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Home - Emerson Paiva (Cover)


Emerson é membro da Banda Violators, uma das melhores se não a melhor banda cover que já ouvi do Depeche Mode, no ano passado tivemos um encontro entre alguns fãs do Depeche Mode no Rio de Janeiro, e a banda Violators fez uma espécie e pocket show, uma brincadeira entre amigos, e capturei com minha câmera digital o áudio, não esta muito bom devido a captura mas da para perceber que os rapazes tem muito talento, o áudio pode ser ouvido aqui: http://luisfernandodm.blogspot.com.br/2011/04/violators_11.html 

Entrevista David Gahan para Bilboard



Dave Gahan would love to be on the road with Soulsavers, the British production duo with whom he's just-released the album "The Light the Dead See." But there's the matter of this other band that he's in...

Gahan is currently ensconced in New York with bandmates Martin Gore and Andy Fletcher, working on Depeche Mode's next album there after doing "a chunk of work as well out in California." Gahan tells Billboard.com that the group is "maybe a quarter of a way into working up a record" to follow 2009's "Sounds of the Universe," with Ben Hillier producing and Christoffer Berg (The Knife, Fever Ray) assisting.

Martin Gore Talks VCMG, New Depeche Mode

"We've got more songs than we've ever had to work on at this stage," Gahan says. "Martin's been very prolific, written some great songs. I've got a bunch of tunes as well that we're working on that are really starting to develop into something cool. I'm excited about where this one's going; I think it's going to be a more direct record, a punchier record. That's all I can say at this point; with Depeche Mode, anything can change through the course of making a record."

That, of course, means a timetable is irrelevant. "It's a long process," Gahan acknowledges. "We're probably not finished til the end of the year, and we're talking about touring next year. But right now it's like a science lab here. We're working in two rooms at the moment, just full of electronics and guitars and everybody's getting very creative. It's like a laboratory."

Working with Soulsavers, however, was equally fulfilling for Gahan. He initially met the duo -- which had previously used guest vocalist such as Mark Lanegan, Gibby Haynes, Mike Patton, Jason Pierce and others -- through a mutual friend, bassist Martyn LeNoble, and then became friendly with Rich Machin and Ian Glover when Soulsavers opened for Depeche Mode during its last tour. "Rich and I got to talking about the writing process and how we wrote, and we realized it wasn't that different from each other," Gahan recalls. "He said, 'Can I send you some ideas, maybe, and see if we have something going on...I didn't think anything would come of it, but he did indeed send me something and I immediately felt inspired by it."

It took about a year, however, for Gahan, Machin and Glover to pull the trigger on a full-scale project. "There was no real plan," Machin notes. "It worked so easily and so quickly that we probably had five or six songs, half the record before we even had that conversation -- 'What the f*** are we actually doing here? Are we actually making a record? Well, I guess we are.' There was a very instant kind of chemistry, which is pretty rare. It would have been almost rude not to continue."

With Gahan reimmersed in Depeche Mode and Soulsavers moving on to a film soundtrack, live dates to support "The Light the Dead See" seem unlikely. But both parties intend to continue the Gahan-Soulsavers tandem; Machin, in fact, reports that "we've already started writing a couple of songs...that could possibly be the best stuff we've done yet. I'm sure there will at least be a second record," and Gahan is certainly on board with that.

"I don't want to jinx it, because it really came along in a really unplanned way," he says with a laugh. "We're looking a couple of years down the line here, but I am absolutely open to the idea that I think there's going to be a lot more stuff that we do together. It was so good it would be a shame to stop at just this one thing."

Crédito: Bilboard

Martin Gore live in Cologne E-Werk 24.04.2003 - Full Concert


Best British Album of the Last 60 Years



A revista NME divulgou o resultado da votação on-line HMV (distribuidora de audio e vídeo britânica) para eleger melhores álbuns de artistas britânicos nos últimos 60 anos, e mais uma vez o Depeche Mode confirma sua genialidade ficando na frente de nomes consagrados com Beatles, Pink Floyd, Queen, Smiths e Oassis:

Os 10 Melhores Álbuns britânicos dos últimos 60 anos, foram os seguintes:

1. Iron Maiden – 'The Number Of The Beast'
2. Depeche Mode – 'Violator'
3. The Beatles – 'Sergeant Pepper's Lonely Hearts Club Band'?
4. The Beatles – 'Abbey Road'
5. Pink Floyd – 'The Dark Side Of The Moon'
6. The Beatles – 'Revolver'?
7. Queen - 'A Night At The Opera'
8. Oasis – '(What’s the Story) Morning Glory?'
9. Adele - 21' 
10. The Beatles – 'White Album'

Fora do Top 10, The Clash estão colocados em número de 13 com 'London Calling', com David Bowie, "The Rise and Fall Of Ziggy Stardust And The Spiders From Mars" no número 14 e O 'Smiths' The Queen Is Dead 'no número de 15.

