Welcome Guest [Log In] [Register]
Welcome to Devotional. A UK based Depeche Mode forum. We hope you enjoy your visit.


You're currently viewing our forum as a guest. This means you are limited to certain areas of the board and there are some features you can't use. If you join our community, you'll be able to access member-only sections, and use many member-only features such as customizing your profile, sending personal messages, and voting in polls. Registration is simple, fast, and completely free.


Join our community!


If you're already a member please log in to your account to access all of our features:

Username:   Password:
Add Reply
Dave's Solo Stuff; Hourglass, Paper Monsters talk
Topic Started: Jun 7 2012, 07:00 PM (281 Views)
Delboy
Member Avatar
Administrator
[ * ]
All in here :D
Offline Profile Quote Post Goto Top
 
MLG
Member Avatar
Fan
[ * ]
Paper Monsters - one or two good moments. Kingdom is kinda meh though.
Offline Profile Quote Post Goto Top
 
Delboy
Member Avatar
Administrator
[ * ]
I actually liked Kingdom :)
Offline Profile Quote Post Goto Top
 
Delboy
Member Avatar
Administrator
[ * ]
http://t.co/28zI1O23

New York City and rock stars were made for each other. Depeche Mode's Dave Gahan has many good reasons to settle in NYC.

Wherever in the world these musical success stories – and we’re talking the multi-multi-multi-multi platinum variety here – come from, NYC still has the power to go from tour stop to adopted hometown for waves of them.
Rock stars move to NYC not to stand out, but to get swallowed up among the teeming millions. But they also continue to create — and with the well-deserved financial windfall that often comes with recording global smash hits, they can take personalized approaches to their creative spaces.

Today’s case in point: Dave Gahan, whose unmistakable voice has been central to the sound of Depeche Mode since that landmark band bowed in 1980. A group with an unmatched ability to produce timeless electronic dance music, Depeche Mode’s shockingly original songs are permeated with intellectual depth, elegance, and artistic devotion.
Little wonder this is one of the most successful bands of all time. They can claim over 100 million in record sales, and their members have collectively faced 30 million audience members in concert – thanks to a parade of huge hit singles including “Enjoy the Silence”, “Just Can’t Get Enough,” and “People are People”.

The band’s 13th album is on the way now, due for release coincident with a tour in 2013. And expectations will be high. Dave Gahan, Martin Gore, and Andy Fletcher earned a GRAMMY nomination for their last album, 2009’s Sounds of the Universe. While his Depeche Mode bandmates transfix with their musicianship on that engrossing record, Gahan’s voice comes through with increased agility – wiser while still somehow sounding younger and more athletic.

Even more recently, Gahan got a turn as lead vocalist for the famed production duo of Rich Machin and Ian Glover AKA Soulsavers. Their just-released collaboration, The Light the Dead See hears Gahan’s vocals grow even more cinematic in scope, in emotionally massive songs like “Gone Too Far” and “Bitterman”. The thought that Gahan could come completely uncaged on the next Depeche Mode album is tantalizing.

Personal Studio, Personal Choice

Gahan has acquired a beautiful vehicle for getting there via his innovative private studio here in New York City. Built into a residential apartment separate from his own home, Studio Blanco has been constructed with a clear mission: capture one of modern music’s most iconic voices.

Kurt Uenala engineers all at Blanco Studio. (all studio photos in article by David Weiss)
The pilot flying this plane is Kurt Uenala. A Swiss-born engineer/producer with sharp engineering skills, deep production experience, programming and songwriting abilities, and an amiable personality, Uenala is a versatile presence at Studio Blanco, helping Gahan to get where he wants to go – as quickly and easily as possible.

Even though Gahan can – and does – make ample use of NYC’s world-class suite of commercial recording studios, Uenala points out that a personal facility is essential for an artist on this level to write, demo new tracks, and also record final vocals – as was done here for many of the Soulsavers and upcoming Depeche Mode songs.

“Money is not necessarily a big issue with successful bands, but still at $2500 a day in a commercial studio, you can’t be as experimental as you can be at home,” he says. “You can work at a personal studio any day and any time, and that can be a big part of the creative process. The mindset becomes, ‘We arranged and finished a song a certain way, but can redo it from scratch if we feel like exploring further.’

