Tag: De/Vision (Page 3 of 3)

DE/VISION Interview

28 May 2015 /

Thomas Adam and Steffen Keth have been making music under the DE/VISION umbrella since 1988.

Numerous albums later, they are still very successful in many countries, including their native Germany but also throughout Europe, the US and South America. In Deutschland, they have achieved superstar status, but remain friendly, approachable and fun to be around.

Having fought DEPECHE MODE comparisons throughout their career, they found a unique sound which prevails across their albums from ‘World Without End’, through ‘Fairyland’, the superb ‘Devolution’, ‘Noob’ and the critically acclaimed ‘Popgefahr’. Writing albums in between the extensive touring diary including their recent US gigs, looking after their own record label and having families on top of it all, keeps the duo grounded and humble. With the DE/VISION sound, there’s always “time to be alive, to be alive”, as they’re forever “the flavour of the week”…

Having been an enthusiast of their music for years, Monika Izabela Goss had the pleasure to first meeting the band backstage at their Berlin gig in 2010 and on numerous occasions since. Following ELECTRICITYCLUB.CO.UK’s Lost Albums feature on ‘6 Feet Underground’, it is a great pleasure for her to be able to speak to Thomas Adam of DE/VISION…

You formed in 1988, much has changed in the music industry since then?

Yes, indeed, much has changed… and undoubtedly the internet had the most significant impact on the music industry. It had both positive and negative effects… illegal downloads, for example, plunged the industry into a grave crisis…

I know that many people out there still buy CDs, I’m one of them. But CD sales will be going down sooner or later, CDs will become more and more insignificant, most of the kids don’t buy CDs anymore, they’re downloading music…

Back in the old days, you had to have a record label if you wanted your music to be heard. Nowadays, you can become a star on the internet and you don’t need a label or a lot of money to achieve that. Yes, times have changed…

Do you mind being described as a synthpop band, or would you rather be labelled differently?

No, we don’t mind at all… whatever you prefer… although I think synthpop describes perfectly what we do: we make pop music that is based on synthesizers. But there are many labels for this kind of music. It also depends on where you are, people label us differently in different parts of the world. When we came to the USA for the very first time in 2008, I was rather surprised when people called us a Goth / Industrial band…

Around ‘Void’ (2000) and ‘Two’ (2001), your sound changed incorporating more rocky sounds. It certainly caters for more discerning tastes. Why did you take that direction around those two albums?

Why not? We’re not the kind of guys who want to do the same thing over and over again. In my humble opinion, most of our album releases vary significantly, but especially around ‘Void’ we wanted to do something we had never done before… we wanted to present DE/VISION in a new and different light by broadening the band’s musical horizon… there are enough bands out there who keep repeating themselves. For us, it is important to reinvent ourselves every once in a while…

‘6 Feet Underground’ is my personal favourite of yours. Any thoughts on how the album was conceived?

I don’t remember what the idea behind ‘6 Feet Underground’ was, or if we ever had a concept for it. But usually we don’t have a plan when we start working on a new album. We might have a rough idea of where we want to go, but it’s not that we develop a strict concept which is then translated into music. It rather works the other way round. We start writing songs and after a while we take a look at what we have, then we think about what we can do with it.

I think most of our albums are quite homogeneous, ‘Fairyland’ on the other hand is rather eclectic… it offers a variety of different electronic music styles… ’Unputdownable’ for example is a mainstream pop song, but songs like ‘Beside You’ and ‘Take Me To Heaven’ are the exact opposite. But like I said before, I don’t remember if there was a concept behind that album or if we simply picked the songs we liked most.

Between ‘Noob’ (2007) and ‘Popgefahr’ (2010), you had a three year break, so far longest between albums. What was the reason for this?

Until 2007 we released a new album every 18 months. The fans were glad about that constant output, but for us it’s been quite exhausting. Once we had finished one album, we started working on the next. It was time to break this routine… we needed a break… time to collect new ideas. I’m not saying that we tried to avoid music. We played a lot of shows in those three years. In 2008 for example, we toured North and South America for the very first time. Then we started our own label Popgefahr Records in 2009, I think… we were quite busy during this break.

Germany is packed with interesting and innovative synth acts, who do you rate the most?

Thomas: My all-time favourite electronic band is KRAFTWERK. The older I get, the more I’m impressed by their timeless and visionary art. CAMOUFLAGE is also a band I always adored. Another German band I warmly recommend is called MODERAT. I love their analogue sound… they’re quite famous in the club scene… check out ‘A New Error’ from their first album… this is probably the best piece of electronic music I have heard in years.

How is Popgefahr Records working for you?