Radiohead 'OK Computer' é 17, com um esforço auto-intitulado do Black Sabbath no número 16. The Who, Sex Pistols, Blur, Stone Roses, The Cure, Joy Division, Arctic Monkeys, Pulp e The Rolling Stones não conseguiram ficar no Top 20.

Com Estilo - Russos Comemoram o Aniversário de Dave Gahan

Crédito: Maria

Martin em Estúdio


Estúdio em New York

O twitter oficial do Depeche Mode publicou uma foto com a vista do estúdio em que estão trabalhando em NY:



Martin Gore - Doogle Moog


Até nosso mago maior brincou hoje com o Doogle da Google em homenagem a Robert Moog.


The Light The Dead See - Soulsavers Interview


Crédito: Maria

Dave Gahan Talks About 'The Light the Dead See'


Crédito: Maria

Thank You Robert Moog



Robert Moog é homenageado por Doodle do Google, nesta quarta-feira (23/05), os 78 anos do nascimento de Robert Moog com um Doodle animado. O pai do sintetizador, Moog fundou a empresa Moog Music Inc. com o objetivo de produzir sintetizadores utilizados por grandes artistas.

Na realidade o sintetizador foi criado em 1955 pela RCA (Radio Corporation of America). Apesar de ter ganho o Prêmio Nobel nesse ano, este sintetizador era um instrumento que somente podia ser operado por técnicos.
Engenheiros especializados precisavam de horas para criar algum som útil.

Conhecido como RCA MkII, tinha mais de 2 metros de altura e 5 metros de comprimento. Custava U$ 175.000,00.
Os poucos músicos capazes de operá-lo eram obrigados a revezar-se em turnos e fazer uma reserva no estúdio da Universidade de Columbia/Princeton  em Nova York.  
Robert Moog, por ser músico (teve aulas de piano por 12 anos), além de engenheiro e físico, teve um approach diferente, desenvolvendo um instrumento mais acessível e orientado para músicos, e não para técnicos. Foi com a sua invenção que o sintetizador começou a se popularizar. Por esse motivo ele é considerado o "Pai do Sintetizador".
Em 1962, Robert Moog apresentou o seu sintetizador. Seu primeiro comprador foi Alwin Nikolais, um famoso coreógrafo. Seu segundo foi Eric Siday, um compositor de comerciais (jingles).  Havia dinheiro o bastante para manter-se no negócio, mas não existiam muitos compradores, de fato só se ouvia sons de sintetizador em jingles.  Moog procurou encontrar-se com o maior numero de músicos que podia para divulgar o sintetizador.  Dentre eles conheceu Wendy Carlos, que com o álbum "Switched-On Bach" divulgou o instrumento para o mundo.  Carlos chegou a colaborar com Robert Moog no aperfeiçoamento do instrumento. 
Após algum tempo, Bob Moog deixou de trabalhar na empresa que tinha o seu nome (Moog Music). Fundou a  "Big Briar", onde passou produziu dispositivos para seus antigos instrumentos e theremins (theremin é um instrumento musical eletrônico que é executado movendo-se as mãos perto de uma antena - muito usado em filmes de ficção científica e horror).
Nesta época, talvez por ser um cientista, e não um  negociador, vendeu os direitos do seu nome e criação, ironicamente perdendo o direito de usar seu próprio nome.
No final dos anos 90 voltou à mídia, em comemoração dos 30 anos do sintetizador Moog, juntamente com o músico Keith Emerson.


Jantar Depeche Mode Roots


Ontem a noite Dave, Martin, Vince e Andy jantaram juntos, eu fico muito feliz ao ver esta foto por que sou um grande fã do Vince, o maior hitmaker de todos os tempos, e não esqueçam um dos fundadores do Depeche Mode.
PS: E com minha cerveja preferida...hehehee

Dave Gahan on 'The Light the Dead See'




