Dave Gahan: A Question Of Time

12/03/08 1:23pm

by Caitlin Hotchkiss (CHARTattack)

The voice of Depeche Mode doesn't look back in anger

Time is a funny thing, especially when you're a musician.

Never mind the statistical fact that rock stars have a shorter life span than the average person. If you can survive the drug overdoses, near-constant touring,
performance anxiety and psycho fans, you stand a chance of actually making an impact and creating something of a legacy.

So, suffice it to say, if you're Dave Gahan, the passage of time may be more of a reason for reflection than most.

Gahan's longtime band Depeche Mode are the godfathers of synth-rock. Their enduring popularity was cemented with their 11th studio album (not counting two live albums), 2005's successful Playing The Angel, which was followed by a massive world tour. But even after the tour bus wheels stopped, Gahan's musical creativity didn't. And together with co-conspirators Andrew Philpott and Christian Eigner, he wrote and recorded his second solo album, the aptly-titled Hourglass.

"I think that a lot of confidence was gained and a lot of knowledge was gained during the making of Playing The Angel. This album of mine was very much a team effort," Gahan says. "It was fun, you know? I think it was because there was no real agenda until about halfway into the recording. Because of that, I think there was some pressure taken off, and it certainly allowed me to find my way, find a bit more of my own voice.

"And I definitely feel that Hourglass is more personal. It's less built in the past and more so built in the now, where I am now in my life. I guess I'm approaching the halfway point in my life, and there are all these feelings about wanting to do more. I'm just really excited about this idea that there's a lot more I can do than I thought."

It's a good realization to make at this point in his life and career. After all, the fresh-faced new wave singer who once bounced through Depeche pop hits such as "Just Can't Get Enough" and crooned more sinister fare like "Personal Jesus" is now a tattooed 45-year-old husband and father. Yet, instead of falling into mid-life crisis mode, Gahan has adopted a solid carpe diem philosophy.

"What I'm really realizing is that I'm desperately trying to be in the moment now. Instead of always racing ahead and thinking about what's coming next, or else dwelling on the past. None of that is very useful. So what I'm
trying to do now is just be where I am, and the songs on this album represent all those parts of myself; where I'm trying to be in control and where I'm letting go of control, allowing this kingdom life, or God, or whatever it is, to do its thing. It's me just being a worker among workers rather than thinking I've got to control every aspect of my life, which is really draining."

This sort of acceptance and catharsis is evident throughout Hourglass, from the personal self-abuse of "Use You" to the questioning atheism of "Miracles," right back to the animal sexuality of "Deeper And Deeper." It's an album that swings the gamut between emotions in a very human way, as Gahan describes: "It does have a dark feel to it, but melodically and lyrically, it's me reminding myself that it's my choice. It's my choice to notice all the beautiful things around me, although I do go to the dark more often."

Although he chuckles here — presumably to lighten the mood — Gahan's preference towards the bleaker side is a given. After all, Gahan almost died from a heroin overdose in a Los Angeles hotel room in 1996 and there's an oft-denied rumour of a wrist-cutting suicide attempt the previous year. But aside from the expected themes of nihilism and loneliness, there are no Cobain-esque cries for help on Hourglass.

"I just feel like I'm in a good place now," Gahan says simply. "I'm able to get in touch with these different personalities that in the past have led me into some pretty hairy places. But at the same time, I'm starting to find out who I am."

bonus sidebar
Fools Battle:
Depeche Mode vs. The Cure

It's not exactly surprising that Depeche Mode share much of their fanbase with another beloved – and enduring – '80's rock band, The Cure. So there were a few shockwaves sent through both fandoms when The Cure announced last year that they were suing Depeche Mode for Playing The Angel's "Mr. Feathers" cover image, claiming that it looked too similar to Robert Smith's silhouette on the cover of Boys Don't Cry. However, the eagle-eyed were quick to make note of the posting date: It was April 1. Very clever.

This feature is from the November 2007 issue of Chart Magazine. You can purchase the issue in the Chart Shop.