“The end result is better than a big room with all of the drama gear. We can book a studio like that for a month, but when that time is up, Beyonce is coming in – so you have to go. At that point money doesn’t help: It’s booked. Not having a deadline is wonderful, and so is knowing the room in and out.”

“The room”, in this case, is a personal studio operating on a high very level. The obvious centerpiece of the sun-kissed residential space is a space-age white hut which occupies a large portion of the main living room, without engulfing it – plenty of space remains in the room and the rest of the apartment to provide headroom for writing and relaxing.
The acoustically isolated structure is made by the Barcelona-based company Studio Bricks. A “self-assembly cabin system” that can be constructed by one person in a short amount of time with minimal tools, Studio Bricks are acoustic solutions made specifically with artists, engineers and producers in mind.

According to Uenala, Studio Blanco’s big white box represents the first Studio Bricks deployment in the US. “They’re modules that are really Legos – they snap into each other, but they’re made of sandwich wood and rubber,” he notes. “It’s been here since September, and it really works sonically and in terms of providing acoustic isolation. It reigns in the sound not just of the vocals being recorded, but also of productions and mixes – we have to be able to turn it up.

“I’ve got to admit that first and foremost I fell for the look – it’s beautiful. This is a very beautiful apartment, and whatever we do has to look good. That was maybe more my prerequisite, because I thought it would be really sad to put a carpeted wooden room in here.”

The acoustically isloated Studio Bricks structure keeps Blanco Studios in harmony with the neighbors. (Click to enlarge)
Inside the Studio Bricks structure — which also stands as one of the largest ever designed — are Vicoustics foam and wood treatments that can be easily mounted and moved around. “The wooden panels are like variable acoustics,” Uenala explains. “Using foam only is a little too dead for vocals, but its cool for disco drums. When you add wood, there’s a little bit of reflection that sounds natural.

“We didn’t think this solution would work for final vocal tracking, but it turned out that it is. In this day and age, with the gear you don’t need a huge room to do vocals, guitars or synths. There’s even an isolation box – a speaker cabinet in a flight case – so if we ever send something through amps we can mic it, but its not going to bother the neighbors. We have everything we need right here.”
How to Capture a Master Vocalist

Uenala left his native Aadorf, Switzerland to attend the Berklee College of Music, then finally landed in NYC in the year 2000. His production and remix credits have expanded nicely in that time, with the likes of Erasure, Moby, the Raveonettes, Yelle, Nellie McKay and Soulsavers in his portfolio, along with his Kap10kurt electronic solo project.
He got the chance to work on a demo session for Dave Gahan a few years ago, and the two have been a steady recording team ever since. “I work pretty quickly,” says Uenala. “He takes risks as a singer, and we do a lot of takes. I comp it later, and the beautiful thing is that he trusts me enough to not be breathing down my neck when comping. He knows I edit for emotional content and performance, rather than perfection – I’d rather hear a squeak than perfect pitch because it’s vulnerable. I listen for the struggle and suffering, which of course fits Depeche Mode’s music.

“When I’m recording David, I’m trying to capture his personality, mainly. He’s like an actor. He really goes for it: His arms are in the air, and he has to take jewelry off because it’s too loud. There’s this untamable energy, with his voice breaking up. I really want to not lose those things when he performs.”

Producer Ben Hillier (Blur, Doves) remains in the fold for the 13th album after helming Depeche Mode’s Playing the Angel (2005) and Sounds of the Universe. The vocal tracks that Uenala has been recording are captured via a signal path that often consists of a Shure SM7 going through a BAE 1073. However, by recommendation of Hillier, a recently acquired LaChapell Audio mic preamp may start to get the lion’s share of the takes.

