Dave Gahan is an English singer-songwriter, best known as the lead singer of the electronic band Depeche Mode since their debut in 1980. Q magazine ranked Gahan No. 73 on its list of the "100 Greatest Singers" and No. 27 on its list of "The 100 Greatest Frontmen". Gahan is known for his "commanding presence on stage" and his "huge, deep baritone voice". Although his bandmate Martin Gore continues to be the main songwriter for Depeche Mode, Gahan has contributed a number of songs to the albums Playing the Angel, Sounds of the Universe, Delta Machine and Spirit. Four of these songs were released as singles, including "Suffer Well" in 2005, "Hole to Feed" in 2009, "Should Be Higher" in 2013, "Cover Me" in 2017. Gahan is a solo artist, having released albums in 2003 and 2007. In 2012 and 2015, he contributed lyrics and sang lead vocals on the Soulsavers albums The Light the Dead See and Angels & Ghosts. Gahan was born as David Callcott on 9 May 1962 into a working-class family, to parents Len Callcott of Indian Malaysian descent and his wife Sylvia, Dave was only six months old when his father left the family.
Sylvia and Len divorced two years and his mother moved Dave and sister Sue to Basildon, after Sylvia met and married her second husband Jack Gahan. The Gahan family continued to grow with the birth of two more half-brothers Phil. Dave and Sue were raised under the impression that their mother's second husband, was their natural father. In 1972, when Gahan was 10 years old, his stepfather died. Gahan recalled how he "came home one day and found this bloke at home". Of the incident, he has said: "I'll never forget that day; when I came home from school, there was this stranger in my mum's house. My mother introduced him to me as my real dad. I remember I said, impossible because my father was dead. How was I supposed to know who that man was? From that day on, Len visited the house, until one year he disappeared again. Forever this time. Since he had no contact with us. By growing older, I thought about him more; the only thing my mother would say, was that he moved out to Jersey to open a hotel." "Mum had kept it back from me'til there was a need to tell me about my birth father, it's a different generation and you can understand I guess she thought she was doing the right thing."While attending Barstable School on Timberlog Close in Basildon, Gahan started playing truant, got into trouble with the police, was suspended from school and ended up in juvenile court three times for offences ranging from joyriding and graffiti to criminal damage and theft.
He enjoyed the thrill of stealing cars, driving them around, setting them alight. Gahan tells of the time: "I was pretty wild. I loved the excitement of screeching off and being chased by the police. Hiding behind the wall with your heart beating gives you a real kick –'will they get you?'". In his final year at school, he applied for a job as an apprentice fitter with North Thames Gas, he was told by his probation officer to be honest with the interviewer, as a result, he admitted his criminal record but claimed he was a "reformed character." As a result, he did not get the job which, he claimed, led to him trashing his probation officer's office. His punishment was weekend custody at a sub-Borstal attendance centre in Romford for one year. Gahan recalls: "You had to work. I remember doing stuff like that. You had to have your hair cut, it was every weekend, so you were deprived of your weekend and it seemed like forever. I was told clearly that my next thing was detention centre. To be honest, music saved me."
In March 1980, Martin Gore, Andy Fletcher and Vince Clarke formed the band Composition of Sound, with Clarke on vocals and guitar, Gore on keyboards and Fletcher on bass. Clarke and Fletcher soon switched to synthesizers; the same year, Gahan joined the band after Clarke heard him perform David Bowie's "Heroes." The band was soon renamed Depeche Mode, a name suggested by Gahan after he had come across a fashion magazine called Dépêche-mode. A new wave/synthpop pioneer of the early 1980s, Depeche Mode have released 14 studio albums, four greatest hits compilations and two remix albums; the band has achieved global sales in excess of 100 million records. In a 2003 interview, Gahan shared that "During the making of Exciter, sometimes I felt a bit frustrated that there was a lack of experimentation." This led him, in 2004, to tell his bandmates that he wanted to write half of the songs on their next album, there was "no way" he could be involved in the band without contributing as a songwriter. There was a compromise, three of Gahan's songs appeared on 2005's Playing the Angel: "Suffer Well", "I Want It All" and "Nothing's Impossible."
