Depeche Mode RESURRECTED! |
The departure of keyboardist Alan Wilder in 1995, coupled with
frontman David Gahan's near-death antics a year later, almost drove a stake
through the heart of Depeche Mode. But to many a Modehead's amazement, the
remaining members (Gore, Fletcher, and Gahan) managed to pick up the pieces
and carry on. With Tim "Bomb the Bass" Simenon and his production team in
tow, the band locked themselves into the studio and emerged 15 months later
with a remarkable record.
Ultra (Mute Records) is Depeche Mode's 12th full-length release, and
while down-tempo is the name of the game this time around (the swiftest
track tops out a turtile like 100 bpm), the CD is an ear magnet. "Barrel of
a Gun," the first track out of the gate, is one of the most riveting Mode
singles yet -- replete with throbbing synths, liquid bass, slappy
precussion, sci-fi bleeps, and tortured vocals. And there's plenty more
where that came from. Stay tuned for a slew of Mode singles, videos,and
remixes in the cue.
We rolled tape with songwriter Martin Gore recently, and were able
to fire of a dozen questions in the alloted time, appropirate, perhaps,
since Ultra is the band's 12th album. For some additional insight, however,
be sure to check out the in-studio sidebar on page 68
When Alan left the band, did it feel like the
end?
As bad as things were, I don't think any of us felt that we wanted
to split the band up and finish. I think the low point of the band was when
Dave had his (personal) problems. At that time, for me, it seemed like
there wasn't really any point in continuing. But fortunately Dave decided
to make a change in his life, and since then, everything has been quite
easy.
How did the new balance affect the making of
Ultra?
This time around it was much mor a team effort. I had an idea to
work with Tim Simenon 'cause we'd known him for years, and he'd done a
couple of remixes of us in the past. But we were totally unaware of the way
he worked: He always works with the same team, which includes a programmer,
a musician, and an engineer. In a way, Tim and his team helped to fill
Alan's shoes. Alan was always the so-called musician in the band; the one
who was classically trained. But it went far better (with Tim) than we ever
could have imagined. We went into the studio to try out a couple of tracks
just to see how things were, how we were getting on, how it would work with
Tim as producer, and to test his team out. We didn't set ourselves any
large goals. It was a question of trying out a few tracks, and maybe
getting a single out of it, and if things were going really well, then we
could carry on and maybe make an album. So after the first recording
session, about six weeks, it became very apparent that things were going
well, and we decided to carry on with the whole project and make it into an
album.
How did you write this batch of songs?
I think I still write pretty much the same way as before. I always
start on guitar or piano, and get the basis of a song together before I move
on to computers, keyboards, smaplers, or whatever. I feel it's important to
know that the song is strong before you get carried away with technology,
because sometimes you fool yourslef. You might think you've got a great
song going, but in actual fact, what you're really liking is a synth sound
or bass line. We've always been about songs -- marrying songs with
technology -- and I think sometimes that point gets lost. We often get
cited as an influence by a lot of bands and producers, but it's more because
we were an early electronic band, and more because of the way we created
music as opposed to the acutual songs.
Is melody usually the first element you focus on when
writing?
Yeah, I think it is about melody, but it's also about emotion. If
at that moment I sit down and write something and it moves me, I realize
that there's a fairly good chance I might be able to move somebody else.
So after the initial piano/guitar writing phase, you sequence your song
ideas.
Yeah. At home I've got a basic setup of demos. I've got (Hybrid
Arts) ADAM machines for the recording, and I program onn (Steinberg) Cubase.
I use an Akai CD3000, a (Roland) JD-800, and c (Clavia) Nord Lead. The Nord
is a very interesting synthesizer -- the fact that you can record all your
movements real time into computer, wave sweeps and everthing. I like it.
I've also got three ARP 2600's and two Minimoogs. But I tend to keep things
very basic at that stage.
How do your home versions translate to the studio
sessions?
I made tapes and sent them out to Tim and the rest of the band, and
then we went into the studio. It was a very different process for us this
time. Sometimes there were three or four different things going on at once
in the studio. There was a programmer, a musician, Tim, me, Dave practicing
his vocals, I might be doing something with Tim, the programmer might be
working on a rhythm track, and the musician migh be off working on a totally
different track.
Did any of your demo tracks end up on the record, or were they all
re-recorded?
It really different from song to song. Sometimes the essence of
what actually came out, what was released, was actually on the demo. But
sometimes we totally pulled a song a part. If we felt that the basic song
was good, bu the direction of the demo wasn't quite right, we'd pull it
apart and maybe reconstruct it three or four times before we were happy with
it.
Taking a song like "Barrel of a Gun," for example, how similar was the final
mix compared to the demo?