“The LaChapell with the SM7 is beautiful,” Uenala says. “It sounds really warm, like there’s a compressor on it already. It’s very buttery. You can abuse it more, but it’s very forgiving. Dave is very dynamic, he works a lot with mic technique – getting away and coming closer – but with this mic pre we don’t have to do that as much.”
Into the Matrix

The hub of operations in Gahan’s surprisingly comfortable and spacious sonic shelter is an SSL Matrix, a SuperAnalogue 16-channel, 40-input mixing console that features a built-in signal router and multi-layer digital workstation control. Similarly, Gore and Hillier are both working on SSL Matrixes, helping to achieve maximum workflow efficiency as the next Depeche Mode album is made.
“The Matrix is a great controller for Pro Tools and Logic,” observes Uenala. “I really love the monitoring section, because I do a lot of A-Bing, and it’s very easy to switch back and forth between different tracks. We’re monitoring through it, and we’re summing through it, and now that we’re working in 96 kHz I can see that it makes a big difference: The stereo image is so much more wide and majestic.

All Blanco signal flows through the SSL Matrix.

“I think the combination of recording in 96 kHz and always going through the Matrix – and not just summing in Channel 1 and 2 – really makes a difference. I also really like the Matrix Remote, which is like a virtual patch bay because it makes your hardware work like plugins. Everything is really logical in the way that it’s set up.”


Supplementing the SSL is a short list of preamps, dynamic, and effects. At Studio Blanco, vintage outboard is eschewed in favor of newer boxes such as the RV-1 Real Spring Reverb from Demeter Laboratories. “It sounds old and melancholic — everything you put through it will have a sad, dark flavor,” Uenala says. “I use it on vocals, and I send drum machines to it as well. When you flip the phase it gets really wide. It’s a really nice unit.”

A find in the effects selection is an Alesis Bitrman distortion box, a relatively inexpensive piece which Uenala discovered had a most surprising effect on his signal. “The Bitman has compression, bit/sample reduction and phase, but for some reason it also alters the stereo field nicely. It’s very strange. It makes a very nice, grungey sound, with some unexpected side effects.”
While a number of Uenala’s beloved analog pieces are currently shipped to a studio in LA or in repair, the bass of his Roland SH101 is within reach. And for drum programming, Uenala has found himself gravitating more and more frequently to the Native Instruments Maschine. “Maschine is very intuitive,” he says. “If you want to tune it down there’s no submenu, you just turn down the pitch knob. It’s very rewarding in that way, like a Jupiter synth. I love that.”

Throughout 2011’s process of equipping and building Gahan’s studio, Uenala worked closely with Alto Music NYC’s Shane Koss. In addition to building the Studio Bricks structure with the help of producer Jim Keller, Koss consulted on all phases of Studio Blanco’s creation. “To be able to go and turn the gear up in the privacy of a place like Alto NYC, and sit with someone who knows the equipment is a dream,” Uenala says.


Arguably THE classic voice of electronic music, Dave Gahan may actually only now be hitting his stride, even after three+ decades of honing his art. Like so many before him, his chosen locale to raise his game is NYC – a city hosting a sophisticated group of elite home studios, which now counts Blanco among its number.

Blessed with sunlight and creature comforts, and blissfully free of the ticking clocks or short deadlines that can swallow up a song, David Gahan’s Studio Blanco is a well-earned creative oasis. And for the fortunate engineer, programmer and songwriter working at Gahan’s side, being in on the making of Depeche Mode’s next record is a nonstop learning experience.
“It’s great seeing how Ben Hillier and his engineer, Ferg Peterkin, work,” Kurt Uenala says. “Both of them have a raw attitude to gear and to music – they’re into overdriving things, and they’re not very cautious. Usually when it comes to equipment, people say, ‘It’s very expensive. It’s in the red. Be careful!’ But not in Ben and Ferg’s case. They don’t look: They just listen.”
 – David Weiss
Edited by Delboy, Jul 3 2012, 10:54 AM.
Offline Profile Quote Post Goto Top
 
MLG
Member Avatar
Fan
[ * ]
Good article!
Offline Profile Quote Post Goto Top
 
MLG
Member Avatar
Fan
[ * ]
Soulsavers with David Gahan "Take Me Back Home" music video… http://t.co/bIxHJYHZ
Offline Profile Quote Post Goto Top
 
Modegirl
Member Avatar
Fan
[ * ]
That music video is really good :)
Offline Profile Quote Post Goto Top
 
Delboy
Member Avatar
Administrator
[ * ]
http://t.co/J53MMcmz

Depeche Mode** frontman Dave Gahan recently did some moonlighting as the singer on the new Soulsavers album The Light The Dead See. And last night in L.A. at the famed studios of the Capitol Records building, the collaborators came together on the stage for a stunning seven-song set.

