Depeche Mode Television Archives Forum

Recent Posts

Pages: [1] 2 3 ... 10
1
Archives / Re: 2017: Spirit and Global Spirit Tour
« Last post by Angelinda on 19 October 2017 - 22:38:22 »
2017-10-19 - Clarin (Argentina) - "No éramos una banda ambiciosa como U2"

https://twitter.com/Punto_Tiff/status/921034149045075968




https://www.clarin.com/espectaculos/musica/andrew-fletcher-depeche-mode-banda-ambiciosa-u2_0_SJ6uAXB6W.html

Entrevista
Andrew Fletcher, de Depeche Mode: "No éramos una banda ambiciosa como U2"
El músico de la banda británica, que en marzo regresa a la Argentina, opina sobre el contenido político de su nuevo álbum, "Spirit", y sobre el negocio de la música, y revela la fórmula del grupo para seguir unido.
Silvia Maestrutti
Andy Fletcher (56) es el único miembro de la banda británica Depeche Mode que sigue viviendo en Inglaterra; en Londres para ser más precisos. Martin Gore reside en Santa Bárbara, una exclusiva ciudad balnearia a dos horas de Los Angeles, y Dave Gahan lo hace en Nueva York.
Vestido de negro, tal cual sube al escenario, Fletcher le comenta a Clarín que le sigue sorprendiendo ver en Los Angeles a tanta gente con ropas oscuras y evitando el sol, cuando muchos suponen que la ciudad fomenta el estilo de vida playero californiano al estilo de los Beach Boys.
Para el momento de la entrevista, unos meses atrás, ya se sabía que este mes iban a realizar la inédita proeza de hacer cuatro shows en el Hollywood Bowl (ver recuadro). Quizás esto les sume votos, cuando en diciembre se decida si van a entrar el año que viene al Rock and Roll Hall of Fame, donde están nominados junto a Bon Jovi y Radiohead.
“Tenemos una relación espléndida con esta ciudad. Han estado con nosotros desde que empezamos a venir y tocábamos en lugares pequeños”, reconoce Andy.
En otra habitación del Hotel Four Seasons, Dave Gahan le dice al semanario local que se quedó con buenos recuerdos de cuando vivió en la ciudad, en el período en el que estuvo casado con la publicista de la banda, por 1989. De cómo iba todo el tiempo a ver bandas como Jane’s Addiction y Guns N’ Roses. El clima rockero lo llevó a excesos y por eso decidió mudarse. Gahan lleva ahora dos décadas sobrio; y uno puede imaginar en Andy al amigo que se va a quedar esperando que se te pase la resaca para seguir haciendo cosas juntos.
Fletcher fue el fundador de la banda, por haber sido compañero de colegio primero de Vince Clark y luego de Martin Gore. Fletcher y Clarke empezaron a los 16 con una banda que llamaron No Romance in China, con la que querían parecerse a The Cure. En el '80 armaron Depeche Mode con Martin Gore y Dave Gahan. Clarke se iría al año y terminaría fundando Erasure.
Dice Andy que no se ven mucho con Vince, que quizás este año se choquen en algún lado. Ambos están de gira con sus bandas, siempre ocupados. Pero no hay mala onda, asegura.
Le encanta ir a Buenos Aires, solo como DJ o con la banda, como lo hará en marzo, en el marco del Global Spirit Tour, donde están presentando su último álbum, Spirit, que tiene al menos cuatro canciones (escritas por Martin Gore) bastante politizadas, en las que parecen estar llamando a la acción. Algo que Andy disputa.

-35 años, 14 álbums, cuatro Hollywood Bowls. ¿Ese era el futuro que imaginaban en los inicios?
-No éramos una banda muy ambiciosa. No éramos como U2, que quería ser la banda más grande del mundo. A nosotros no nos pasaba eso. Trabajamos duro. Estoy muy orgulloso de que hayan transcurrido 37 años y todavía seamos populares. Sacamos un buen disco, estamos de gira... Es un sueño hecho realidad.

-Hablando de U2 , el tono político de algunas canciones de "Spirit", es algo que uno hubiera esperado más de Bono que de Depeche Mode.
-No estoy seguro de eso. Creo que siempre escribimos canciones políticas, sólo que usamos analogías sexuales o religiosas para hablar de esos temas importantes. Lo que pasó acá es que cuando Martin escribió estas canciones, hace más de dos años, estaba muy enojado con el mundo. Y ahora todo está peor (se ríe).

