Depeche Mode are an enduring, genius band that formed in 1979 who still write, record and tour today. Their success in the 80’s and 90’s is legend. More recently, during the last 15 years, their work has become increasingly dark and experimental — still a single here or there, for instance last year’s “Where’s The Revolution” reward the faithful who seek a bit more dance than trance — it all comes off smashingly well in their most continuing concert tours, which sell out to global audiences.
Many fans of the band continue to follow and patronize the act, yet typically consider their “golden age” to stretch 1981-1997, now 20 years ago. These were triumphant times the band spent on the write/record/tour train, resulting in legendary albums from Speak and Spell(1981) to Ultra(1977). This is when DM could easily be compared to “The Beatles of the 80’s” — really “80s/90s”. As many will already know, the band began with their first album largely hemmed by Vince Clark, who left the year it was released, and was replaced by deft player Alan Wilder, who joined singer David Gahan and third keys-man Andrew Fletcher making the long running foursome. Alan left in 1995 before the last “core period” release Ultra.
But at the early stage in 1981, with Clarke going away to do Yaz, Martin Gore became principal songwriter and instead of that being a challenge, the band’s output matured by leaps and bounds. The third record Construction Time Again(1983), which found Alan increasingly taking a role as lead player and soundscape creator is a masterwork. This album was a breakthrough in terms of ambition and maturity, though just one successful single, “Everything Counts” emerged. The record as a whole covered territory sonically and lyrically that became the trademark for these hard working musicians. Global popularity built steadily after this from Some Great Rewardto Black Celebration, Music for the Masses, Violator, Songs of Faith and Devotionand on. At the end of two decades, after the new-millennia “backward look” Exciter(2001), the band took increasing sonic risks, releasing 4 additional records and 5 world tours in the last 15 years. These live shows became louder and noisier – much more like rock ‘n roll in many parts, more focused on drums, bass and guitar than on 3 men at their synths – a different and new sound and style for this millennia.
Enter tribute genius band Strangelove. What these stellar musicians and performers so is lovingly recreate the DM live experience, focusing on their shows from 1981 to 1997 – basically, the version of the band we all grew to love — all synth, maybe a few found objects, no “bass player” and definitely no drummer. Just four guys and three keyboard rigs, and four part harmonies all fronted by one of the most charismatic lead singers born to this world. Each member of Strangelove recreates not just the music but also the persona of their role:
Brent “Counterfeit Martin” (Martin Gore)
Leo “Ultra Dave” (Dave Gahan)
Julian “Oscar Wilder” (Alan Wilder)
James “In The Fletch” (Andrew Fletcher)
Taken in parts or as a whole, I had multiple moments, regularly, where I felt like I was seeing the actual band live, despite each of these talented musicians infusing the proceedings with some of their own obvious talents. Critically, maybe most importantly, Brent’s vocal interpretation of warble-then-sustain (or vice-versa) Martin Gore is dead on, and Leo’s growling baritone representing Dave Gahan is note perfect, accentuated by moves both dressed and undressed that echo everything great about Dave as one of the world’s greatest front-men. It’s an unbelievable collection of talent which will, for all, preserve the early DM experience while allowing for the original band to continue stretching into experimental territory. And, finally, there is something about a show featuring all synth — pure synth, which bubbles and pops out of high-definition speaker systems in such clear form while we watch and dance.
I talked to Brent after the show and in follow up discussions:
1) Brent did you specifically agree to focus on 1981-1999 in order to represent the four piece synth led version of the band?
We do represent all eras of the Depeche Mode canon. Depending on the scale and locale of the show we’re performing, we bring in different stage set pieces and costume changes that reflect key points in their evolution. That said, there is a deliberate focus on what are perceived as the halcyon days from ‘86-‘93, as this era represents the sweet-spot where many lifelong fans of Depeche Mode were first introduced to them. Our project also proudly features a 1:1 analog for every member of the classic lineup. The project was very much cast with this in mind.
