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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'

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."
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'

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.
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)

Null + Void: Where I Wait feat. Dave Gahan

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.
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,_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.”
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

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.
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

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

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."
Archives / Re: 2017: Null + Void - song featuring Dave Gahan
« Last post by Angelinda on 10 October 2017 - 23:07:55 »
2017-10-10 - HFN Music (UK) - Music Video Preview

Just three more days to go...
Null + Void ft. Dave Gahan: 'Where I Wait' taken from the album Cryosleep | Pre-order:
Directed by Timothy Saccenti.
Archives / Re: 2017: Spirit and Global Spirit Tour
« Last post by Angelinda on 10 October 2017 - 22:42:03 »
2017-10-06 - CBS 8 (US) - News

San Diego: Stepping up concert security after Vegas massacre
There was an increase in security Friday night as thousands of Depeche Mode fans attended the band's concert in Chula Vista.
News 8's Eric Kahnert spoke to concert-goers and police about the event in this report.
Archives / Re: 2017: Spirit and Global Spirit Tour
« Last post by Angelinda on 10 October 2017 - 22:37:19 »
2017-10-06 - Depeche Mode - Cover Me (Behind the Song)

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