-Dice Dave que su hija Rose lloró cuando ganó Trump. ¿Te pasó algo así con tus hijos?
-Viviendo en Londres, nosotros tuvimos nuestra propia crisis: el Brexit. Un masivo cambio constitucional. Debería haber sido una votación 70 a 30 o 60 a 40 para cambiar algo tan grande, pero ahora tenemos una situación donde el 50 por ciento de la población quiere quedarse en la Unión Europea y la otra mitad quiere irse. Es de locos.

-En uno de los temas nuevos ("Poorman") hablan contra las corporaciones, pero algunos críticos dicen que ustedes también son una corporación. ¿Qué contestan a eso?
-Creo que estamos hablando de grandes corporaciones, como Apple y todo eso, que no pagan impuestos. Para hacer negocios en este país tenés que tener una corporación, aunque sean dos personas.

-¿Y dónde está la revolución?
-Eso nos preguntamos (ríe). Nuestras letras son sardónicas. No es que literalmente estamos llamando a que se suban al tren, y que esperamos que se suban.

-Supiste ser manager de la banda, ¿Cómo ves el negocio de la música hoy?
-No muy bien. Se le hace muy difícil hacer dinero a las bandas jóvenes. Las compañías discográficas no te apoyan, y lo que ganan esas compañías es muy poco, porque no se venden discos. Promover tu música en las redes o en You Tube está bueno para promocionarla, pero no va a hacer que dejes tu trabajo diario.

-¿En qué estado encontrás a la música electrónica?
-Hay mucha buena y alguna mala, como en toda música.

Para ser el miembro que es considerado el “vocero oficial” de la banda, Fletcher habla poco. Cuenta que para el último disco ("Spirit es un nombre fuerte, tiene mucha energía” dice del título) conocieron a un productor que los enamoró con su sonido, y que además es multi instrumentista, James Ford; y que llegaron al estudio con las canciones ya escritas por Gore o Gahan por separado. Que ahí es donde empiezan a trabajar en equipo. “Eso es lo que hacemos en las bandas electrónicas; no tenemos roles fijos, todos ayudamos a armar ese sonido”

-Se dice que, siendo un trío, te ha tocado desempatar varias veces.
-En Depeche Mode somos una democracia. Si alguno se pone muy inflexible terminamos diciéndole: "OK". No tenemos dramas.

-¿Cuál es el secreto para haber llegado tan lejos juntos?
-Desde hace 20 años trabajamos en ciclos que tienen cuatro años. Hacemos un álbum, lo promovemos, salimos de gira y luego nos tomamos una pausa de un año y medio, donde podemos hacer nuestros proyectos paralelos. Yo salgo de gira como DJ, por ejemplo. Y nos dedicamos a nuestras familias.

-Has ido a la Argentina como solista y con la banda. Ahora vuelven en marzo. ¿Cuál es tu experiencia con Buenos Aires?
-Cuando voy como DJ puedo apreciarla más. Es una de mis ciudades favoritas.