There’s no need to complain… after all, it was a very wise decision to start our own label. Until recently, we released exclusively our own music on Popgefahr Records but the label was never meant for DE/VISION only. In January, Popgefahr Records released the single ‘Save Me’ by the American singer/songwriter GARRETT MILES, a beautiful and very melodic synth pop song. And a few weeks ago we released the new album ‘Pieces Of Machinery’ of the German synthpop band BEYOND OBSESSION. Fortunately the label is busy…

Any news on a follow up to ‘Rockets And Swords’ (2012)?

We are already working on a new album which will be released in 2016, but this project is still at an early stage of development, that’s why I can’t really give you any further information. We don’t know yet where our journey will take us this time…

 

On your latest Soundcloud release, your sound goes back to your beginnings. Is that what we are to expect from the new album?

I guess you’re talking about our latest single release ‘Brothers In Arms’ and the B-sides… these songs were written about two years ago and have nothing to do with the new album… the new album is something else entirely… although I don’t know what it will be like, you shouldn’t conclude the sound of our new album from a couple of songs we released more than a year ago.

Finally, your relationship with the UK. We don’t see enough of DE/VISION here. Why is that? Certainly the fan base is plentiful…

We have some very devoted fans in the UK, there’s no doubt about that… however, the UK has never been our strongest market… I don’t know what the problem is, but we never really managed to become established in the UK…

Your last London gig was with MESH in 2013. Can we expect more presence in the UK with the new album release?

We will play a show in Basildon at a festival called ‘More Than A Party’ on the 27th of June… that’s all I can say at the moment…

ELECTRICITYCLUB.CO.UK gives its warmest thanks to DE/VISION

A selection of DE/VISION’s back catalogue is available on CD and download from Amazon

http://www.devision.de/english/

https://twitter.com/DEVISIONMUSIC

https://soundcloud.com/de-vision-official

https://www.facebook.com/pages/DEVISION/24741337633

Text and Interview by Monika Izabela Goss
28th May 2015

Lost Albums: DE/VISION 6 Feet Underground

4 April 2015 /

Forming in 1988, German duo DE/VISION keep themselves busy with touring in between albums and writing new material.

After twelve studio albums plus re-hashed releases, the wealth of their back catalogue is vast and loved in their native Germany, the rest of Europe, America and South America alike.

Rare visitors to England, yet constantly touring their own land with massive success, DE/VISION are unique and uncommon.

Their live shows are as uncomplicated as one could ever imagine, with Thomas Adam tucked away behind a keyboard and Steffen Keth performing his songs with unparalleled modesty and purity. A few years have passed since the release of ‘Six Feet Underground’, which was disclosed in 2004 to the thirsty DE/VISION fans, and proved to be one of their most loved albums, having followed gems like ‘Void’, the controversial ‘Two’ and the back-to-electronica ‘Devolution’.

The title itself suggests a death theme which prevails throughout the listening experience, creating a gloomy and forlorn mood, exquisitely depicted in the twelve tracks on this record. ‘I’m Not Enough’ opens this sombre collection of tunes, with lyrics such as “Rock me to sleep, and bury me deep” and “I’m living a borrowed time, I have passed my prime”, which perfectly characterise the aura of “dying over and over”. It could be a flag tune for anyone, who has ever suffered from depressive moods and suicidal tendencies.

The magnificent ‘I’m Not Dreaming Of You’ has an upbeat tempo, perfect for those fantastic live dances Steffen likes to perform on stage; the notion of downheartedness prevails however. “I can’t go on denying the part of me is dying”; the superbness of such simple lyric with so much meaning is astounding. Excellent synth layering over the cheerlessness of Keth’s voice adds to the character of this song and makes it an atmospheric track of the future.

‘Unputdownable’ gives a little hope in the desperate existence, “I’m filled with love from far above… I found the light in the dead of night… I’m unputdownable”. Emotion filled vocals by Steffen Keth intertwined over clever synth lines hit the spot perfectly, leading to the next track, which is ‘Turn Me On’. A drum ‘n’ bass opening leads into an explosion of electronica, the mood lifted and skilfully brought down again, yo-yoing over the imagined misfortunes and flickers of hope in the, otherwise, melancholic existence.

The daunting and blue title track rolls in with a “lifeless, yet alive and eager to live” line, introducing the continuation of the death inspired notion, mournful vocals painting the picture of despair and bleakness. The words “Wherever I turn, my road seems to go nowhere, six feet underground, fated to fail and damaged beyond repair”, desperately cry out for resolution, dissolution and the end. In the world of other depressive, despairing songs, these lyrics mark the line of no return, familiar to so many of those crippled by the, ever so growing, social disease. The astounding voice of Steffen Keth only adds to the dejection atmosphere, “I’m drowning, tired”, bearing the familiarity to anyone, who ever experienced saddened moods; truly a signature track for this eloquently written album.