"Suffer Well" was released as a single in 2006, reaching No. 12 in the UK. Three more Gahan-penned songs, co-written with Christian Eigner and Andrew Phillpott, appeared on the band's twelfth album, Sounds of the Universe. Gahan wrote the lyrics to the B-side "Oh Well", although the music was written by Martin Gore, it was their first writing collaboration. "Hole to Feed" was released along with Gore's "Fragile Tension" as a double A-side single in late 2009. Gahan is credited with writing the songs "Broken", "Secret to the End", the single "Should Be Higher" and two B-sides, "Happens All the Time" and "All That's Mine" from Depeche Mode's thirteenth album Delta Machine.
A phonograph record is an analog sound storage medium in the form of a flat disc with an inscribed, modulated spiral groove. The groove starts near the periphery and ends near the center of the disc. At first, the discs were made from shellac. In recent decades, records have sometimes been called vinyl records, or vinyl; the phonograph disc record was the primary medium used for music reproduction throughout the 20th century. It had co-existed with the phonograph cylinder from the late 1880s and had superseded it by around 1912. Records retained the largest market share when new formats such as the compact cassette were mass-marketed. By the 1980s, digital media, in the form of the compact disc, had gained a larger market share, the vinyl record left the mainstream in 1991. Since the 1990s, records continue to be manufactured and sold on a smaller scale, are used by disc jockeys and released by artists in dance music genres, listened to by a growing niche market of audiophiles; the phonograph record has made a notable niche resurgence in the early 21st century – 9.2 million records were sold in the U.
S. in 2014, a 260% increase since 2009. In the UK sales have increased five-fold from 2009 to 2014; as of 2017, 48 record pressing facilities remain worldwide, 18 in the United States and 30 in other countries. The increased popularity of vinyl has led to the investment in new and modern record-pressing machines. Only two producers of lacquers remain: Apollo Masters in California, MDC in Japan. Phonograph records are described by their diameter in inches, the rotational speed in revolutions per minute at which they are played, their time capacity, determined by their diameter and speed. Vinyl records may be scratched or warped if stored incorrectly but if they are not exposed to high heat, carelessly handled or broken, a vinyl record has the potential to last for centuries; the large cover are valued by collectors and artists for the space given for visual expression when it comes to the long play vinyl LP. The phonautograph, patented by Léon Scott in 1857, used a vibrating diaphragm and stylus to graphically record sound waves as tracings on sheets of paper, purely for visual analysis and without any intent of playing them back.
In the 2000s, these tracings were first scanned by audio engineers and digitally converted into audible sound. Phonautograms of singing and speech made by Scott in 1860 were played back as sound for the first time in 2008. Along with a tuning fork tone and unintelligible snippets recorded as early as 1857, these are the earliest known recordings of sound. In 1877, Thomas Edison invented the phonograph. Unlike the phonautograph, it could both record and reproduce sound. Despite the similarity of name, there is no documentary evidence that Edison's phonograph was based on Scott's phonautograph. Edison first tried recording sound on a wax-impregnated paper tape, with the idea of creating a "telephone repeater" analogous to the telegraph repeater he had been working on. Although the visible results made him confident that sound could be physically recorded and reproduced, his notes do not indicate that he reproduced sound before his first experiment in which he used tinfoil as a recording medium several months later.
The tinfoil was wrapped around a grooved metal cylinder and a sound-vibrated stylus indented the tinfoil while the cylinder was rotated. The recording could be played back immediately; the Scientific American article that introduced the tinfoil phonograph to the public mentioned Marey and Barlow as well as Scott as creators of devices for recording but not reproducing sound. Edison invented variations of the phonograph that used tape and disc formats. Numerous applications for the phonograph were envisioned, but although it enjoyed a brief vogue as a startling novelty at public demonstrations, the tinfoil phonograph proved too crude to be put to any practical use. A decade Edison developed a improved phonograph that used a hollow wax cylinder instead of a foil sheet; this proved to be both a better-sounding and far more useful and durable device. The wax phonograph cylinder created the recorded sound market at the end of the 1880s and dominated it through the early years of the 20th century. Lateral-cut disc records were developed in the United States by Emile Berliner, who named his system the "gramophone", distinguishing it from Edison's wax cylinder "phonograph" and American Graphophone's wax cylinder "graphophone".