Depeche Mode en el Hollywood Bowl
Entre la gloria del pasado y la vigencia del presente
Tras cubrir el territorio norteamericano y Europa, el Global Spirit Tour llegará al estadio Único de La Plata el 24 de marzo de 2018, después de pasar por la ciudad de México, Bogotá, Lima y Santiago de Chile.
La escala de esta gira mundial en Los Angeles, donde tienen muchísimos fieles seguidores, pasará a la historia porque Depeche Mode se acaba de convertir en la primera banda en hacer cuatro shows consecutivos (todos con localidades agotadas) en el famoso Hollywood Bowl.
El tradicional escenario de shows veraniegos, con capacidad para 17.000 espectadores, despidió en septiembre a Tom Petty, quien hizo tres recitales inolvidables una semana antes de su muerte repentina.
En las algunas de las noches en las que tocó Depeche, lamentablemente no en la tercera que es a la que accedió Clarín, Gaham homenajeó a otro caído, David Bowie, con una dulce versión de Heroes, que quizás repita en Argentina.
El hit Everything Counts, de 1983, es de los más viejos que claramente disfrutan tocar, como ocurre con Black Celebration. En la onda nostalgia, la primera despedida se produce con el tema central del disco que hace 30 años los estableció en Inglaterra y los convirtió en novedad en USA: Never Let Me Down, de Music For The Masses (1987).
En el inicio, mientras Gahan le da un tono dramático al nuevo Going Backwards, desde las pantallas, el fotógrafo y director Anton Corbijn propone una suerte de homenaje a Jackson Pollock y Andy Warhol.
La banda sacrifica algunos de los tantos hits que podrían seguir tocando porque prefieren darle lugar a los temas del álbum que están promoviendo, Spirit. Entre ellos, Where’s the revolution, que inaugura una estética con cosas de The Wall.
Se agregan a la lista las principales canciones de los discos Violator (1990), Songs of Faith and Devotion (1993) y Ultra (1997). El público, que no es del todo joven ni es del todo viejo, disfruta con lo que ha ido a escuchar y sabe de memoria.
Personal Jesus es el inamovible cierre de la noche, como en toda la gira. La gente queda tan arriba tras la descarga final de adrenalina de Dave Gahan, que por un largo rato se queda esperando en vano un nuevo regreso. Dice Fletcher que, aunque en el escenario parezca que se está comiendo al mundo (fiel discípulo de Jagger, a quien imitaba de chico), Gahan siempre está nervioso antes de salir a escena.
La gente responde a todo lo que el cantante propone, ya sea cuando se contorsiona en la pasarela o se mete entre el público y posa épicamente para las fotos de sus enamorados fans. Pero ese amor incondicional no es menor cuando es el guitarrista y principal compositor, Martin Gore (ojos delineados y uñas pintadas de negro), el que toma el micrófono y canta dos clásicos de Ultra (Insight y Home) y la vieja Shake The Disease.
Entonces, el peso de los egos parece quedar perfectamente balanceado en escena. El dúo tiene sus momentos, y los cuida y respeta. Desde lo alto de su tarima, el tecladista Andy Fletcher no pide protagonismo, pero también lo tiene. Todos ahí saben que hace 37 años que equilibra y colorea las melodías (y los humores) de una banda que sigue vigente.
2
Archives / Re: 2017: Spirit and Global Spirit Tour
« Last post by Angelinda on 19 October 2017 - 22:30:35 »
2017-10-13 - APM (US) - Dinner Party Download

https://www.dinnerpartydownload.org/episodes/397
https://www.dinnerpartydownload.org/episodes/speakeasy-16/

Electro band Depeche Mode on how travel has made their music more socially conscious...

And Depeche Mode takes us back to the time when they, somehow, started a riot.
3
Archives / Re: 2017: Spirit and Global Spirit Tour
« Last post by Angelinda on 13 October 2017 - 21:57:27 »
2017-10-12 - Depeche Mode on Facebook:

https://www.facebook.com/depechemode/posts/10156873994220329

A note from DM:
Introducing the Spirit Truck. For the next week the truck will be out on the street, with some special stops around LA. Spot the Spirit Truck around LA, take a photo and upload it to Instagram with hashtag #SpiritTruckLA and #SpiritTruckLAGiveaway for a chance to win a signed, limited edition DM Hollywood Bowl poster. Follow Spirit Truck Los Angeles on Facebook, or @SpiritTruckLA on Instagram and Twitter for more information and updates!
4
Archives / Re: 2017: Null + Void - song featuring Dave Gahan
« Last post by Angelinda on 13 October 2017 - 21:30:56 »
2017-10-13 - Kurt Uenala on Depeche Mode's Facebook page takeover:

https://www.facebook.com/depechemode/posts/10156882659590329
https://www.facebook.com/depechemode/posts/10156883437660329

In the Studio with DM:
I met Dave over ten years ago when he was looking for someone to help with recording demos of song ideas. After that I helped with vocals on his brilliant electronic solo album “Hourglass” and we played a few promo shows in NYC together. We really got along and he recommended me to perform in a Depeche Mode live session video for “Sounds of The Universe” and it just grew from there. Rehearsing with Martin and Fletch was fun and the sheer amount of synthesizers was overwhelming. At that point I also had a few but what they had stacked up in that studio was truly breathtaking.
From then on, I was invited along whenever it was time to make a Depeche record. I learned a lot from their adventurous recording workflow. To hit record, then tweak, twist and turn the synthesizer knobs as the song plays back numerous times without ever stopping and then, edit the rather vast amount of audio data later on, that was quite an unusual way of working to me. It was such a playful and refreshing approach to recording and I think it really shows if you listen closely. An instrument recorded in that manner has life and retains a little chaos which is such a relief from the cut and paste music that is popular on radio these days.