Pop & Wave – Depeche Mode Especial – Inferno Club


Uma noite Pop & Wave, com um especial do Depeche Mode, preciso dizer mais ???
As portas do Inferno Club, abriram beirando a Meia-Noite...
A casa estava cheia, muitos Devotos de SP, e veio gente de fora, fiquei sabendo de pessoas de Guarulhos, Sorocaba, Campinas, Rio Claro. (com certeza, deve ter ido gente de outras cidades também...)
Alê Garanci e Rodrigo Cyber, abriram o “Dj Set” – tocando o melhor dos 80’s : rolou The B-52’s, Blondie, Echo & Bunnymen, The Cure, Joy Division, Siouxsie, enfim, somente músicas clássicas.
A partir das 2 hs da manhã, Jadir Lee e eu, começamos o especial do DM, tudo programado prá ser um set de meia hora cada um, mudamos tudo, o que fazia os dois procurarem por músicas, em cima da sua execução, e nada mais estava programado !!! (rs... foi legal, e daí, enquanto um executava uma música, o outro ia procurando o que tocar, NA HORA !!!)
No telão, um vídeo com fotos bem bacanas e raras do Depeche Mode e do Dave Gahan, enquanto tocávamos : Just Can’t Get Enough, Strangelove, World In My Eyes, It’s No Good, John The Revelator, Personal Jesus (Stargate Mix), Precious, Dangerous, Behind The Wheel, Enjoy The Silence, Never Let Me Down Again (com direito a performance dos braços, dos dois dj’s.... rs...), Everything Counts, entre outras…
Lembrando que, várias músicas foram feitas versões re-editadas exclusivas para a festa !!!
(como mudamos tudo, não consigo lembrar a ordem, nem todas as faixas executadas...)
Após o especial, Márcio Vaez entrou em ação, e tocou mais músicas 80’s, dando uma geral também pelo Gothic 80’s...
Perto das 4 hs, o Márcio pegou os dois cd´s que deixei com ele, e voltou a fazer outro “Especial DM”... tocando alguns hits novamente, e dessa vez, executou algumas que ficaram de fora do Dj Set original, entre elas : Kingdom (Dave Gahan), New Dress, Higher Love, Lílian, Suffer Well, Personal Jesus (Pump Mix Edit)...
 Fiquei acompanhando um pouco, mas precisava voltar prá casa.... (afinal, ainda tinha uma viagem de mais de duas horas, até poder descansar... rs...)
Saí de lá, por volta das 4:35 hs... e sei que o Rodrigo Cyber, ainda iria voltar a tocar...
Quero deixar meus agradecimentos a todo o pessoal que estava presente no “Inferno Club”, foi uma grande festa...
 Inclusive, agradecer “a acolhida e a ótima receptividade de todos, todas as pessoas ligadas ao Inferno Club, desde a recepção, dj’s, técnicos de som e vídeo, bar, caixas, seguranças, que trabalharam e receberam muito bem a gente. Fazendo com que eu me sentisse em casa, como se fosse uma festa particular...
Parabéns ao Inferno Club, parabéns ao Márcio/Pop & Wave...
Valeu Jadir, Márcio, Rodrigo e Alê pela oportunidade de dividir com vocês essa noite tão especial.
Agradeço ao José Salomão (Laser Express), Lê (Xtreme Informática), Cris (Mult Laser) e Cássio Racosta  - que contribuíram direta e indiretamente, no sucesso desse “Especial DM”...
          “See You Next Time”...

Crédito: Jean Campagner 

Happy Birthday Anton!

Hoje esta de aniversário o gênio das imagens e responsável por muitos visuais e clips do Depeche Mode, além da direção de dvds. Seu trabalho deu identidade e sofisticação em inúmeras oportunidades ao trabalho do Depeche Mode.
Anton Corbijn com certeza é parte fundamental do Depeche Mode.


Andy Fletcher: Chelsea Winner Champions League!!


Segunda Sessão de Gravações Iniciada

Hoje o webmaster do Depeche Mode, Peter Too postou em seu twitter que a segunda sessão de gravações do novo álbum foi iniciada, desta vez em New York.

Crédito: Maria

Soulsavers - Letras



IN THE MORNING


The leaves are falling
It’s in your nature
I’m counting all the sticks left on the ground
Early this morning
When I tried to wake ya
You wasn’t making any kind of sound


Why can’t you hear me?
Why don't you feel me?
Was there a message
That I’m not getting?
Do you think that I am lost or am I found
Just after midnight
When I woke up sweating
I was dreaming you were right here with me now


No
Why can’t you hear me?
Why don’t you heal me?
I am lost
I am lost here
I’m lost in hell


So I am nothing
If I’m not with you
In the morning we’ll forget this night somehow


PRESENCE OF GOD


I can feel the presence of god
Occupying my intentions
In my soul within my thoughts
And in wasted dreary dimensions


These thoughts torment me
They mold and shape me
There’s a man that I should be
Or someone I could be
Nothing can break me
Nothing that I see
You can’t shake me
You can’t take me
So set me free


I can feel the presence of god
In need of my attention
In this room and in your words
In too many ways to mention


These thoughts torment me
They mold and shape me
There’s a man that I should be
Or someone I could be
Nothing can break me
Nothing that I see
You can’t shake me
You can’t take me
So set me free


I can feel the presence of love
Holding my attention


She torments me
Creates and shapes me
There’s a man that I should be
Or someone I could be
Nothing can break me
Nothing that I see
You can’t shake me
You can’t take me
So set me free