Berliner's earliest discs, first marketed in 1889, only in Europe, were 12.5 cm in diameter, were played with a small hand-propelled machine. Both the records and the machine were adequate only for use as a toy or curiosity, due to the limited sound quality. In the United States in 1894, under the Berliner Gramophone trademark, Berliner started marketing records of 7 inches diameter with somewhat more substantial entertainment value, along with somewhat more substantial gramophones to play them. Berliner's records had poor sound quality compared to wax cylinders, but his manufacturing associate Eldridge R. Johnson improved it. Abandoning Berliner's "Gramophone" tradem
John the Revelator / Lilian
"John the Revelator"/"Lilian" is the second double A-side single by Depeche Mode and their forty-fourth single overall, released on 5 June 2006. Both songs are featured on Depeche Mode's 2005 album, Playing the Angel and serve as the fourth single from the album; the single became another UK Top 20 hit for the band, reaching number 18. "John the Revelator" was added to BBC 6 Music's B-List, but it failed to make any other BBC playlists or that of Xfm London. It was played by a few alternative rock radio stations in the US, including WKQX, throughout 2006, despite not being released as a single there. "John the Revelator" was edited down several seconds for the single, while "Lilian" was remixed and the introduction was shortened. The single is the first UK double A-side release by the band since "Blasphemous Rumours / Somebody" in 1984. "John The Revelator" was played during Depeche Mode's Touring the Angel tour and can be watched on the tour's DVD. Single information from the official Depeche Mode web site Allmusic review Lyrics of this song at MetroLyrics
Monolake is a German electronic music project consisting of members Gerhard Behles and Robert Henke, Monolake is now perpetuated by Henke while Behles focuses on running music software company Ableton, which they founded in 1999 together with Bernd Roggendorf. From 2004, Torsten Pröfrock became a member of Monolake. Monolake's minimal, dub-influenced techno helped establish the sound of the Chain Reaction label located in Berlin, subsequently using their own label for the group's output. Both current members have solo projects, with Henke releasing under his own name and Pröfrock as "T++" and "Various Artists." In 2008 T++ followed Ricardo Villalobos in bridging the gap between minimal techno and dubstep, by remixing Shackleton's Death Is Not Final for the Skull Disco label. In 2009, Robert Henke appeared in the electronic music documentary Speaking In Code which presented the completion of the Monodeck; as of 2012, Henke has been designing a new form of live show syncing surround-sound audio stems with visual loops, allowing for improvisation.
Monolake is named after Mono Lake, east of the Sierra Nevada in California. Henke is a software engineer who develops custom hardware for live performances; as well as working as an engineer for Ableton, Henke designed the Atlantic Waves software for performing live with other producers in different countries simultaneously. In 2003, Henke designed the Monodeck, a MIDI-controller interface for spontaneous editing and effects work during live performances without having to look at the computer screen; the Monodeck and its successor, Monodeck II, control Ableton Live through special software designed with Max/MSP. Hongkong Gobi; the Desert EP Interstate Cinemascope Gravity Momentum Polygon_Cities Plumbicon Versions Silence Ghosts VLSI Piercing Music Floating Point Signal to Noise Layering Buddha released as a 5 x 7" box set Atom/Document Indigo_Transform Various Artists Decay Product Various Artists 8, 8.5, 9 Remixes Dynamo Außen Vor monolake.de - official website Monolake discography at Discogs Monolake / Imbalance Computer Music at Discogs.com Monolake discography at MusicBrainz Interview Interview Interview Interview Interview A Conversation with Robert Henke: Silence and Process on Create Digital Music
A Pain That I'm Used To
"A Pain That I'm Used To" is a song by English electronic band Depeche Mode. It is the opening track on their eleventh studio album; the song was released on 12 December 2005 by Mute Records as the album's second single, the 42nd DM single overall.. The single contains remixes by UK Mute label mates Goldfrapp, Jacques Lu Cont. There are two radio versions; the first one is only a slight remix, whereas the second contains a different, more electronic introduction and instrumentation. Although "Better Days" was mentioned to be the B-side for the single in its press release, it ended up being a track called "Newborn" when the track lists were released. "Better Days" went on to be the B-side to the following single, "Suffer Well". "Newborn" is a slow song. It is a fan-favourite in terms of B-sides; the single was only physically released in the UK. The US only had a digital release; the song reached number 15 upon UK release. In the US, the song debuted at number 45 on the Hot Dance Music/Club Play chart on 14 January 2006.