Backed by a six-piece band, Gahan and Soulsavers brought to life the full drama of the haunting new album. Opening with the gorgeous gothic tune "Presence Of God," a track that marries the sounds of Johnny Cash and Nick Cave, the group delivered one standout after another for a crowd of at most 150 people.

After the orchestral swirl of "In The Morning," Gahan said, "I've never been this close to people." This was likely true for a guy who's spent the last three decades in arenas and stadiums. And following the forty-five minute set, Gahan and Soulsavers' Rich Machin were overheard walking through the crowd talking about the sensation of playing at "eye level" for people.

It may have been unusual for them, but the performance was only enhanced by the intimacy. Among the other standouts were the simple ditty "Just Try," a song Gahan introduced as "the fun one," and the album's lead single, "Take Me Back Home," which took on a gospel feel with the back-up vocalists doing a call and response to Gahan's soulful wails of desperation.

Following the closing "Gone Too Far," Gahan said, "Thank you, that's all we've got," which wasn't an exaggeration. As of now, this was the only U.S. show scheduled for the group. After the set, Depeche Mode manager Jonathan Kessler explained that Gahan is now fully immersed in his day job. He is recording the new Depeche album in Santa Barbara, California, where Martin Gore resides, for an April 2013 release with a full world tour to follow, according to Kessler.

Further one-offs like this show are possible, however. This was an opportunity to see how the material worked live, Kessler said. Fans will get a chance to judge for themselves as the full set was recorded and Kessler said it will come out in some capacity "quickly," likely going to TV shows that are interested or to the web.

Hopefully other dates will pop up. Given how beautifully the album worked live, it would be a shame for this to be the only appearance of Soulsavers and Gahan together on stage.

Offline Profile Quote Post Goto Top
 
Delboy
Member Avatar
Administrator
[ * ]
http://bit.ly/LIc8vL

DIY interview with Dave, fairly standard stuff with a little on DM.



Offline Profile Quote Post Goto Top
 
Delboy
Member Avatar
Administrator
[ * ]
http://www.spinner.com/2012/07/24/soulsavers-dave-gahan-interview/

Dave Gahan didn't write Depeche Mode's best songs -- those irresistible '80s and '90s odes to strange love, tortured faith, shackling guilt and kinky sex -- but that's OK. He's probably lived them, and he's certainly the man to present them.

Like some kind of synth-pop Johnny Cash, Gahan has battled drug addiction, attempted suicide and survived a couple of serious illnesses. Come what may, "The Cat," as he's called, lands on his feet, ever ready to slick back his hair, throw on a black leather vest and sing bandmate Martin Gore's lyrics like a lounge lizard from hell.

With 2003's Paper Monsters, Gahan finally made the jump from mouthpiece to songwriter, and four years later, he returned with a second solo album, Hourglass. Now comes The Light the Dead See, a collaboration with the British duo Soulsavers, who opened for the Mode on their last stadium tour.

Working long distance, via email, Gahan put words and melodies to multi-instrumentalist Rich Machin's music, arriving at songs via a process he'd never tried before.

"I was never in a room with Rich, but there was something about it that, for me, was way more personal than the other two," Gahan tells Spinner from Los Angeles, where he and Gore are hard at work on Depeche Mode's next album.

"It was almost like I was writing with my shadow, or with my conscious, and struggling with trying to get the truth out of who this person was I'm trying to explain in the songs, the person I'm talking about," he adds. "Whatever that is, a love entity, something I feel is inside of me I haven't fully discovered yet, at first, it seemed to me was outside of myself. Very quickly, after four or five songs, I realized I was trying to discover something about myself and reveal it and notice it and write from that place."

In other words, you can take the man out of DM, but you can't take the DM out of the man. Thematically, The Light the Dead See follows in the grand tradition of Violator and Songs of Faith and Devotion -- sensual, gospel-inspired Mode albums that spoke to Machin in his youth.