JUST TRY


You came to me with open arms
To take away my fears
I took you in and you stayed awhile
Live with me right here


You told me to believe in something
Something that’s true
Like the mountains and the deep blue oceans
So much bigger than you


He said, just try
Come on, just try
Lord, just try
Just try, just try


I offered you a place to stay
Somewhere to rest your head
Lord knows, I need you here
There was something you said


You’ll have to believe in something
Something bigger than you
Like the great wide open spaces
There’s religions too


He said, just try
Come on, just try
Lord, just try
Just try, just try


It gave me more than I deserve
It gave me peace
It gave me everything I love in this world
And now I have to sleep
Just let me sleep
I have to sleep     


GONE TOO FAR


I watched you rising
I watched you sleep
I knew you would, just like me
Intoxicated
Oh struggling to breathe
I heard you whimpering
In the back room
Gone too far
Too far too soon


I guess it’s your time here
That time for you
When it all comes crashing down on you
Yes, I’ve been praying
Oh, so what else am I supposed to do?
I heard you whispering
In the back room
You’ve gone too far, too far too soon


You made that mistake now
They were coming for you
You’ve gone too far
Too far too soon


Now you feel nothing
Life can be cruel
That night I saw you
You passed by my room
I hope you make peace with the man in the moon (???)


TAKE ME BACK HOME


The first time you gave me freedom
For the first time I felt free
As long as you were right with me here
There’s nothing else that I would need


You take me back there
Take me back home, please
No, I can’t go in there
Just take me back home, home
Is where I wanna be


I was a fool before I met you
Only fools find it hard to believe
You just might be my only savior
If you are, then come and save me
If that’s true, come back and save me


You take me back there
Take me back home, please
No, I can’t go in there
Just take me back home, home
Is where I wanna be


Where all my stumbling misses
And all your wonderful kisses
That’s where I want to be
That’s just me


You take me back there
Take me back home, please
No, I can’t go in there
Just take me back home, home
Is where I wanna be


BITTERMAN


There’s no tomorrow
Only yesterday
I may have drunk too much
Now I’ll have to pay
So how far should I go
Oh that’s hard to say


Wild is the sky
That covers you
Long be the night
That comforts you
Dark is the day confronting you
And pushing you


There’s a face in the mirror
That I don’t understand
See the one that I wear is not who I am
I made up my mind
And I want to stay


Wild is the sky
That covers you
Long be the night
That comforts you
Dark is the day confronting you
And pushing you


You’re such a bitter man
Doing all that you can
In the name of fun
Just a bitter man
Taking all that you can
All for number one


There’s no confusion
Only black
No questions left to ask
Like, am I coming back?
I made up my mind
And I want to stay


You’re such a bitter man
Doing all that you can
In the name of fun
Just a bitter man
Taking all that you can
For the number one


You’re such a bitter man
Doing all that you can
All in the name of fun
Just a bitter man
Taking all that you can
All for number one


I CAN'T STAND


Even as you talk
I can’t understand a word
Lips they keep on moving
Telling tired tales that have all been heard


So many precious days
And all the parts you’ve played
You’ve looked so fine
All those days have gone
You tried to get along
Win (???) a heart not all the time


I can’t stay with you in me anymore
I feel like my time is running out
I know that much for sure


I can’t stay another day in here with you
I feel like my time is running out
I know that much for sure


Spend your days complaining
Doubt puts only in your head
Turning every page in your book of everything
You should have done instead


So many wasted days
And all the parts you’ve played
It’s the same old song
Well I guess it’s up to you
I wonder what you’ll do
Don’t take, don’t take too long


I can’t stay with you in here anymore
I feel like my time is running out
I know that much is true (for sure)


I can’t stay for another day in here with you
I feel like my time is running out
I know that much is true (for sure)


TAKE


Take, take all you can
From the life you’ve been given
And stop making plans
This world is all that you need
You just have to notice
Remember to breathe


There’s a price that you pay
With the games that you play with that devil
And you better be sure when you walk through that door before you meddle
Life is so short and you’re going to get caught being bought
And the choices you make and the demons you wake must be fought


Take, take all you can
From the life you’ve been given
And stop making plans


There’s a price that you pay
With the games you play with that devil
And you better be sure when you walk through that door before you meddle
The life is so short and you’re going to get caught being bought
And the choices you make and the demons you wake must be fought


TONIGHT


When you’re looking for salvation
Better take some time to get your story straight
Are you sure you’re ready for forgiveness
You might have left it kind of late


Tonight
No it’s never too late
Tonight
No it’s never too late


When you’re looking for salvation
In another person’s life
You better get yourself a witness
You might consider a wife
Tonight, tonight


