(s) #1
06 [7859f099] (90/145) Accurately ripped as in pressing(s) #1
07 [9fcdd699] (89/144) Accurately ripped as in pressing(s) #1
08 [d50029c3] (87/142) Accurately ripped as in pressing(s) #1
09 [251c1dfe] (83/137) Accurately ripped as in pressing(s) #1


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expressing this is legitimate.

I've often found one comment (negative) on a movie/CD downloaded by 2000+
people, and since that single negative feedback, people simply stop downloading
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tools...), and that's unfair for the person who took the time to share it for

A LINE AFTER YOU'VE CHECKED IT. This way, You'll help in keeping the torrent
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