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Author Topic: 2000: Recoil's Liquid  (Read 57204 times)

Offline Angelinda

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2000: Recoil's Liquid
« on: 03 April 2012 - 02:34:22 »
This thread contains all news items regarding Alan Wilder's Liquid album in 2000.

Please let me know if you have more news items.
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Offline Angelinda

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Re: 2000: Recoil's Liquid
« Reply #1 on: 03 April 2012 - 02:34:41 »
1998-04-30 - Release Magazine (Sweden) - News

http://www.releasemagazine.net/News/news980430.htm

A report from Alan Wilder's management:
"Alan has again been asked to translate Recoil to the live arena, this time for 2 festivals in Scandinavia. As flattering as this is and as much as he would love to please his fans, Alan feels that the Recoil project is too complex, with it's four different guest vocalists and extended-length tracks, to take on the road. For those of you who may be disappointed, take heart in the fact that one of the main reasons live performance is not possible at the moment, is that Alan's already back in the studio working on the next Recoil album."
Soon the Recoil website "Shunt" opens. We have been asked by Wilder to translate our 3/97 cover story for usage there.
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Offline Angelinda

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Re: 2000: Recoil's Liquid
« Reply #2 on: 03 April 2012 - 02:34:59 »
1998-07-15 - Varazdinske Vijesti (Croatia) - Interview

http://www.elektronskizvuk.com/interviews/recoil.htm

(...)

You work on the new Recoil album. When can we expect this to be released? Any more details on new material or some special collaborations on this new album?
- I have just invested in a new system to allow me to complete an album at the 'Thin Line' rather than having to move my entire set-up to another studio in order to mix. This means I am still in a learning stage but things are coming along. There definitely won't be a release until next year. I don't know about collaborators yet.

(...)
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Offline Angelinda

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Re: 2000: Recoil's Liquid
« Reply #3 on: 03 April 2012 - 02:36:17 »
1998-07-xx - MUTE - Recoil Website

http://web.archive.org/web/19990224053626/http://www.mute.com/mute/news/news.htm

•   Recoil launch an official web site
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Offline Angelinda

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Re: 2000: Recoil's Liquid
« Reply #4 on: 03 April 2012 - 02:36:55 »
1998-08-02 - HALO - News on Recoil

http://web.archive.org/web/19991013120109/http://depeche-mode.com/aw.htm

•  8.2.98 - Alan has completely finished mixing and mastering the album, which is due for release in early 2000.
As soon as we have confirmed exact release dates, we will let you have them and the L.P. title. What we can tell you, is that there are 5 all-new separate vocal collaborations, one or two guest musicians and some extra tracks destined to come your way as a forerunner to the album itself. As with 'Unsound Methods', the design company 'Intro', will be handling the artwork and discussions have already begun in this department. Alan also has plans to visit Barcelona in mid-September for both a well-earned holiday and if possible, some pre-album promotion.
Courtesy of Shunt
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Offline Angelinda

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Re: 2000: Recoil's Liquid
« Reply #5 on: 03 April 2012 - 02:37:54 »
1998-08-15 - Last Sigh (US) - Interview

http://www.lastsigh.com/interviews/recoilint.htm

(...)

Last Sigh:  You have begun work on a new album. How far along are you? When do you expect to release the finished work? And, can you give us any idea of what direction you are moving in musically on the next album, and possibly what vocalists will be involved?
Wilder:  It's far too early to say. I have just invested in a new system to allow me to complete an album at the 'Thin Line' rather than having to move my entire set-up to another studio in order to mix. This means I am still in a learning stage but things are coming along.  Sorry I can't be more specific.
Last Sigh:  Are there any specific musicians and/or vocalists that you have not yet worked with, but hope to collaborate with in the future?
Wilder:  There are a few names floating around, singers I admire etc... but until I have some music in place it's really difficult to say who would be right.