"Where I Wait" & working with Dave:
Recently I was able to work with Dave on my own music. Excited to share an interview + the video we made featuring Dave and shot by our friend Timothy Saccenti. I first met Tim when he came to film the Depeche Mode studio sessions for the “Delta Machine” album and we really got along and stayed in touch.
Every free minute I had (I still had a full time day job back then) was spent working hard on my own music and that meant many lonely nights tweaking and perfecting ideas in the studio. I stumbled over a synth riff that was just perfect for Dave’s baritone. So I asked if he would maybe, possibly, perhaps have a listen. He really liked the song sketch and had melody and lyric ideas immediately. Dave worked on the melody and lyrics alone so I heard the melody for the first time over the phone. After changing some chords and shortening the arrangement, we recorded the lead vocal for the demo and Dave sent it to his manager, Jonathan Kessler, who was suggesting we continue to write songs, which we still do whenever Dave is not busy taking over the world with his unstoppable DM gang. The song was never properly recorded so last Fall, after the “Spirit” sessions, we decided to finish the track and spent quite some time getting the energy right. We stripped the arrangement down, changed the drum programming a bit, Sharin Foo sang backing vocals and then Dave added a sad synthesizer line in the outro and breakdown.
Posted by:
Kurt Uenala - Null + Void
5
Archives / Re: 2017: Null + Void - song featuring Dave Gahan
« Last post by Angelinda on 13 October 2017 - 21:28:45 »
2017-10-13 - Rolling Stone (US) - Hear Depeche Mode Frontman's Chilly New Collaboration 'Where I Wait'

http://www.rollingstone.com/music/news/hear-depeche-mode-singers-where-i-wait-with-null-and-void-w508160

Hear Depeche Mode Frontman's Chilly New Collaboration 'Where I Wait'
Singer and electronic-music artist Kurt Uenala discuss the making of the track, slated for upcoming Null and Void album 'Cryosleep'
By Kory Grow

When electronic-music artist Kurt Uenala was conceptualizing Cryosleep, the first album he'd be releasing under the name Null and Void, he knew he wanted to do a song that featured Depeche Mode's Dave Gahan. The two became friends about a decade ago, when Uenala was an audio engineer working with Gahan on both Depeche Mode and solo recordings, and they've co-written several tunes together. So Uenala knew the icy single "Where I Wait," which is premiering here, would be a perfect fit for Gahan.
When the singer heard Uenala's music, it resonated with him. "I usually respond to quite minimal, quite ethereal music that's just not too complicated," he tells Rolling Stone, on a joint call with Uenala. "I don't need tons of chord changes. I need something that will make something happen visually in me, where a phrase appears. It could be an atmosphere or the way a sound bounces of something else."
"We know each other so well, after so many ears of working together, that you don't need to tell me to play a G-diminished-seven or something," Uenala says to Gahan. "I know your lingo is more cinematic; you say, 'Make it a bit more cloudy or whatever.' I know your language." The singer laughs.
Uenala originally pitched the song as something Depeche Mode would record, but because of the limited time they had booked in the studio the band decided to focus on polishing off its singles instead of recording "Where I Wait." Drawing heavily on his and Gahan's shared language, Uenala crafted a chilly chord progression for "Where I Wait," over which the singer could divine a moody melody and pensive lyrics about the dark side of devotion. "It's a song about unconditional love," Gahan says. "Once that love becomes conditional, hate takes over and death and murder follows. And that's really what [director] Tim Saccenti, who made the amazing video for this song, picked up on. In the video, there's a girl and a guy; she wants him, she gets him, she loves him. Maybe he loves her and then that turns into something different and she can't have him anymore, so she murders him. It goes beyond rage.
"Of course we don't all do that, but it's human nature," he continues. "It's like something takes over when you can't own something; you kind of want to destroy it. I mean, it's kind of how my mind thinks, but things like that is what's happening in the world right now. Things just seem like chaos out there and we're all just sucking it up rather than throwing up our arms and going, 'What the fuck is happening?' I can't even look at my phone anymore because it's like one diversion to the next. Music, to me, is still the savior and the communicator."
Gahan says that it's Uenala's unique understanding of what he needs as a singer that has made their working relationship so fruitful. "I know his vocal range and I know roughly what note choices he makes," Uenala says. "It's not predictable, but I know people have habits and what they like." Elsewhere on Cryosleep, Uenala has collaborated with Black Rebel Motorcycle Club, the Big Pink and Shannon Funchess, though most of the album features his deft synth and sequencing work.
"I was always into synth," says Uenala, who grew up in Switzerland and now lives in New York. "I had a brief stint with rock & roll and metal, as well as some jazz, but I remember begging my mom if I could play synthesizer as a teenager."
In various capacities, he's worked with Moby, the Kills, Soulsavers and others over the past two decades and recently he decided it was time to make his own album. Now that it's slated to come out on November 3rd, he's also getting ready to figure out how to perform it live. "I try to use a lot of hardware synthesizers because I like to keep it quite improvised live," he says. "The meat and bones of the song are programmed, but that's just sequencer data. I can alter the sound and make parts longer and shorter. It's a little risky, but I feel it's worth it. I like seeing live acts that take a risk. If the songs are suddenly stripped down to drum machine and a bass line, and on the album it's much more grandiose, I appreciate that it's different."
Meanwhile, Gahan is on the road with Depeche Mode and is simply happy with the way his contribution to the Null and Void LP turned out. "What Kurt and I made went to a cool place because Kurt built a new atmosphere around the song," he says. "It worked very cinematically."
6
Archives / Re: 2017: Null + Void - song featuring Dave Gahan
« Last post by Angelinda on 13 October 2017 - 20:57:47 »
2017-10-13 - Billboard (US) - Dave Gahan, Null+Void Explore The Violent-Side of Love in 'Where I Wait'