"BoaG" was one that remained very similar to the original demo. All
the parts were basically there, so it was just a question of bettering the
sounds and making it a bit harder. but that was probably one of the most
similar demos to the finished version.
The opening drum sequence is a real attention-getter. Is that a
loop?
I think we originally started off with loops, and then tried to
recreate them. It's very hard sometimes because a loop has an immediate
atmosphere, but you don't always want to use a loop. So in this case it was
a matter of recreating it by cutting up various loop to get snares and bass
drum sounds.
Ultra is a down-tempo record. Any particular reason you kept everything
under 100 bpm?
It's the area that interests me the most at the moment. I find it
emotional and moving at that tempo: 80 to 100 bpm. When I try writing
anthing faster than that, it just loses emotion for. Maybe it's just a
phase I'm going through {laughs}.
Will the band be touring?
No, this is the first time ever that we've actually decided not to
tour after finishing an album. We've toured on the back of every singe
album, and the last one was so long...we go to the end of it and were
totally exhausted, mentally and physically. We had total communication
breakdown problems within the band. We all hated each other. You know,
that was the main reason Alan left. And so we don't want to repeat that
again. We've just been in and out of the studio for 15 months, and the
thought of going out on tour for a year is just too much to handle. We're
considering, possibly playing some live TV, but were really trying to keep
this year very stress-free. It's all questionable at the moment.
What's your take on the current resurgence of electronic music in the
States?
We've been through quite a few electronic trends during our carrer,
and one of the things we laugh about is the fact that it has absolutely no
relevance to our record sales. Whether electronic music is in or not has no
relevance to us. And I think it's because we created our own niche at a
very early stage.
Solid record sales, sold-out shows, critical praise and
industry awards are all signsposts of a successful band. But having
a tribute record made in your honor...now that's something to write home
about.
Add Depeche Mode to the growing number list of tributees. Twice
over.
Last year saw the release of TranceMode Express 1.01, an all-trance
compilation from Hypnotic Records. Sales of that disc put a smile on
bean-counters' faces, and thus inspired TranceMode Express II -- due in
record stores this summer. If you're interested in hearing you favorite
Mode tracks turned inside out and sped up to bejeezus, then put these discs
on your shopping list.
When Tim "Bomb the Bass" Simenon signed on to produce the new
Depeche Mode record, he came loaded...with ideas and people, that is. Dave
Clayton is one of Simenon's synth men, and has a fat track
record-record onstage and in the studio with the likes of ABC, Bob Marley,
George Michael, Take That, and U2. Needless to say, he was an obvious
target for our interview michrophone.
"Initially I dot a demo tape from Martin," says Clayton, of his
early involvement in the Ultra project. "It was a pretty basic format--the
essence of the songs was there--but he gave us rough pointers of where to
go. So we started assembling the songs from there." Clayton and Kerry
Hopwood handled keyboard and drum programming work, respectively.
Using "Barrel of Gun" as an example Clayton explains the process:
"that one started off with a very strong melody, and the lyrics were there.
He (gore) had a little loop on the demo, a bass, a pad, and a couple of
guitar lines. It was very sparse. Even though we basically started over
from scratch, we tried not to lose the essence of the demo"
Using Gore's tape as a guide, the team began rebuilding the song
from the bottom up. the infectious drum pattern was "a combination of a
cut-up loop," says Clayton, "just the top end of it, and single shots of
bass drum, snare, and so forth. It's not a loop, per se. It's a pattern,
but I think it has a feel of a loop."
Sequencing was done on "an old Atari with Notator. I've tried
everything else, but the ST seems to have the best feel." The signature
space warbles came from a combination patch made on a Waldorf Wave, and a
Korg Trinity Plus and M1R. "A lot of people thinks it's just a preset
synth," he says of teh latter, "but once you get into it, there's a lot to
be had."
The slippery "Barrel" bass line was recorded on a PPG Wave 2.3, bu
twhen the synth took a nose-dive a few weeks into the session, and prior to
printing the keyboard parts to tape, Clayton feared the patch was lost
forever. "Fortunately, I got it back, but it gave me quite a sare." Other
synths exhumed from Clayton's vaultfor the sessions were EMS Synthi,
Oberheim Four-Voice, ARP 2600, and Roland JD-800 and Jupiter-8.
Reflecting back on the project, Clayton claims that "it wasn't just
lke another keyboard session for me, at all. Even though I was brought in
as a session man, I was given loads of freedom. For days and days I'd sit
at my rig and experiment. They gave me a few pointers, but the overall
attitude was, 'Hey do whatever the hell you feel.' So I switched the stuff
on and created like mad."
Keyboard Magazine, July 1997 issue
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