It reached number 6. The track is one of the few Depeche Mode songs to feature a real bass, played by Andy Fletcher in this one. 7" Picture disc / Bong36"A Pain That I'm Used To" – 4:39 "Newborn" – 5:2612" Mute / 12Bong36"A Pain That I'm Used To" – 7:51 "A Pain That I'm Used To" – 8:0012" Mute / L12Bong36"A Pain That I'm Used To" – 6:07 "A Pain That I'm Used To" – 7:21CD Mute / CDBong36"A Pain That I'm Used To" – 4:11 "Newborn" – 5:34CD Mute / LCDBong36"A Pain That I'm Used To" – 7:51 "A Pain That I'm Used To" – 8:00 "A Pain That I'm Used To" – 4:39 "A Pain That I'm Used To" – 7:22 "A Pain That I'm Used To" – 3:28DVD Mute / DVDBong36"A Pain That I'm Used To" – 3:49 "A Pain That I'm Used To" – 3:52 "Newborn" – 5:26Promo 12" Mute / P12Bong36"A Pain That I'm Used To" – 7:51 "A Pain That I'm Used To" – 8:00Promo 12" Mute / PL12Bong36"A Pain That I'm Used To" – 6:07 "A Pain That I'm Used To" – 7:21Radio Promo CD 1 Mute / RCDBong36"A Pain That I'm Used To" – 3:23 "A Pain That I'm Used To" – 4:12Radio Promo CD 2 Mute / RLCDBong36"A Pain That I'm Used To" – 3:27 "A Pain That I'm Used To" – 4:12Club Promo CD Mute / PCDBong36"A Pain That I'm Used To" – 7:51 "A Pain That I'm Used To" – 8:00 "A Pain That I'm Used To" – 6:07 "A Pain That I'm Used To" – 7:21 "A Pain That I'm Used To" – 4:39 "Newborn" – 5:26Club promo CD single.
Promo CD Reprise / PRO-CD-101694"A Pain That I'm Used To" – 7:51 "A Pain That I'm Used To" – 8:00 "A Pain That I'm Used To" – 4:39 "A Pain That I'm Used To" – 7:21 "A Pain That I'm Used To" – 3:29 "A Pain That I'm Used To" – 6:07 "Newborn" – 5:34Digital Downloads"A Pain That I'm Used To" - 5.49 "A Pain That I'm Used To" - 3.26 "A Pain That I'm Used To" – 4:15 "A Pain That I'm Used To" – 4:04 "A Pain That I'm Used To" – 4:47 Single information from the official Depeche Mode web site Allmusic review Lyrics of this song at MetroLyrics
Depeche Mode are an English electronic band formed in Basildon, Essex, in 1980. The group consists of a trio of Dave Gahan, Martin Gore, Andy Fletcher. Depeche Mode released their debut album Speak & Spell in 1981, bringing the band onto the British new wave scene. Founding member Vince Clarke left after the release of the album. Gore took over as primary songwriter and in 1982, Alan Wilder joined to fill Clarke's spot, establishing a lineup that continued for 13 years; the band's last albums of the 1980s, Black Celebration and Music for the Masses, established them as a dominant force within the electronic music scene. A highlight of this era was the band's June 1988 concert at the Pasadena Rose Bowl, where they drew a crowd in excess of 60,000 people. In early 1990, they released an international mainstream success; the following album, Songs of Faith and Devotion in 1993 was a success, though internal struggles within the band during recording and touring resulted in Wilder's departure in 1995.