So listen to what I’m saying
Don’t be listening to their fear
You gotta jump into the water sometimes
You gotta risk it all, my dear, my dear


‘Cause I can might be heading for some trouble
You keep listening to their lies
I know you have that nagging sickness sometimes
We can change it all tonight
Tonight, tonight    

Crédito: Maria
Fonte: DepecheMode.CZ

The Thirteenth Step: Soulsavers Interviewed


The opening track of The Light the Dead See - the new album by Soulsavers and guest vocalist Dave Gahan - is a brief instrumental introduction that feels like something out of an epic Spaghetti Western. It leads with a lonely, distorted, Morricone-esque guitar, and slowly builds in instrumental scope and intensity until you start to form a mental image of Gahan standing there, waiting silently for the showdown at high noon. It's passionate, and a bit sad, but there's a feeling of sheer resilience that sweeps like a current over the whole tune, as well as the rest of the album.

Gahan - who recently turned 50 - fits rather well into that role of defiance. After over 30 years and 12 albums with Depeche Mode (and a 13th forthcoming), as well as a career marked by artistic tension, drug addiction and several brushes with death, he's certainly had plenty to put into perspective. And after returning from a bout of gastroenteritis while on tour in 2009, which led to the surgical removal of a tumor and doubts from fans about his future, it's fair to say that Gahan has earned the right to be characterized as a resilient performer.

As with fellow DM member Martin Gore, who's said that his recent side project (VCMG, a partnership with ex-DM bandmate Vince Clarke) has injected new vigor into the rest of his work, Gahan seems to have gained a second wind of his own after teaming up with the eclectic production duo Soulsavers. The Light the Dead See, which will be released by Cooperative Music on May 21, represents a new direction of exploration for Gahan following two previous solo efforts - Paper Monsters in 2003 and Hourglass in 2007. It's more directly emotional, but it's also grander in scope, incorporating both shared influences and individual strengths throughout a powerful 12 tracks.

This is essentially nothing new for Soulsavers - comprised of Rich Machin and Ian Glover - who have worked with a cadre of high-profile guest singers over the past 10 years, including Mark Lanegan, Gibby Hanes and Jason Pierce. Their complex arrangements, which employ layers of unexpected instrumentation and a wide dynamic range, have allowed Soulsavers to adapt with success in each case, including the most recent effort. But The Light the Dead See may have had a new and different cathartic effect on Machin and Glover as well as on Gahan, given the apparent creative connection between them that's resulted from working on the album.

We had a chance to sit down with Gahan and Machin in a swanky hotel on the Lower East Side of Manhattan, and the artistic bond that's quickly developed between the two was palpable. Though they were coming from two very different environments (Gahan has lived in New York since 1997, while Machin was visiting from the UK), the two looked and spoke like good friends, rather than just as a couple of top-flight artists - this from a pair who just put together an album that will likely be a definitive moment in both of their careers. They looked comfortable. And, for Gahan at least, that feeling of freedom - that ability to just relax and express himself - seems to make all the difference.

Did the origins of this project have a lot to do with the time you spent together when Depeche Mode took Soulsavers on the European leg of 2009's Tour of the Universe?

Rich Machin: Yeah, I can't imagine the conversation taking place without that.

Dave Gahan: Right, we wouldn't have had that conversation. I mean, I'm a Soulsavers fan. I follow them, and Mark Lanegan, and I was introduced to Soulsavers' records by Mark initially. And then the opportunity came for their band to tour with my band.

Dave, was that partially your idea, just because you were already a fan?

Dave Gahan:  Yeah, but it actually came about in a strange way. We were talking about it earlier. Martyn LeNoble was playing bass, and he was saying: "You should take them on the road, they'd like to go", and I heard Rich in the background going "Yeah, we'll go on tour!" So that's how the idea was planted, and I was like: "Really? Well, if you're up for doing that then you'll be at the top of the list in my book."

And was there a sense of mutual fandom?

Rich Machin:  Yeah, with Depeche Mode there was a particular period that was very influential for me. Violator came out when I was like 14, and then I'd just started working on Saturdays in a record store when Songs of Faith and Devotion came out. And that period was the time in which my musical taste was really being shaped, and still to this day it's one of my favorite records. They were both records that shaped where I was going at that point in time, particularly Violator.

Back when you and Ian Glover started performing as Soulsavers, did you ever imagine something like this happening, or was it ever a goal for you?

Rich Machin: [Laughs] Maybe it's not to my benefit, but I've never had a goal. Unfortunately, that was always the case, and my teachers in school would always be critical of me for that reason. I've never had goals in life.

Dave Gahan: It's much more of an American thing [laughs].

But once the relationship was formed, was there anything resembling a goal that you wanted to accomplish with this particular project?

