Last Tuesday at the Santa Barbara Bowl, Depeche Mode brought a show which would fill the Staple’s Center two nights later, thus creating the rarest of concert phenomena — a show that was massive in scale, yet somehow remained utterly intimate. United by nostalgic fervor, fans sporting black shirts set down their nachos and pizza slices to sing along with longtime frontman David Gahan as the show kicked off with “Welcome to My World.” Gahan, who’s been named in various polls as “one of the best lead men in rock,” slithered arout the stage, removing his shiny jacket, and then his shiny vest, before ending up shirtless, much to the delight of the black lipstick-wearing members of the audience. The monolithic video screen behind the band stayed transfixed on Gahan for much of the show. Martin Gore and David Fletcher appeared relatively subdued behind their instruments while Gahan lurked about, shaking his butt. When the triangle-shaped screens weren’t focused on Gahan, they displayed an array of bizarre imagery — for one song, we were treated to a slideshow of short video clips of dogs licking their lips and standing attentively. ![]() ![]() Dave Gahan - Hourglass [Vinyl] - Amazon.com Music Interesting Finds. Dave Gahan, continues his aspiring legacy with his second solo effort, 2007's Hourglass. DEPECHE MODE 'Dave Gahan and his family'. Dave Gahan and his family [RARE VIDEO 21 June 2013] par GeNeRaTioN DM sur Dailymotion. Corel draw x7 crack dll fixer. Corel Draw X7 Crack Dll -- Draw X7 Crack & Activation Code Full Free Downloadhitssoftwares.blogspot.com/.Jul 24, 2016 Corel Draw X7 Crack & Activation Code Full Free Download is a very DLL Files Fixer License Key Plus Crack v3.1.81 Full Free Download. Another song was complimented by cringe-worthy (and utterly awe-inspiring) images of contortionists, and another of fire eaters and dancers. There were also images of the band, walking in fields or on rocky beaches, standing next to old barns, playing guitar or drums with sticks, and looking at the ground, occasionally in the company of triangles. The stage was eventually left to Gore, accompanied only by a pianist, for stripped-down renditions of “But Not Tonight” and “The Child Inside,” which had fans singing along to such a degree that that Gahan, upon returning to the stage, asked for applause for the “Santa Barbara Choir.” But most impressive of all was the length of the set, which was delivered enthusiastically in it’s entirety by a group that could just as easily have rest on its laurels. And speaking of laurels, the set-ending rendition of “Personal Jesus” was nothing short of awe-inspiring. Then, following an encore that saw Gore return for two more solo ballads, Depeche Mode closed with “Just Can’t Get Enough,” the lyrics of which probably never rang more true. This has presumably been a strange and exciting decade to be a member of Depeche Mode: Seven years during which dark, blustery electro-pop has come back as a mainstream force, especially in their native UK, and sometimes in exactly the terms they were supplying it 15 or 20 years ago. They've noticed this, surely. Perhaps it's why, after sidetracking into a minimal, techy sound on 2001's Exciter, they ran right back to blaring, grainy bombast on 2005's Playing the Angel. And perhaps it's why, after a solo debut that differentiated itself from DM by putting a guitar up front, singer Dave Gahan has veered back toward the drama you expect of him. The problem is that while Hourglass has Gahan sounding a lot more assured and competent as a songwriter, it's also too much what you'd expect of him. Holed up in a New York studio with Depeche Mode's touring drummer and guitar player, he's constructed a Pro-Tooled set of dark rock grooves and electronic buzzing that won't shock anyone who's heard him or his band since, say, Songs of Faith and Devotion-- it's tasteful, professional, and as sophisticated as you'd expect from veterans. But it's also the kind of rote music that has very little purpose on its own. It's the kind that needs a very good singer-- and a very good songwriter-- to give it a reason to exist. Gahan isn't that guy right now, and his presence here seems as rote as the music. He's addicted to the grand, prophetic register he's been singing in for years now, but he's not so good these days at making it seem like there's a reason for him to stay in that place. Lyrics about religion and self-doubt may be Depeche Mode's stock in trade, but none of them necessarily support the sinister breathing and chest-beating drama Gahan goes for-- drama that seems awfully routine here, like a product he's manufacturing. It's a feeling that infects a lot of the tracks here, among which even the better ones can be too transparently professional, faultless but inessential. 'Endless' looks to recapture the 00s with a minimized glam beat, the same T Rex shuffle that's put acts like Goldfrapp on the charts-- but Gahan seems to be copping his hook from Depeche Mode's 'I Feel You', and all the sensual atmosphere he's pumping out feels more like branding than substance. The single, 'Kingdom', sounds limp and listless, a big melody in a song that feels like it came out of a box. The tracks here that actually surprise-- the ones that take risks, jump out of the realm of expectations, or at least push Gahan's usual persona to the point of self-parody-- just wind up underlining the lack of spark in the songs around them. 'Deeper and Deeper' is great precisely because it's so potentially embarrassing: Gahan is growling, play-acting a little monster, anteing up and putting something in the game.
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