Alan Wilder - Recoil

Recoil

Recoil began in 1986 as a two-track experimental EP. Simply entitled 1 + 2, this collection of primitive demos caught the attention of Mute Records label boss Daniel Miller and was inconspicuously released as a mini-album on 12" vinyl. An album, Hydrology, soon followed in 1988 and both were eventually re-issued by Mute on CD as Hydrology plus 1+2. These early Recoil recordings revealed Alan's position as a pioneer in the newly emerging world of sampling technology and demonstrated how he could turn the Depeche Mode sound around to create something entirely new. Wilder described the project at the time as "an antidote to Depeche Mode; a way to alleviate the frustrations of always working within a pop format".

Almost immediately, Wilder found himself back in the studio to record what would become the most successful Depeche Mode album to date, Violator. It wasn't until the band finally allowed themselves an extended break after the enormously successful World Violation Tour that Alan could return to Recoil—not, however, before agreeing to produce Ebbhead, another album for label-mates Nitzer Ebb.

It was during this time that he cemented a working relationship with lead singer Douglas McCarthy who would return the favour by singing on Recoil's next album, Bloodline. For the Bloodline LP, released in 1991, Wilder recruited guest vocalists for the first time, with further contributions from Toni Halliday and Moby helping to produce an album that demonstrated his ability to concoct slow-burning soundscapes drenched in drowsy paranoia.

Electro Blues for Bukka White featured long-gone disembodied blues-man Bukka White muttering and wailing underneath an eastern drone that both eulogised and ignored him. Like the rest of Bloodline, the effect is disconcerting but ultimately very moving. The recordings also marked the first Recoil single, a cover of Alex Harvey's song "Faith Healer".

Between 1992–93 Wilder resumed his Depeche Mode duties as the band recorded the album Songs of Faith and Devotion. Released to universal acclaim, it topped the charts in the UK, US, Germany and a host of other countries. Enjoying hits with "I Feel You", "Walking in My Shoes", "In Your Room" and "Condemnation", Depeche Mode embarked on their most adventurous tour to date, enduring a gruelling fifteen months on the road. Although the group had reached the pinnacle of success, aspects of the lifestyle had taken their toll on everyone and things eventually came to a head. In June 1995, having spent fourteen years as an integral part of one of the most popular and influential bands the UK has ever produced, Alan Wilder made the decision to leave Depeche Mode.

Free from his group commitments, Wilder could now focus solely on Recoil. In September 1996, he began work in his own studio, The Thin Line, gradually piecing together the unnerving scores that would become Recoil's next album Unsound Methods. The final results were more impressive than ever—what emerged appeared to take up where Songs of Faith and Devotion had left off. Guest vocalists this time played a more up-front role than ever and featured Maggie Estep, Siobhan Lynch, the reappearance of Douglas McCarthy, and Hildia Campbell. The styles of each could not be more removed from one another helping to create a startlingly original and diverse collection. The more organic style of Unsound Methods incorporated every imaginable musical genre from trip-hop to gospel, with a recurring theme of obsession in all its manifestations, taking one to the edge of unease, through dark, dub-infected landscapes, reverberating with shivering piano, seductive strings and a deep electronic pulse.

In the spring of 2000, Recoil released Liquid which this time utilised the unique qualities of internationally acclaimed fellow Mute artist Diamanda Galás, 1940s gospel crooners the Golden Gate Jubilee Quartet, along with New York spoken-word performers Nicole Blackman and Samantha Coerbell. The worldwide music press received the Liquid album with a host of glowing reviews and Wilder was awarded a Grand Prix du Disque from the Académie Charles Cros in 2000. Strangely enthralling and genuinely unhinging, Liquid masquerades as the aural equivalent of a disturbing movie. Wilder's intoxicating soundscapes kick up clouds of the same dark dust that falls on David Lynch or Nine Inch Nails, but where others may hammer out their message with histrionic force, his touch is lighter and characteristically more subtle.

Following a five-year break from recording, Alan Wilder returned with Recoil's fifth studio album, entitled subHuman released in July 2007, and recorded using Apple Inc Macintosh computers, Logic Pro software, and a Pro Tools system. Wilder's skill at blending diverse and eclectic musical styles with often controversial subjects has produced an album of complex sonic imagery and expansive dynamic range. Collaborating this time is blues-man Joe Richardson, whose evocative vocal style is complemented by accomplished guitar and harmonica performances. Born in southern Louisiana, Richardson spent years immersed in the murkier side of New Orleans life and offers a unique commentary on conflict, religion, incarceration and personal struggle. English singer Carla Trevaskis, a songwriter in her own right, brings an expressive range and control to subHuman and has worked with artists as diverse as Fred de Faye (Eurythmics), Cliff Hewitt (Apollo 440) and Dave McDonald (Portishead). Says Wilder: "We seem to have learnt nothing from past experiences and our so called 'civilised' world is still awash with personal and global atrocities. From suicide bombings in the Middle East, to ethnic cleansing in the Balkans; from the homophobic rhetoric of the Christian fundamentalist preacher, to the activities of Western governments engaged in their 'war on terror'". SubHuman asks us to reach within ourselves and extract the very essence of what makes us human—and more importantly what allows us to subordinate others, sometimes with the most brutal consequences. "We are all 'subhuman' in somebody's eyes".

In February 2008, Wilder released an open letter on the Side-Line Magazine website, titled "Music For The Masses – I think not". In the article he handles his vision on today's shifting music market and the position of the artist in this. Wilder resides near Horsham, West Sussex, in southeastern England.