http://www.billboard.com/articles/news/dance/7998534/dave-gahan-null-void-where-i-wait

Depeche Mode's Dave Gahan, Null+Void Explore The Violent-Side of Love in 'Where I Wait': Interview
by Kat Bein

Love is blind, all-consuming, and sometimes, love is hell. Take it from Dave Gahan. The iconic lead singer of Depeche Mode has had plenty of love in his life, enough to know the dark side its chemical rush can't hide.
“It's just the worst,” he laughs. “We want to own things, people, stuff -- and then, when it doesn't work out, there's murder in the mind. That's where we go as humans when love is lost. It's like it's somebody else's fault.”
Gahan taps into doomed love's sinister sweetness on “Where I Wait,” a sensual and dangerous bit of mood with his friend and long-time collaborator Kurt Uenala, for the former's solo project Null+Void. It's the lead single from Null+Void's forthcoming album Cryosleep, and while its heavily electronic synth soundscape will certainly please Depeche Mode fans, “Where I Wait” definitely gives the singer space to explore a rawer edge.
“The lyric is really about unconditional love, us all wanting that and wanting that for the world -- until it becomes conditional, and then of course it turns into hate, murder and violence,” Gahan says. “It's not necessarily inwards, not necessarily anything that's going on with me, but it's what I feel like is happening around me. There's all this bullshit going on, but it's just all this diversion. Don't really pay attention to whats going on, just make some more fakeness. We're supposed to all just bury our heads in our cell phones and pretend nothing's happening, and that's what happens with love if you don't pay attention. If you don't really take care of it and share it, it will go away.”
Gahan and Uenala's rich creative relationship dates back to early demos for Depeche Mode's 2005 album Playing the Angel. The artists hit it off beautifully, and when Gahan turned his attention to a solo record, Uenala was his go-to man. Today, they've got a shared studio space in New York, and it was here that “Where I Wait” and other collaborations were conceived.
“I do most of my vocals in there actually,” Gahan says. “Kurt kindly helps me to feel good about the space I'm in, and I know that he understands my voice. He understands when I'm gonna sing like an elephant, or I'm going to sing quiet as a mouse. He's there waiting for me to perform, and gets it. It's a space that all artists need, to have to be working with somebody or some people that want to get to the same place, want to create something that moves people. You have to get performance, even with all these electronics and everything that we can use, all the tools we have. At the end of the day, for me anyway, the most important thing is getting some kind of reality from the heart.”
“Where I Wait” is a stunning work of discord and juxtaposition. The sweet vocal melody and seemingly romantic message is laced atop an eerie electronic feeling. Uenala's meticulous production brings the truth of the song's nature to light. It's uncomfortable and arresting, a vibe captured in a music video that plays perfectly into the song's duality with violent images matched against swooning words and harsh chords.
“Where I Wait” originally started around the time Depeche Mode concocted its latest record, Spirit. It didn't made the LP cut, but Uenala brought it back to life when putting together Cryosleep, and it fits perfectly into the album's cinematic sonic story. “Where I Wait” is just a taste of Uenala says is an exploration of contemporary song structures stripped of the usual drum patterns, atmospheres and moods built around synth lines, painstakingly crafted to build a cinematic world from start to finish.
“I love albums that have an arc and a curve that you can enjoy like a movie, with a tense scene, a quiet calm moment. I really wanted to do a record that has an arc and a story and contrast,” the producer explains. “I work very detailed, and it's a lot of care into every little pattern and hi hat. Everything is sculpted... it's not really presets and loops.”
Cryosleep also features vocal collaborations with Black Rebel Motorcycle Club, The Big Pink, and Light Asylum's Shannon Funchess. The full album premieres in November, but you can enjoy “Where I Wait” below. Null + Void is also taking over Depeche Mode's Facebook today, so visit him there for more behind-the-scenes tales and other fun goodies.
7
Archives / Re: 2017: Null + Void - song featuring Dave Gahan
« Last post by Angelinda on 13 October 2017 - 16:45:43 »
2017-10-13 - Null + Void - Where I Wait (feat. Dave Gahan)