Depeche Mode has had 17 top 10 albums in the UK chart. Q included the band in the list of the "50 Bands That Changed the World!". Depeche Mode rank number 98 on VH1's "100 Greatest Artists of All Time". In December 2016, Billboard named Depeche Mode the 10th most successful dance club artist of all time. Depeche Mode's origins date to 1977, when schoolmates Vince Clarke and Andy Fletcher formed a Cure-influenced band called No Romance In China, with Clarke on vocals and guitar and Fletcher on bass guitar. Fletcher would recall, "Why am I in the band? It was accidental right from the beginning. I was forced to be in the band. I played the guitar and I had a bass. In 1979, Clarke played guitar in an "Ultravox rip-off band", The Plan, with friends Robert Marlow and Paul Langwith. In 1978–79, Martin Gore played guitar in an acoustic duo and the Worms, with school friend Phil Burdett on vocals. In 1979, Marlow and friend Paul Redmond formed a band called the French Look, with Marlow on vocals/keyboards, Gore on guitar and Redmond on keyboards.
In March 1980, Clarke and Fletcher formed a band called Composition of Sound, with Clarke on vocals/guitar, Gore on keyboards and Fletcher on bass. Soon after the formation of Composition of Sound, Clarke heard Wirral band Orchestral Manoeuvres in the Dark, whose output inspired him to make electronic music. Along with OMD, other early influences included Daniel Miller and Fad Gadget. Clarke and Fletcher switched to synthesisers, working odd jobs in order to buy the instruments, or borrowing them from friends. Dave Gahan joined the band in 1980 after Clarke heard him perform at a local Scout hut jam session, singing a rendition of David Bowie's "Heroes", Depeche Mode were born. Gahan's and Gore's favourite artists included Sparks and the Banshees, Cabaret Voltaire, Talking Heads and Iggy Pop; when explaining the choice for the new name, taken from French fashion magazine Dépêche mode, Gore said, "It means hurried fashion or fashion dispatch. I like the sound of that." However, the magazine's name is "Fashion News" or "Fashion Update".
Gore recalled that the first time the band played as Depeche Mode was a school gig in May 1980. There is a plaque commemorating the gig at the James Hornsby School in Basildon, where Gore and Fletcher were pupils; the band made their recording debut in 1980 on the Some Bizzare Album with the song "Photographic" re-recorded for their debut album Speak & Spell. The band made a demo tape but, instead of mailing the tape to record companies, they would go in and deliver it, they would demand the companies play it. They'd say'leave the tape with us' and we'd say'it's our only one'. We'd say goodbye and go somewhere else."According to Gahan, prior to securing their record contract, they were receiving offers from all the major labels. Phonogram offered them "money you could never have imagined and all sorts of crazy things like clothes allowances". While playing a live gig at the Bridge House in Canning Town, the band were approached by Daniel Miller, an electronic musician and founder of Mute Records, interested in their recording a single for his burgeoning label.
The result of this verbal contract was their first single, "Dreaming of Me", recorded in December 1980 and released in February 1981. It reached number 57 in the UK charts. Encouraged by this, the band recorded their second single, "New Life", which climbed to number 11 in the UK charts and got them an appearance on Top of the Pops; the band went to London by train. The band's next single was "Just Can't Get Enough"; the synth-pop single became the band's first UK top ten hit. The video is the only one of the band's videos to feature Vince Clarke. Depeche Mode's debut album, Speak & Spell, was released in October 1981 and peaked at number ten on the UK album charts. Critical reviews were mixed. Clarke began to voice his discomfort at the direction the band was taking, saying "there was never enough time to do anything. Not with all the interviews and photo sessions". Clarke said he was sick of touring, which G
The twelve-inch single is a type of gramophone record that has wider groove spacing and shorter playing time compared to LPs. This allows for louder levels to be cut on the disc by the mastering engineer, which in turn gives a wider dynamic range, thus better sound quality; this record type is used in disco and dance music genres, where DJs use them to play in clubs. They are played at either 45 rpm. Twelve-inch singles have much shorter playing time than full-length LPs, thus require fewer grooves per inch; this extra space permits a broader dynamic range or louder recording level as the grooves' excursions can be much greater in amplitude in the bass frequencies important for dance music. Many record companies began producing 12-inch singles at 33 1⁄3 rpm, although 45 rpm gives better treble response and was used on many twelve-inch singles in the UK; the gramophone records cut for dance-floor DJs came into existence with the advent of recorded Jamaican mento music in the 1950s. By at least 1956 it was standard practice by Jamaican sound systems owners to give their "selecter" DJs acetate or flexi disc dubs of exclusive mento and Jamaican rhythm and blues recordings before they were issued commercially.