(...)
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Offline Angelinda

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Re: 2000: Recoil's Liquid
« Reply #6 on: 03 April 2012 - 02:38:16 »
1998-09-01 - HALO - News on Recoil

http://web.archive.org/web/19991013120109/http://depeche-mode.com/aw.htm

•  9.1.98 - The new Recoil L.P. will be entitled 'Liquid' and has been set for release in mid-February 2000. A single (title to be confirmed) will precede the L.P. on or around January 31st. These dates are still somewhat tentative and always subject to change. All formats are yet to be finalised but the possiblity of an enhanced CD to include Recoil videos is currently being researched.
'Liquid', written and produced by Alan with additional production and sound design by PK, features nine new tracks and vocal contributions from fellow Mute artist Diamanda Galas, New York performers Nicole Blackman and Samantha Coerbell, gospel singers The Golden Gate Jubilee Quartet and Recoil fan and poet, Rosa M.Torras.
Courtesy Shunt
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Offline Angelinda

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Re: 2000: Recoil's Liquid
« Reply #7 on: 03 April 2012 - 02:38:39 »
1999-02-25 - The Guardian (UK) - Y-fronts and socks

http://www.theguardian.com/technology/1999/feb/25/onlinesupplement7
http://recoiline.free.fr/mags/Guardian.html

Computing and the Net
Y-fronts and socks

Alan Wilder is a musician. Formerly of Depeche Mode, his current preoccupation is a solo project, Recoil

Compiled by Hamish Mackintosh

Are computers important . . . for you? . . . for the world?
For me, essential. For the world, perhaps not. One should retain one's quality of life but not at the expense of progress. Shopping is a good example. Just browsing a virtual supermarket, then sitting back and waiting for some spotty youth to deliver my weekly choice directly to my door has got to be the way forward. However, pottering around your local country deli for some unusual delights should not be eradicated.
What about the Internet? Does it threaten or enhance individual freedom?
It's a paradox. My solo project, Recoil, takes advantage of the Net to spread the word and benefits from fans being able to exchange material (essentially bootlegging); whereas Depeche Mode, my other source of income, needs to take precautions to prevent unauthorised material flying around.
Do you use an Apple Mac or a PC?
Strictly Mac, because that's where I started (best for music). I use a 9600 with two 21-inch monitors for music running Digidesign's Pro Tools Z24 [a 24-bit, 32-track digital music studio] (and nothing but music-related software is installed). For the office and Web site, I use a G3 and a 7600 with 17-inch monitors.
What do you use the machines for?
Primarily making music but also running a Web site (www.recoil.co.uk). No games. I have a strong aversion to Sonic The Hedgehog.
Any favourite software, and anything you'd like but can't have yet?
Logic Audio and Recycle for music; and Go Live Cyberstudio and Photoshop for Web design. And no! Any favourite spots on the Net? Stories of foreign objects lodged in the body along the lines of 'I was Hoovering my signal box in the nude when I tripped over the dog and accidentally sat on the kettle . . .' complete with X-rays and full medical jargon (www.well.com/user/cynsa/newbutt.html); to translate anything into 'Saaf Lahndahn', 'Redneck', Swedish and more (www.rinkworks.com/dialect/); The Citroen DS- An Homage to the Goddess (www.id-ds. com/Pages/the.godess.htm); Anton Corbijn Photographer (www.photogenic.net/corbijn/index.html); Lord's (http://lords.msn.com/scoreboard/scores/default.htm); and Mouth Almighty Records - Bringing the Muse to Market (www.mouthalmighty.com/index.htm).
Do you get into dialogues with strangers on the Net? Yes, a little. I quite enjoy talking to faceless people on occasion. Perversely, it can be a freeing experience.
Do you use your own name when surfing?
Generally, no. I prefer Norman Gland or Dr Feschel.
Spend long at the terminal?
Yes, an unreasonable amount of time. I'm taking fresh air therapy at the moment.
Are you a geek? Got any favourite geeks? Yes, I sit up late into the night, writing e-mails wearing nothing but Y-fronts and socks. Stephen Hawking (a Recoil fan, so he says :-).
On a desert island, would you prefer a human or a computer for company?
A human. I'm not quite that sad.
Professionally, what's taking up your time? Making a new Recoil album - on a computer. And running a Web site - on a computer.
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Offline Angelinda

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Re: 2000: Recoil's Liquid
« Reply #8 on: 03 April 2012 - 02:38:57 »
1999-03-20 - The Guardian (UK) - Pillow Talk

http://www.guardian.co.uk/theguardian/1999/mar/20/weekend7.weekend7

Pillow talk
We spend a third of our lives in bed. It is one of our most private spaces. What better reason to ensure function and style are happily married? Lesley Gillilan asks three families how they sleep
 
Musician Alan Wilder’s "brutally contemporary" Hover Bed looks like something out of a low-budget, sci-fi fantasy (Red Dwarf, perhaps, or Blake’s Seven). "What I look for in a bed," says the former member of pop group Depeche Mode, "is sleep, sex and aesthetics - the bed has to look good." He and partner Hepzibah Sessa snooze under a rubberised duvet, framed by polished aluminium panels, their heads resting on neoprene.