A song that the band still choose to play during their live gigs, the simplistic ‘Aimee’ is truly outstanding. A little glimmer of better times when ‘Unversed in Love’; “you make me feel that I am special” poses a hopeful feeling that after all, things could be brighter. The passion theme is continued with ‘Right On Time’, where “my love will guide you”.

Vocodered vocals and an uptempo beat, make this a unique dance track. The mood is consistent with the next tune, ‘Take Me Over’, where “my world’s on fire”; excellently executed synth lines over clever basslines could induce a trance indeed. A trance, that, sadly, could not last, as the following, ‘You Are The One’, melancholically strolls in. “I am barely hanging on” Steffen says, “I was born to roam the night”, indicates yet again, the pointlessness of one’s existence, even though “you are the one”. A heavy- hearted anthem for the dispirited, only understood by the crestfallen and dejected.

A ray of light brightens over the next track, ‘Beside You’, which is musically a more cheerful tune, not so much lyrically though as “I go to meet my fate”, “insignificance, non-existence”, “I feel about there’s no way out” demonstrate. The instrumental ‘Klangmonaut’ sounds positive and, as if there’s hope after all, beautifully painted story of optimism and the prospect of promise for better times to come. No chance though… ‘Take Me To Heaven’, the song closing the album, cries out for the conclusion.

A love theme intermixed with death, “I’m feeling pain and pleasure I have ever known”, and begging to “take me to heaven”, leaves the listener in irreparable state, where all is lost, there’s no hope and living is not worthwhile.

People said DEPECHE MODE was depressing music?! After listening to ‘Six Feet Underground’, few would say that DE/VISION are too. And those people could not get it any more wrong. Dying is a vital part of existence, why put a stigma on it? Why not embrace the fact, that life is not just about the happy-go-lucky insignificant measures to stay on top; there are dark places in everyone’s minds that surface at times and have to be addressed. This album is quintessentially about that; and to date, the author’s firm favourite.

DE/VISION produced a wealth of releases and have since introduced such gems as ‘Noob’ and ‘Popgefahr’; ‘6 Feet Underground’ however, firmly marks the gloomy mood of failure, inadequacy and lost hope, we all feel at times. No shame…

‘6 Feet Underground’ is still available on CD via E-Wave Records

http://www.devision.de/english/

https://www.facebook.com/pages/DEVISION/24741337633

Text by Monika Izabela Goss
4th April 2015

MESH, DE/VISION + TORUL Live in London

24 April 2013 /


Bristolian electro-rock duo MESH ended their successful European tour in style with a rousing show at the O2 Academy in London’s Islington district.

The affair was an intimate multi-media extravaganza based around their latest album, ‘Automation Baby’. An impressive collection of songs ranging from schaffel anthems to sensitive Morricone-esque ballads, ‘Automation Baby’ could well finally get MESH wider recognition in the UK.

The European alternative live circuit has been founder members Mark Hockings and Richard Silverthorn’s bread and butter since their first EP ‘Fragile’ in 1994.

Indeed, like Gary Numan fans who have switched their allegiances to JOHN FOXX & THE MATHS for their synthesizer fixes, so then disillusioned DEPECHE MODE followers may well drift over to MESH in the coming months as Messrs Gahan, Gore and Fletcher finally turn into that stadium blues band which they have been threatening to do for a while.

But opening the evening’s great support bill were TORUL, a promising trio hailing from Ljubljana in Slovenia. Towering singer Jan Jenko exuded a dark but soulful vocal range with a dynamic stage presence to match while the sonics varied from industrial rock to EBM and danceable synthpop not unlike another new trio, Sweden’s TITANS. Although their sound had an inherently doomy shade, their performance was exhilarating. There was an extra treat in a menacing rendition of TEARS FOR FEARS’ ‘Mad World’ to supplement the already enjoyable set. Definitely a band to look out for in the future… even a prolonged guitar solo at the end didn’t dampen the appreciation of those watching.

Meanwhile, Berlin’s DE/VISION have had a long standing kinship with MESH and the two acts have often shared the same bill over the years, much to satisfaction of their fanbases. Steffen Keth gyrating moves found favour tonight with the large female contingent in the audience while the whole crowd treated DE/VISION like joint headliners. Since their breakthrough somophore album ‘Unversed In Love’ in 1995, their industrialised paeans have maintained a cult following over the last two decades and certainly tonight, Keth and musical partner Thomas Adam (now augmented by a live drummer) showed no signs of waning in their enthusiasm.