Rich Machin:  It was a very natural experience. We didn't set out to make a record when we first started working together, we just thought it would be cool to try some things out and see what happened. And what happened was something really good. As we got into it, I got a sense of that very quickly.

Dave Gahan: The fact that we didn't set out with a plan was probably a big reason why it worked, but also we were just feeling each other out. Rich came up with some stuff that just worked for me. Immediately. As soon as I got something, I would start writing. That's the kind of chemistry that you can't really create.

Martin Gore and Vince Clarke recently collaborated on their VCMG project, but Gore said that there wasn't really any personal contact during that process. What was the day-to-day process like for you two?

Dave Gahan: Well, knowing both of those guys, it was very different [laughs]. And I don't mean that in a negative way, and plus, theirs was an electronic project, all instruments. I've only heard a couple of things from it, but it's a completely different area I think.

It probably started out with Vince working on some stuff and he wanted some melodies, some input, or something from Martin, and reached out to him, and Martin wasn't particularly doing anything else at the time so he contributed. Martin's definitely become more open in that way. Over the past five or so years I've noticed a big change in Martin, where he's a lot more open to try different things that are not necessarily the path that he's already been taking. I was surprised by that, actually. But with Rich and me it was a totally different thing.

After recording your solo albums, you'd said that doing them was so fulfilling for you because you didn't have to follow the kind of rigidly planned work you were doing with Depeche Mode.

Dave Gahan: Which is necessary. It's necessary, especially with a band that's been together for a long time, and you have to create interesting environments to work in. So you never really know how it's going to turn out, but there are certain elements of it that are already in place, and there are habits that are very hard to break. So you have your roles. It was different with this.

And in terms of Soulsavers, it just seems interesting to me because, where I'd be asking someone else about how a side project frees them up before returning to the main band, with Soulasavers I wonder if it ever feels more like an ever-evolving side project, in that each record has new dynamics.

Rich Machin:  Well, that's what I need [laughs]. I need the excitement and change to keep me interested. It's such a time-consuming project that, for me to commit to making a record, I've got to be so into it, because it's just so draining. You have to give such a huge part of your life up to do it.

Dave Gahan:  And other areas of your life quite often suffer [laughs].

Rich Machin:  Before we did this record, I spent a whole load of time wrapped up in a court case, and it's just like, I didn't sign up for this. Nobody mentioned this, and all of a sudden I kind of fell into this record and everything else, and I was like: "Wow, this is why I do it." I don't even care about anything else, and this is just great.

Dave Gahan:  And I don't think I've written any better songs than these, or been part of any songs that have stretched me this far as a musician and as a vocalist. Every aspect of what I do, I took risks with, and, lyrically, I made the choice to follow my heart rather than my head.



One track on The Light the Dead See that really struck me was 'Presence of God', and the way in which it presents this deep sense of religious and spiritual imagery. Was there a shared passion between you two in terms of those concepts? Because, even though it's heavy, it's such a clear and simple song.

Dave Gahan:  Well it is very simple, and very straightforward, but at the same time it was the complexity of the music that inspired it. And the visual depth that I felt, the emotion that I took from the music, is what inspired it. The chords that Rich was playing just led me to those words. And sometimes when that happens you've just got to stay open to it, because that's what's coming in first. There's no rational reason why that's happening, but you just have to feel it and go, "Wow, what's this all about?"

Having said that, do you feel any change within yourself, as a songwriter who's characterized by a sense of spirituality in his writing?

Dave Gahan:  Yeah, definitely. What happened throughout the writing together was that there was another piece to the puzzle. And that was throughout the last year-and-a-half that we'd been writing together. There were moments when I would surprise myself, and I'd sit back and go: "This feels great!"

It's hard for me to acknowledge when I'm feeling good about something, because I'm worried it's going to disappear real quick [laughs], and one of things I feel I've always struggled the most with is just being here and being part of something, rather than trying to lead the way, or be the answer, or do the right thing. You know, saying the right thing to my wife when she's asking me a question [laughs]. That sounds simple, but, trust me, I can do a real number on myself.

In terms of that search for a feeling of spiritual satisfaction, when you guys came together, how would you characterize...

Dave Gahan:  I like that it makes you uncomfortable [laughs]. It makes me uncomfortable, too.

Spirituality makes people uncomfortable.

Dave Gahan:  Well when anybody talks about it, yeah, when you throw the word God around… and that's why I use that word.

Because it makes people uncomfortable?

Dave Gahan:  Well, not because it makes people uncomfortable but because it makes me uncomfortable. It makes me uncomfortable when I try to accept that there's something greater than myself. And I'm not saying that it's God, or whatever, but there are powers that be in this universe.

Rich, how would you characterize the powers that be in the universe?