Hal and Sophie Currey (he’s an architect; she’s a dance promoter) sleep on a simple unit of modern furniture - maple frame, sprung beech slats - designed by Andrew Stafford. Called the B&B, it has an adjustable headboard that, according to Stafford, provides "the ultimate in comfort when reading or taking breakfast in bed". The Curreys’ family-size bed sits in an ocean of colourless space and is dressed from head to foot in white. "Bed-linen has to be white," insists Sophie.

Fashion designer Harriet Gubbins (she describes herself as a "modern couturier"), sleeps in a fuchsia-pink cube between her wardrobe and the skylight. Basil, a Jack Russell with a hint of corgi, sleeps on the floor in his own "pinky-red, velour bed". Bedroom accessories include boyfriend (he’s a stockbroker), doggy cushions and a plastic, beaded chandelier.

These personalised dreamlands are, like most bedrooms, complex individual spaces. They all feature basic bed-shaped beds - a classic example of form following function - but are customised, accessorised, dressed up to become an expression of its owner’s night-time "lifestyle". And, despite appearances, they all demonstrate a common-sense approach to the essential elements of a sleep survival kit.

The first rule of sensible bed-buying is to forget fun and fashion (for the time being) and think sprung interiors; think posture support; think decent mattress. A saggy old mattress can cause back and neck problems; an ill-ventilated mattress soon becomes a soggy one (the body loses up to two pints of perspiration per night).

There are lots of decisions to be made (single- or double-sprung, pocketed springs or open coil, natural, man-made or non-allergenic, etc). The Osteopathic Information Service suggests sleeping around a few showrooms before making them ("Don’t be embarrassed to lie on the bed for 20 minutes or so").

The best of the really decent mattresses can, however, require the kind of investment that causes sleepless nights. A standard double mattress, hand-made by Heal’s (pocket-sprung, "teased from the finest-quality cattle and horse hair", wrapped in cotton ticking), costs just over £2,150.

But there are affordable alternatives: Habitat’s most expensive pocket-sprung, king-size mattress sells at £429, and Ikea does a Sultan Superb 160cm model at £385.

Mattress thus dealt with, you can start thinking bed base, duvet, pillows, and what Ikea calls "bed textiles". And here’s where the fun begins. "People, especially young people, are much more bed-conscious these days," says Anne Notely, founder of The Iron Bed Company (catchphrase: "For a healthier sex life, you need more iron"). "Notionally, they are not just for sleeping in; you might go to bed with your laptop, the telephone, or invite your friends in for tea. The bedroom has become a more sociable area of the home."

The company’s best-seller is the American Gothic model (metallic minimalism with a lancet arch).Other vogue-ish bedroom looks include Shaker, Japanese and, in the single-bed department, ex-NHS. Habitat’s best-seller is the Tasman, another simple, wrought-iron number (£349); Purves & Purves sells a lot of upholstered beds (you choose the fabric) at around £1,600. Ikea does an alder-finish, wooden bed-frame for £199, and a basic, untreated softwood Bialitt for only £99.

Looking for something different? Heal’s suggests a Wave Bed: with wild, wavy headboard in dark "wenge" woodstain and a built-in compass for feng-shui orientation (£1,849). Liberty suggests Forge Ahead’s Fantasy Entwined model (sweeping head-piece in twiddly, hand-forged iron). Purves & Purves offers Adrian Reynolds’ Crystal Ball bed (ground-steel frame, said balls held in hand-wrought metal wraps).

But nobody offers anything quite like Alan Wilder’s low-rise Hover Bed - a one-off, designed by Russell Bagley of Box Products. The starting point was a king-size orthopaedic mattress that slots into the aluminium frame. The rubbery cotton duvet was designed to fit the bed exactly.