Machin says he and Gahan began writing together without any preliminary conversations or preconceived notions. If he and his Soulsavers partner, Ian Glover, were hoping for songs like "Presence of God," which sounds like something Gore would have written for Gahan back in the day, they certainly didn't ask for them.

"Without trying to guide somebody, you still have hopes and expectations of what they're going to come to the table with, and Dave not only met my expectations and hopes; he exceeded them," Machin says from his home in England. "I didn't feel like I had to guide him to that thing."

"I honestly wrote what came naturally into my head," Gahan says. "It's weird -- the gospel aspect of it really spoke to me somehow. I don't know if that was my upbringing, being forced to go to church. The only part I enjoyed about that, by the way, was singing. I enjoyed singing in the church. I always enjoyed performing, and the imagery as well. I liked all the icons and stuff like that. But most of the Catholicism basically terrified me, to be quite honest."

Gahan's boyhood musical education also included whatever records his stepfather, a saxophonist and clarinetist, played around the house. Looking back, he sees how some of those sounds might have affected the music he now finds himself listening to -- and making.

"I'd sit at the bottom of the stairs and listen to him, and he'd be playing jazz and big-band records," Gahan says. "So that big, lush sound I grew up listening to, and somehow I respond to it."

For Machin and Glover to produce the kinds of stately, somber backings heard on The Light the Dead See, they had to break with more minimal electronic style they'd favored on their past albums, two of which featured lead vocals from Mark Lanegan. The Light the Dead See is thick with with organ, acoustic guitar and strings -- instrumentation suited to, but not written expressly for, Gahan's earthy baritone.

"If I'm totally honest with people, it sounds like where I've always been going anyway," Machin says. "On each record, I hear the stuff I couldn't do on the last record. One of the main influences on me has always been [Italian composer Ennio] Moriccone-esque, big orchestral string sound. It's taken us to this point to really be able to realize that."

Ruminating over Machin's chord changes and guitar lines -- the basic ingredients he had to work with in his New York City home studio -- Gahan underook some serious soul-searching, contrasting the man he is with the man he wants to be.

"I'd like to be a better husband and a better father, but I know I fall short in lots of things," Gahan says, identifying one of the album's central themes. "Other people might say, 'You're too critical of yourself, but I know I can do better, and it bothers me. To be able to write about it and put it into melodies and songs was very liberating to me."

Machin and Gahan have continued writing together, and both say they'd like to see the partnership produce additional albums. Either way, the experience has affected the new music Depeche Mode is making, and as with the band's last two album, Playing the Angel (2005) and Sounds of the Universe (2009), the forthcoming set will feature material written by Gahan.

"It definitely freed me up to feel much more engaged in what I was trying to do with songs at this point in my life," Gahan says.

Gahan has even co-written one song with Gore, marking a first in Depeche Mode's 32-year history. At first, he didn't even realize it was happening, as Gore simply showed up in the studio with an unfinished piece he wanted to play everyone.

"He motioned toward me, 'What do you think?' and I was like, 'It's cool,'" Gahan recalls. "Ben [Hillier], who's producing the record, said, 'I think Martin was trying to see if you're interested in writing anything to that.'"

"I just let it absorb into me for a few days," Gahan says of the track, which he describes as more "abstract" and "electronic" -- and therefore more difficult to get a handle on -- than what he'd get from Machin. "I came up with something and recorded it, and Martin seemed very happy."

In addition to that work-in-progress, Depeche Mode has recorded about 15 songs for the next album, which Gahan says will be more "in your face" and less fussed over than Sounds of the Universe. Presumably, it'll be a reflection of both him and Gore -- two guys who, by Gahan's admission, aren't great friends but continue to pool their collective talents and beings into songs that resonate with the masses.

"It's strange, the relationship we have together," Gahan says. "I think Martin and I both realize it's beyond what we do individually, or even collectively, because it's become something that involves all the people that listen to the music."

Offline Profile Quote Post Goto Top
 
1 user reading this topic (1 Guest and 0 Anonymous)
« Previous Topic · Side Projects · Next Topic »
Add Reply