Songs such as Theophilus Beckford's "Easy Snappin'" were played as exclusives by Sir Coxson's Downbeat sound system for years before they were released in 1959 – only to become major local hits pressed in the UK by Island Records and Blue Beat Records as early as 1960. As the 1960s creativity bloomed along, with the development of multitrack recording facilities, special mixes of rocksteady and early reggae tunes were given as exclusives to dancehall DJs and selecters. With the 1967 Jamaican invention of remix, called dub on the island, those "specials" became valuable items sold to allied sound system DJs, who could draw crowds with their exclusive hits; the popularity of remix sound engineer King Tubby, who singlehandedly invented and perfected dub remixes from as early as 1967, led to more exclusive dub plates being cut. By 10-inch records were used to cut those dubs. By 1971, most reggae singles issued in Jamaica included on their B-side a dub remix of the A-side, many of them first tested as exclusive "dub plates" on dances.
Those dubs included drum and bass-oriented remixes used by sound system selecters. The 10-inch acetate "specials" would remain popular until at least the 2000s in Jamaica. Several Jamaican DJs such as DJ Kool Herc exported much of the hip hop dance culture from Jamaica to the Bronx in the early 1970s, including the common Jamaican practice of DJs rapping over instrumental dub remixes of hit songs leading to the advent of rap culture in the United States. Most the widespread use of exclusive dub acetates in Jamaica led American DJs to do the same. In the United States, the twelve-inch single gramophone record came into popularity with the advent of disco music in the 1970s after earlier market experiments. In early 1970, Cycle/Ampex Records test-marketed a twelve-inch single by Buddy Fite, featuring "Glad Rag Doll" backed with "For Once in My Life"; the experiment aimed to energize the struggling singles market, offering a new option for consumers who had stopped buying traditional singles. The record was pressed at 33 rpm, with identical run times to the seven-inch 45 rpm pressing of the single.
Several hundred copies were made available for sale for 98 cents each at two Tower Records stores. Another early twelve-inch single was released in 1973 by soul/R&B musician/songwriter/producer Jerry Williams, Jr. a.k.a. Swamp Dogg. Twelve-inch promotional copies of "Straight From My Heart" were released on his own Swamp Dogg Presents label, with distribution by Jamie/Guyden Distribution Corporation, it was manufactured by Jamie Record Co. of Pennsylvania. The B-side of the record is blank; the first large-format single made for DJs was a ten-inch acetate used by a mix engineer in need of a Friday-night test copy for famed disco mixer Tom Moulton. The song was; as no 7-inch acetates could be found, a 10–inch blank was used. Upon completion, found that such a large disc with only a couple of inches worth of grooves on it made him feel silly wasting all that space, he asked Rodríguez to re-cut it so that the grooves looked more spread out and ran to the normal center of the disc. Rodriguez told him.
Because of the wider spacing of the grooves, not only was a louder sound possible but a wider overall dynamic range as well. This was noticed to give a more favorable sound for discothèque play. Moulton's position as the premiere mixer and "fix it man" for pop singles ensured that this fortunate accident would become industry practice; this would have been a natural evolution: as dance tracks became much longer than had been the average for a pop song, the DJ in the club wanted sufficient dynamic range, the format would have enlarged from the seven-inch single eventually. The broad visual spacing of the grooves on the twelve-inch made it easy for the DJ in locating the approximate area of the "breaks" on the disc's surface in dim club light. A quick study of any DJs favorite discs will reveal mild wear in