"An overlapping duvet ruins the aesthetic," says Wilder, who now writes and produces music. There is no denying that the Hover has a striking aesthetic, but both bed partners admit that it’s not the most comfortable of things to sleep in - especially if daughter Paris is around. "If you extend your leg beyond the duvet, you tend to hit cold metal," explains Wilder.

It was size limitations that prompted Hal and Sophie Currey to refurnish the bedroom; and to escape "the agony of squishing four people into one standard bed". They had managed with a threesome but, when two-year-old Hannah’s sister, Ellen, was born, so was the need to upgrade to a super-king-size. They’d had their eyes on an Andrew Stafford bed for a year before deciding that desire had given way to need. "It is a beautiful thing," says Sophie. "So crisp and clean, and big without totally swamping the environment."

A Stafford bed comes flat-packed, and the standard finish is blond wood, but the Curreys ordered it in "architect’s white" - to go with the architect’s all-white house (Hal works with Richard Rogers). They added a "super luxury" hand-made mattress by Big Table (£390). Sophie says she’s never slept in bed that makes her feel so special: "We really look forward to going to bed." Hannah loves it, too. She uses it as a trampoline.

Aside from the supportively tilting headboard - "None of that leaning on your elbow when you are trying to read" - it’s that extra foot of space, says Sophie, that makes it a luxury bed. "It doesn’t matter which way I lie in it, my feet don’t touch the end - and duvet tussles are a thing of the past."

Harriet Gubbins could barely fit a standard 4.6ft divan into her small bedroom. Her home (similarly theatrical, though not quite so pink as her equally tiny shop in London’s Chelsea Green) was a video shop before she converted the space into a two-room "palace" with room for her Heals bed, but not much else. "With a wardrobe in there as well, I would have been left with a foot of space to move around in," she says.

The solution (and a good one for all spatially-challenged bedrooms) was to build a platform, high enough to store a rail in the space beneath and strong enough to support her mattress. The whole ensemble also includes a short flight of steps (handy for displaying shoes), a shelf recess at pillow level, a bit of casual drapery, and bed clothes of the well-dressed variety.

Current trends in bed-wear are almost as capricious as fashion clothing, often involving the same names. What's your’s wearing? Ralph Lauren’s cottagey florals, Debenham’s polycotton auber-gine sateen with co-ordinating Pashmina throw? According to Habitat, the big fashion story in spring-summer bed-wear is graphic colour: fuchsia, papaya, watermelon and lilac. Ikea is big on blue splodges. Red roses are popular, too. The Conran Collection offers its popular Carnival co-ordinates (herringbone candy stripes, £49 for a king-size duvet cover) and classic white linens (£145).

White bed-linen, one might say, is the little black dress of bed-clothing. "And they have to be cotton," says Sophie Currey, adding that white cotton "duvet protectors" from John Lewis are half the price of a duvet cover and just as good. Even Harriet Gubbins (who "lives for colour") says she couldn’t sleep between coloured sheets. "White’s so fresh and clean - and strangely comforting," she says. "I wish mine were old and linen. But coloured? Never."
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Offline Angelinda

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Re: 2000: Recoil's Liquid
« Reply #9 on: 03 April 2012 - 02:39:15 »
1999-05-xx - Recoil - Secrets of the Dead

http://recoil.co.uk/oldside/report/bullet/secrets.htm

SECRETS OF THE DEAD      
         In May 1999, Alan was commisioned to write and produce the music for the opening titles of a 6 part Channel 4 documentary series dealing with the world of forensic science. Entitled 'Secrets Of The Dead', the visuals were supplied by the design company Intro, and the first programme was aired on 29th June.
We are aware that some people have been confused about the extent of Alan's contribution. As it states above, Intro were commissioned to provide the opening titles only and asked Alan to produce the music that accompanies them. He was not responsible for the incidental music or end titles. The sequence itself is a mere 30 seconds long - standard length for programmes of this kind.

Download ' Secrets Of The Dead'
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Offline Angelinda

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Re: 2000: Recoil's Liquid
« Reply #10 on: 03 April 2012 - 02:39:34 »
1999-08-20 - Depechemode.ee (Estonia) - Alan Wilder's exclusive interview

http://web.archive.org/web/20030623060827/http://www.depechemode.ee/ENG/Recoil/index_rec.html
http://web.archive.org/web/20010418171036/http://depechemode.ee/RUS/Recoil/index_rec.html

Somewhere in June 1999 I asked Alan for an interview for my site. We agreed to record it later same year, also we agreed that I won't ask too much questions about new album - Alan didn't want to reveal his secrets before official promotion starts. This was the very first interview Alan gave to Recoil fansite. Here is the transcript of that interview...