https://www.youtube.com/watch?v=xUSJ4XK2UXg



Null + Void: Where I Wait feat. Dave Gahan

Lyrics:
your words were spoken
carefully chosen
for me
each one a msg
and insight
to some degree

when i wake up
my eyes are open
i can see
i can hear you
all around me
i feel free

there is comfort here
where i wait
for you
there is sunlight
shining through
there is comfort here
where i wait
for you
there is sunlight
shining through

why am i nervous
my hands they're shaking
my heart it beats
your specter haunts me
and taunts me
i cant breathe

when i wake up
my eyes are open
i can see
i can feel you
all around me
i can breathe

We're moving on


Video description:
‘In the Null Void video, we follow a desperate character in his attempt to transcend a physical space and escape his addictions via a hallucinatory female.
The environment is a dystopic, brutalist variation on an old theme: the stifled, domestic household. The refrigerator, the television, the wine bottles, and –most notably – the main character’s nonexistent female counterpart evoke this dark theme. The cold lighting, concrete floors and metal containers further elicit the atmosphere of a prison in which he tries to resist the temptations offered by his imaginary friend.
The illusory female character’s performance is mostly static, as though she is another object in the room. Her eyes are glazed over in reverie, the mode by which the action will follow.
These reveries take various forms, limited by the sparseness of her environment. Dave plays a kind of narrator, floating around her dreams (sometimes actually), performing the song, alluding to the twofold nature of escape.
Most important is the television, which serves as a physical manifestation of these purely mental (intellectual) fantasies. Its formal role in the narrative is essential, and as the viewer’s perspective is fed through the television, we lose our place. What is real and what is the fantasy? In this way, we are able to identify with the protagonist.
After reality and fantasy are knotted together, they fracture, and the space is literally broken into parts. This is reminiscent of a familiar sensation at the end of a dream or reverie, when the idea comes together and then falls apart. The video thus gives us a picture of what the nature of escape can sometimes feel like: the ecstasy of transcendence, the eluding of time, the total circumvention of life as a physical object.“ ’says Saccenti.
8
Archives / Re: 2017: Spirit and Global Spirit Tour
« Last post by Angelinda on 12 October 2017 - 22:19:03 »
2017-10-12 - KCRW (US) - Press Play

https://www.kcrw.com/news-culture/shows/press-play-with-madeleine-brand/depeche-modes-martin-gore-on-spirit-and-getting-more-political
https://www.depechemode-live.com/wiki/2017-10-12_Press_Play,_KCRW_89.9FM,_Los_Angeles,_CA,_USA

Depeche Mode's Martin Gore asks 'where's the revolution?'
It’s been 36 years since Depeche Mode put out their light and poppy debut “Speak & Spell.” After Martin Gore took over as primary songwriter, the band’s catchiest songs became political. Their songs have addressed corporate greed, inequality, and intolerance. Now the band is in the middle of a world tour for their new album “Spirit.”
9
Archives / Re: 2017: Spirit and Global Spirit Tour
« Last post by Angelinda on 12 October 2017 - 21:44:23 »
2017-10-12 - Atom Entertainment (Belarus) - Dave Gahan message for Belarus

https://www.youtube.com/watch?v=fULT8KGwVKQ



Dave Gahan message for Belarus

Hello there. This is Dave Gahan, and I am in San Diego. We're doing a show here tonight. And I wanted to say that we're really looking forward to coming back to Minsk next year. So I hope you can all come out and see us and give us a second chance. And it's gonna be a great show, so, please come on down.
10
Archives / Re: 2017: Spirit and Global Spirit Tour
« Last post by Angelinda on 11 October 2017 - 17:05:41 »
2017-10-10 - LA Weekly (US) - Depeche Mode Are About to Do Something No Other Band Has Done

http://www.icloudmobilemedia.com/i/886182-october-13-19-2017




http://www.laweekly.com/music/depeche-modes-dave-gahan-and-martin-gore-look-back-on-their-la-history-8736908