Rich Machin:  You know, I don't know [laughs]. It's one of those things. I have an issue with people who can't see the line that divides religion and spirituality. It's a completely different. Just because you're spiritual person doesn't mean that…

That you're going to church every Sunday.

Dave Gahan: You won't find me in any church [laughs].

Rich Machin:  I have a lot of problems with stuff like that, but the nature of my personality is that I ask a lot of questions about a lot of different things, and there's a lot of stuff I don't think I'll ever have the answer for.

Dave, as one who currently resides in America, I'm sure you had plenty of chances to laugh at this year's Republican presidential candidates when they started talking about God.

Dave Gahan: I find it highly entertaining [laughs]. I mean, it's comical, along the lines of South Park. They are like South Park characters, aren't they? Let's face it. Jon Stewart couldn't have better material to write a show with.

You know, it's a strange world we live in, isn't it? We all know that it's a bunch of bullshit. The only thing that always grounds me is music. Throughout my life, that's the one thing I've been able to lean on, and it has the power to lift me out of places that a lot of people wouldn't be able to crawl out of. And these songs, they come from a place that's deep.

Speaking of crawling out of that hole, how much do you still look back on not only past drug use but on your illness a couple of years ago? Do the aftereffects of that experience still follow you as a songwriter?

Dave Gahan: Well, it's the nature of life. You have these things that happen, and sometimes they're self-inflicted and sometimes you can't do anything about them.

Do you feel a sense of vulnerability that you didn't before?

Dave Gahan: I feel a greater sense of being grateful for what I have, and what I don't have. That's something I did not have when I was 30 years old. But I think it's growing, although certainly by no means all the way there [laughs], because I get snatched back into it, usually when I try to run the show. But that's kind of my job [laughs], which is weird, because I'm also the front guy in a band, and so I put myself in a position to run the show. I don't really know how I ever got to be in that position, but there I am sometimes. And I'm not always comfortable with that.

With being a frontman?

Dave Gahan: And being a husband, or a father, just like any other man.

Any leadership role, in which you're called upon and looked to in times of trouble.

Dave Gahan: The role that society creates for us. And what we grow up with. But as I get older, and with the more experiences I have, the less I know. Which is a nice thing. The less I try and figure it out, the better life seems to be, if that makes any sense.

Rich, one common denominator among the diverse guest vocalists Soulsavers has worked with in the past - Mark Lanegan, Gibby Haynes, Jason Pierce, and now Dave - has been past drug use. Do you see any reason why these guys, who were coming out of similar holes, might have gravitated towards Soulsavers?

Rich Machin:  No… I mean, I don't think it's a conscious thing for them.

Dave Gahan: You don't go like, oh, tomorrow I think I'll become a junkie. It's an uncomfortability with life, an uncomfortability with self. And it doesn't stop at guys in bands. We all have our problems, and we're always looking for solutions.

But that wasn't on your mind, for either of you, throughout the process.

Rich Machin:  It's not something I'm even conscious of. When you come out of rehab, people don't give you my number. I'm not Step 13 [laughs]. To be honest, I even forget things like that in terms of how I view people. These are people I just like and respect. It's not something that even enters my consciousness.

Along with that sense of spirituality, I felt a kind of emotional resilience and defiance about The Light The Dead See.

Dave Gahan: That's a good description. That's better than I could describe it. There is defiance, all the time, and that's the rock & roll side of it. These are the rules, and you're not supposed to break them. That's something I've always struggled with. I know what's good for me, and I ignore that a lot [laughs].

Were those feelings of defiance a continuation of what you'd done with your past solo work, or was this a very new experience?

Dave Gahan: This was both of those things. It was definitely a very new experience, and it felt like the most uplifting work I've ever been a part of. I know some of the songs come across as quite dark and moody, but it was the most uplifting experience I've ever had making a record. Without a doubt. I've had moments, but I could never say that I've had a whole experience of doing something and then, at the end of the day, feel like I've been completely honest about what it was I was trying to portray or question. And at the same time, in the melodies, as a whole, there's nothing I don't like about it.

And Rich, in terms of your past work with Soulsavers, did you feel the same way?

Rich Machin:  Yeah, completely. I mean, I'm still learning. The one thing I find, if I do have to look back on what I've done, is that I can see a learning curve, and in terms of the different people who've come in to work with us, I've learned from every single one of them. I take part of that forward with me every time.

And you just have to enjoy it while it lasts.

Dave Gahan: Right. That's all you can do. We're right here, right now, and this feels good. And sometimes you have to realize what a privilege that is. You have to do the other stuff to realize just how good this is. It's very easy, when you're a musician, to become jaded after a while and not appreciate the gifts you have. And no one else understands that. Record companies, managers, anyone who works with the business aspect of it, they can't understand what it is that you're doing really, and they can't get their heads around it. It doesn't matter whether it's Metallica or Soulsavers, they have the same idea about everything.