The stage sprang into technological life as screens and projections set the scene for MESH’s arrival. In a novel approach to live presentation, each song was introduced by a computerised female voice. Thus “Automation Baby – track eight” ie ‘Adjust Your Set’ began proceedings with its mechanical rhythms loosened up by live drummer Sean Suleman.

The evening’s accompanying films very much enhanced the show with appropriate images such as monochrome footage of fan mania and celebrity culture for ‘Never Meet Your Heroes’ and wads of tenners for ‘You Want What’s Owed to You’. It may have been perhaps a bit obvious but the spectacle worked and aptly illustrated the theme of detached virtual relationships dominating ‘Automation Baby’.

MESH are known for their synthesized anthems and the first of those came with the superb ‘Crash’ from ‘We Collide’, the automotive metaphors very much in keeping with MESH’s regular lyrical gists on the conflict within the human condition.

The neo-rave of ‘Just Leave Us Alone’ was another tremendous highlight, the crowd pogo-ing with delight to the Eurodance flavour on offer. ‘How Long?’ and the ‘Automation Baby’ track itself also provided other cornerstones to the evening.

DEPECHE MODE comparisons are always inevitable with MESH; however, what they actually have in common with Basildon’s finest though is not so much the synth / guitar / industrial rhythm template but an ability to arouse passion and loyalty through their music.

And in ‘Taken for Granted’, MESH now have their own ‘Never Let Me Down Again’… in fact, all that was missing was the cornfield wave but in its place came an acappella terrace chorus that continued from the moment the band left the stage after the main part of the set until their return for the first encore. Launching into the powerful ‘Born To Lie’, the crowd had their hands in the air for a satisfying slice of gothic glam before heading onto the final straight with ‘Friends Like These’.

But it was not actually over because for the second encore, there was a surprise as Silverthorn, Suleman and live keyboardist Richard Broadhead took their positions minus their singer. Hockings then suddenly appeared at the back on the venue under a stark spotlight for a wonderful ‘You Couldn’t See This Coming’… and you couldn’t!

He was in fine voice, as he had been throughout the evening, providing his angsty but accessible tones over the emotive, orchestrated soundtrack. Nearly twenty years on, MESH are at the height of their powers having produced possibly their best album yet in ‘Automation Baby’ and one of their best live shows too.There are not many bands at any level that have managed that so long into their career. So go check them out… what are you scared of?

MESH ‘Automation Baby’ is released by Dependent on CD and download

DE/VISION are to release a live DVD and album via Pledge Music

TORUL’s new album ‘Tonight We Dream Fiercely’ is available now on Infacted Recordings as a CD and download

http://www.mesh.co.uk/

http://www.facebook.com/pages/DEVISION/24741337633

http://www.torul-recordings.net/

Text and Photos by Chi Ming Lai
24th April 2013

Introducing TITANS

9 September 2012 /


Imagine if RAMMSTEIN were reincarnated as DEPECHE MODE but without the flame throwers?

TITANS’ vocalist Dan Von Hoyel sounds like a lower register Dave Gahan in SOULSAVERS mode crossed with a less Teutonic Till Lindemann and his larynx has a rich body which is unusual for a sub-genre known for its shouting.

Despite ELECTRICITYCLUB.CO.UK’s editorial not being big on industrial or futurepop, love is being belatedly thrown on one particular track ‘It’s Dark’ which first sprung in March of this year with a wonderfully creepy video directed by Fredrik Karlsson and starring Hasse Blomkvist.

Menacing like MECHANICAL CABARET’s excellent ‘Meat Closet’ but with broader textural palettes and accessible melodic counterpoints, it lifts enormously in the chorus showcasing the trio’s ability to play with dynamics.

The parent album ‘For The Long Gone’ is an enjoyable listen and fans of DE/VISION, COVENANT and VNV NATION will like TITANS. The vibrant electronic backing from Fredrik Mattsson and Jimmy Svensson is well produced, energetic without being bombastic and tuneful without being twee.

The foreboding synth atmospheres of ‘All There Is’ are reminiscent CAMOUFLAGE while the Olympian effort of ‘For The Long Gone’ could be ULTRAVOX meeting RAMMSTEIN for an electronic collaboration. ‘Dried Out’ is more EBM and is NITZER EBB without the blaring, trancelike in its hypnotism.

The trick TITANS pull off compared to their contemporaries is perhaps their willingness to be multi-dimensional in their sound. The Swedish trio’s self-confessed doompop is very promising and a pleasant surprise to these ears.

‘For The Long Gone’ is released by Progress Productions

The album can be heard on Spotify: http://open.spotify.com/album/07sHZknDCQFfMv5KqnrN7w

http://www.facebook.com/TitansOfficial

Text by Chi Ming Lai
9th September 2012

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