Depeche Mode Are About to Do Something No Other Band Has Done
BY LINA LECARO

Depeche Mode frontman Dave Gahan is having a wistful moment of gratitude, gazing out the picturesque window of his Beverly Hills hotel room at the sunshine that radiates like a golden blanket over steadily swaying palm trees and dreamy, magazine-ready homes in the hills beyond.
"L.A. has been there for us from day one, really," he says of his band's Angeleno fan base. "We were playing smaller places, but there was a cult aspect to the way people came to our shows and knew our music, before they even knew who the band was."
It's late April, and Gahan and his longtime partner in Depeche, Martin Gore, are doing interviews in their rooms at the Four Seasons as they gear up for a secret fan show at Hollywood Forever Cemetery's Masonic Lodge, a warm-up gig for an international tour in support of their latest album, Spirit. (The band's third member, Andy Fletcher, was not present.) Both speak enthusiastically about their love of L.A. and their fervent fan base here, which helped them sell out a record-breaking four nights at the Hollywood Bowl, something no other group has ever done.
Much has been made of L.A.'s Morrissey obsession, but it could be argued that Depeche Mode, who play those sold-out Bowl shows starting this week, enjoy an even more fanatical following here. There are club nights devoted to them and a popular DM convention held here every year, and the band's hits have never left rotation on L.A. radio, not just KROQ (where they got their first airplay) but mainstream pop stations as well.
Many Angelenos who came of age in the '80s and '90s feel a kinship with Depeche Mode and their songs' themes of sorrow and struggle, shameless romance and eternal outsider-dom. It's the same reason the goth scene is so popular here. Depeche Mode's music speaks to those of us who have always felt that the stereotypical image of sunny SoCal — wherein everyone is blond and beachy — is false and at odds with our true depth and dark proclivities. In an ironic way, dark music like Depeche's connects in L.A. more than anywhere else in the world. And you can dance to it.
Gore's ability to write emotive yet edgy songs with infectious hooks, and Gahan's visceral interpretations of them, have made them one of the most potent pairs in music. Personality-wise they could hardly be more different — Gahan the outgoing, dramatic frontman, Gore the quiet, sensitive songwriter. But they have much in common, too, including an obvious fondness for L.A. Gore lives with his wife and two baby daughters not far away in Santa Barbara. Gahan, who resides in New York, says his 18-year-old daughter, at the time of our interview, was considering attending USC. Still, their connection to L.A. runs even deeper than most people know.
Gore recalls the band being more of an underground phenomenon when they first came to L.A. during the "Just Can't Get Enough" era circa 1982, and how the crowds swelled when they returned around '85. "That was when it blew up," he says. "It seemed like alternative radio had taken hold of the country, but especially here in L.A. ... We went from playing small theaters to big ones, playing to 15,000 people. That was incredible for us at the time."
Gahan has a soft spot for early days, too, recalling the smaller shows when they were unknowns playing the Roxy and the now-shuttered Perkins Palace. He peers intently out his window once again, this time as if he's looking for something. "When I first came here, I was like, 'I wanna live here!'?" he says, pointing at the skyline.
He ended up doing just that after the band had become a household name with 1987's Music for the Masses, playing bigger venues and wrapping up that tour right here with a now-iconic show at the Rose Bowl in Pasadena, captured by filmmaker D.A. Pennebaker in the documentary Depeche Mode: 101; the film last month had a 30th-anniversary screening at the stadium.
In 1989, Gahan left his first wife and moved in with the band's PR director, Teresa Conroy, whom he later married. His second wife is a big link to Gahan's L.A. story, one that many fans don't know much about. (Full disclosure: I have been friends with Conroy since 2008, after I profiled her in L.A. Weekly's 2008 People issue. Gahan brought her up during our interview unprompted.) What little they do know has, for the most part, been negative, with stories painting her as the scapegoat for Gahan's well-documented drug problems. With our conversation spotlighting L.A. and its influence on the band, the frontman seems eager to set the record straight.
"I fell in love with her during tour," he says. "We just connected and at the end, I told my wife in England I was not coming back. ... I showed up on Teresa's doorstep on Sweetzer and Fountain Avenue with my little suitcase and said, 'Hey!'
"We ended up getting married. We lived near Santa Monica, in Nichols Canyon and Benedict Canyon for a while. We moved around, but what brought that all down for me was I just wanted ..."
He pauses for a long moment. "Substances?" I ask.
"Yes. That's what I liked to do most," he admits, "and it tore us apart, so that was the end of it. I moved to New York around '97 and changed my life. My behavior was not gonna change in L.A.
"Some of what people thought about her might have been my doing, just blabbing my mouth off. I realized after being clean 10 years later, it was like, wow ... at the time, as long as I had what I needed, I didn't give a fuck about anybody else. And I didn't think I was that person, but I was that person."