2) Though Alan did play some drums, very tastefully by the way, on his last tour, for “Songs of Faith and Devotion”, did you make a conscious choice to avoid this?
Our own “Alan” performer, Julian Shah-Tayler (aka: Oskar Wilder) is an adept multi-instrumentalist and is easily up to the task of performing live drums for a segment of our set. That said, we would likely limit that to a live presentation that focused primarily on Songs of Faith and Devotion, and adhere to that visually, as well as in the set list and instrumentation. A native of London, via Leeds; Julian’s from the very popular UK outfit “Whitey”, that had quite a bit of momentum a handful of years ago. For larger shows in US we’ve brought in Terri Nunn/Berlin’s drummer Chris Olivas and he’s a our “fifth member”. An interesting footnote — I’ve produced a couple of original music projects, and brought in Depeche Mode drummer Christian Eigner. He did a fantastic job!
3) How many “Dave’s” have you employed, Leo is fantastic!
I began developing a project as music director and performing in the “Martin Gore” capacity in 2006, in what was an early iteration of what eventually became Strangelove-The Depeche Mode Experience. Since that time I’ve worked with two other vocalists before finding our current singer, Leo Luganskiy (aka: Ultra-Dave). When we first heard him we immediately knew our worldwide search was over. His vocal timbre is uncannily like Gahan’s. He’s the total package, and at just 30 years old, more accurately represents the timeframe we referenced above.
4) When you study Martin’s lyrics, do you pick up bits of humor or even a track you think is overtly happy from this maestro of all things dark and lonely? (I might say “But Not Tonight”)
Of course we have poured over the lyrics quite a bit, in the course of the thousands of hours involved in recreating their studio work to present it in a live setting. There’s quite a range of emotion on display; and quite an evolution from their early work to the open cynicism in evidence on their latest release, “Spirit”. A certain line in “But Not Tonight” often elicits chuckles from the audience. Other lyrics gain newfound relevance in our modern times (“People Are People”, “New Dress” immediately come to mind)
5) Are there any songs you omit because they are too challenging to you or to audience for any reason? (I am thinking lack of singles on my favorite Construction Time Again)
We don’t omit any songs because of performing challenges, but rather, based on what we know the audience response is likely to be. For instance, there are no current plans to work up “Black Day” or Christmas Island” since few would care and others that are familiar would still likely be bored and go grab a pint. An immersive album listening experience is very different from a live presentation and there are matters of set programming flow and energy level to take into account.
6) Playing a few from Speak and Spell, do you see a real difference in the structure when Vince wrote and played as lead?
The chief difference to us was the naivety and spunk the young lads had at that point. Obviously, with Vince as primary writer at that point, the songs have a different feel. We do a few tracks from SAS and they’re still a lot of fun to perform live.
7) Can Londoners expect any surprises that we don’t see in the states?
The biggest surprise, (even though it’s listed on the poster) is that we’re having “Scant Regard” open for us. This is a new project by Will Crewdson, the London-based guitarist/writer/producer best known for his work with the London band Rachel Stamp, Concrete Blonde’s Johnette Napolitano, Flesh for Lulu, Adam Ant, The Selecter and Bow Wow Wow. He may bring a special guest to sit in…
8) What does Depeche Mode think of your project-
We’ve had quite a bit of interaction with several people within the DM camp. I’ve had a few conversations with Martin about our project and he’s very gracious and generous with regard to helping us out. I’ve had a couple of screwdriver-ish conversations with him about particular synths/samplers used on specific songs. Alan Wilder has also provided us with original tour samplesets (the custom-made keyboard sounds they employed in making the records). Their manager Jonathan Kessler politely tolerates us, I think in part, because they understand that we keep fans sated while they’re on their tour/album cycle hiatus. At a recent “Spirit” press conference Dave took the piss out of Martin for spending hours watching OUR performance videos!
Londoners and those close or far by via tube/train – do NOT MISS THIS SHOW. Diego
Facebook event for London gig.
All Photos (C) Animus-Art Photography
Instagram : @animusartphotography
Thank you, B!!