So, based on what I can hear on the album and by talking to you, it seems like you're both on a very similar wavelength right now.

Rich Machin:  Yeah. When it locks it on every level, that's when you've got something very special.

So does this mean we can expect more work from you guys together in the future?

Dave Gahan: I don't see why not. I could see it being a continuing thing.

But no plans, no goals.

Dave Gahan: Yeah, we got to the point this time where we were like, well, we should probably finish this now, this is probably a record [laughs], it's finished. Because then it becomes real in that way. And now we'll give it to you, and you can pass it on if you like.

Maybe someday Rich will send me something and I'll be like, well, I'm really not feeling it, so you can never tell, but I don't see why not. And look, I was definitely in a place where I thought I wasn't ready to do anything. And that maybe was a good thing. I was exhausted from a band, a tour, and a record, and maybe I was at point where I was so wiped out that I was vulnerable enough to actually write something great. I didn't think I would be ready to do that, but it wrote itself.

And now that you've put the lid on this project, and you've exhaled, you're going back into the studio in March with Depeche Mode.

Dave Gahan: Yeah, end of March.

One thing that Martin had said about his work with Vince Clarke that struck me was that the side project gave him more vigor for new Depeche Mode work.

Dave Gahan: I've never heard Martin speak like that, but it's great that he feels that way, and I felt that when I hung out with him recently at his house. There's definitely a change in Martin, where he's excited about working. For this one he was really pushing to get us back in the studio to start writing again, and that's not usually the case [laughs]. None of us are really like that usually. We're very English [laughs]. It's hard to explain, but it definitely comes from our upbringing.

In addition to the side project giving you a feeling of artistic freedom, does it provide an outlet for tensions in terms of personal dynamics within the band?

Dave Gahan: Definitely. I don't think I'd be jumping back into the studio right now if it weren't for this experience. Maybe. I don't know. But in the last 10-12 years, between every record that the band's done, I've done something. Even if it wasn't part of a plan.

So Rich, has Dave given you a good tour of the city?

Dave Gahan: He's been here enough times…he probably does better than me (laughs). I don't really move out of my neighborhood much.

Rich Machin: I've been here enough times. It's strange being on this trip because, although I've never stayed here before, I used to really like this neighborhood.

Used to.

Rich Machin: And I'm not really into this hotel. It's in a really great neighborhood, but I don't really go out anymore at night. Five years ago I would've loved this place.

Dave Gahan: Yeah, it's party central here! [laughs]

Rich Machin: Now I just get annoyed when people keep me awake at night [laughs]. I'm more interested in going out for a nice dinner. But I do love New York.

Did you record the album in New York?

Rich Machin: I've lost track of the list of places where we recorded this album. It was done in New York, Los Angeles, London, Berlin, Sydney…I don't even know.

So you were already on tour while recording! You don't even need to go on tour to promote it.

Rich Machin: That's the irony of it, because the process was so grand but we ended up recording parts of it in people's living rooms.

What kind of effect did things like that have on the finished product?

Rich Machin: I've got no problem saying, if it sounds good, let's go for it. Just because it wasn't done in some nice studio…you know, if doesn't sound good, let's take it somewhere and make it sound good. I've got a seize-the-moment kind of attitude towards stuff now, and it really was an incredible process.

What was your fondest memory from the recording process?

RM: The strings. I recorded them at Sunset Sound [in Los Angeles], in the live room, and I had a real moment as I was doing it because we were in the room where they did Pet Sounds. And it's like, I was in the room before we started, thinking: "Wow, Brian Wilson sat right over there, and how did I end up here?" [laughs] There's the weight of that. Because I'm a music fan, first and foremost. Particularly I love music history, and Zeppelin had also recorded in there, and for me to have ended up there, I can still never quite figure out how that happened.

But you're not questioning it.

Rich Machin: I've just got a huge smile, which doesn't happen very often. It's great.

Dave Gahan: I'm still waiting for someone to tap me on the shoulder and say: "The gig's up." [laughs] I still pinch myself, and I've had that experience at certain gigs where you're on the stage, at Philadelphia, where Bowie recorded a live album, or the Garden. The first time at MSG is something else.

How about live shows for you guys together?

Dave Gahan: Look, like I said, I think this is the beginning of something, and I'm pretty sure in the future there will be more things that we do together, and things that will surprise me even more.

Fans of The Light the Dead Sea will not be disappointed in the future.

Dave Gahan: I don't think so. And I think it's gonna be one of those albums that people talk about.

The Light The Dead See is out on Monday May 28th

Crédito: Maria
Fonte: The Quietus