Gahan, now 55 and married to his third wife for 18 years, has been clean and sober for more than two decades. He looks healthy and trim in a black T-shirt and dark-rimmed glasses, with hints of gray on his chin and temples. But back then, he nearly died a few times from heroin overdoses, once at the Sunset Marquis where the band rented a villa on a frequent basis. Today, however, he seems to associate L.A. and his second marriage not so much with his addiction but with inspiration.
"I haven't talked about it enough, but that time in L.A. was wonderful. The few years I did spend here when we were just hanging out and I didn't work for a couple of years, there were all these great bands playing, like Jane's Addiction, Guns N' Roses. Going to clubs like Cathouse. There was this great music coming out of L.A. There was an energy in some of the new music coming up that I was feeling and seeing here."
Gahan's personal style at the time was influenced by the L.A. rock scene (more tattoos, longer hair, leather), and he sought to steer Depeche's music that way, too. When he went back into the studio to make Songs of Faith and Devotion after 1990's Violator, the career-changing album that included worldwide hits "Personal Jesus," "Policy of Truth" and "Enjoy the Silence," Gahan says, "I was like, 'Guys, we've gotta change it up! This is just too clean, too neat!'?" But Gore and the rest of the band "didn't like at all where I was coming from."
Gore, the band's primary songwriter, was the more provocative dresser in Depeche's early days. He fancied lots of guyliner and became a fan of bondage getups — often purchased, he says, at Trashy Lingerie, not far from the Four Seasons. It gave the band an androgynous edge that "the girls seemed to like," and complemented Gore's sensitive lyrics and rhythm-driven compositions. Depeche were huge after Violator, so it's no surprise that Gore didn't want to change the winning formula, even if music in general was having a heavier moment.
Looking tan and content during our conversation (the bondage attire is long gone, replaced by a fitted black ensemble not unlike Gahan's), Gore, 56, concedes that letting go of creative control has always been something of a challenge. He describes how the early dynamics of the band evolved, putting him "behind the wheel" in terms of writing the songs and shaping the band's sound.
"When we first started we were 18 and 19, and the main driving force behind the band was Vince Clarke. He was the main songwriter, and we were just along for the ride, really," Gore says. "And then he announced to us that he was leaving before the first album was released. So because we were young and didn't really think too much about anything, we just booked some studio time and went in and carried on laying down with a three-piece, as you would at 19 and 20. We never expected it to be a huge commercial success, especially at the time. But then we grew up a little bit."
With Clarke moving on to other projects (notably Yazoo with Alison Moyet and Erasure with Andy Bell), Gore just naturally took the reins, and his talent for songwriting grew as he did. "By the time we got to the third album, we'd traveled the world quite a lot and seen a lot more," he says. "I started to get, not exactly dark by the third album [Construction Time Again], but a little bit more worldly, maybe."
Though Gahan felt like he "wanted to take it to another level," after his time in L.A. in the '90s, he didn't officially contribute to actual Depeche songwriting until 2005's Playing the Angel. It was all Gore until then. Still, the edgier aesthetics and more visceral performance style Gahan honed did steer the band into grittier territory, which fans (particularly female fans) found dramatic and sexy.
Both Gore and Gahan admit their relationship has had its tempestuous and trying moments over the years. But Gore says that after working on their latest, highly political album, Spirit, it's "as good as it's ever been."
For this tour and the Hollywood Bowl shows, Gore promises to take lead vocals on the tender numbers fans have come to expect from him, plus lots of groove-driven guitar work on songs both old and new. Depeche's massive catalog of memorable, emotionally charged music aside, their live show is why they continue to sell out stadiums at this point in their career.
I was lucky enough to attend both a rehearsal at SIR Studios in Hollywood before our interviews and the warm-up "secret" show at Hollywood Forever, and the band are as good as they've ever been onstage. With stellar production (including visuals by famed photographer and video director Anton Corbijn) and support from a solid backing band, Depeche Mode are almost certain to deliver the transcendent experience their fans expect. The Global Spirit Tour is aptly named, and Gore and Gahan hold nothing back, complementing each other in the kind of caustic yet comfortable way that only the most iconic duos do.
"Sometimes a band needs to have a bit of friction. ... The best stuff sometimes comes out of this need to be heard," Gahan explains. "Creatively we're old enough to realize that we respect each other's differences, and we know that we need each other. That's what Depeche Mode is. It's a weirdness between the two of us."
Pages: [1] 2 3 ... 10