Ilja Judeikin: So, the work on the album is completed. Congratulations! The release date is postponed until 2000, though in the beginning it was planned, that it will appear this year. Why? Is it connected with your intention to prove yourself in 2000 or it happened only for technical reasons?
Alan Wilder: I ran over schedule. I was hoping to be finished by end of May but it took another six weeks which didn't leave enough time to turn everything around. Artwork, videos etc. I think it is much better to wait until after the millenium celebrations when there will be so much competition anyway. Projects like Recoil my be swamped in all the madness. This way, we have more time and space to try to get everything right.

IJ: Do you set any preliminary terms, when you start working at a new material? As far as I understand, there aren't any restrictions on the part of Mute .
AW: Mute give me a completely free reign. I make it up as I go. Sometimes I have a basis of an idea but it always changes as things progress.

IJ: If you feel, that you're pressed for time, do you try to hurry yourselves, or consider, that it only will damage the final material?
AW: One needs a deadline to work towards otherwise you can go on forever but I wont rush to complete something if I don't feel it's right. We have a saying: "It takes as long as it takes."

IJ: I've such a feeling, that the market will be simply oversaturated in 2000, in my opinion, all musicians would like to release something to such a historic date. It's not the 21st century yet, certainly, but nevertheless. What do you think?
AW: As I said above it's more sensible to wait.

IJ: What amount of compositions you consider optimum for an album? And whether their order is important for creation of the certain impression and mood during and after listening?
AW: The general feeling is that anything much more than 1 hour is too long. People start to switch off. So I try to keep to that idea but individual tracks can be any length as long as they work for me. The running order is extremely important to the overall feel and balance of an LP. Obviously, if we are doing a single for radio, we will edit down to between 3 and 4 minutes if possible.

IJ: And how many compositions will be on your new album?
AW: Nine.

IJ: You have a huge collection of CD's. And how about the vinyl-records? And whether you adhere to the opinion, the sound on a vinyl is more "alive", and the design looks more beautifully?
AW: I have a massive CD collection and quite a large vinyl collection. I have a soft spot for vinyl and at this point, analogue still sounds better than digital. I hope to release the new LP on vinyl as with the last one. The artwork always looks much better in that format of course.

IJ: And still a question about records - whether is among them some autographed stuff, and if there is, by whom it was autographed? Were these disks sent by musicians concerning any events or dates on their own free will, or you asked them to sign?
AW: I don't collect autographs.

IJ: Promo releases. In one of your former answers you told, that it was inviolable territory of the record-company. And still, do they consult with you before to include this or that mix or composition in a promo?
AW: After the record is finished, we discuss everything with the Record Company. We don't always agree about exact release planning but usually we work out a mutually workable strategy.

IJ: Why in your opinion the mixes from promo releases are not included in official releases sometimes? What makes the record companies acting like that in such cases? What do you consider, whether it is fair relative to the fans - you see, not everyone can get a rare material for the large money?
AW: Any number of reasons - sometimes they are not very good! Or perhaps they are only designed to work in a club situation. There are many different circumstances concerning promo items. Usually they are made for media / radio / TV people to try and get them 'vibed up' for a forthcoming release. They are not intended for release.

IJ: How is the Radio Edit from a composition made? Who is usually responsible for it? And whether you have the first right on the approval of the version for radio air play?
AW: I do my own radio edits. It is most easily done in Protools or some similar digital editing format.

IJ: A question concerning bootlegs. Whether are they anyhow a promotion for groups, or all the same they do only harm. One thing, when the fans write and vary, but it's absolutely another situation, when a bootleg is factory-made. I do not think, that the management of groups is absolutely not in the know about such releases. And if it was considered as forbidden and illegal business, would it be really possible to release bootlegs in such editions? What do you think on the occasion - are there more advantages or disadvantages?
AW: I have no real problem with bootlegs because they don't really harm normal record sales. Only the die hard fans buy them and I think most people expect that the quality wont be as good as a studio produced record.

IJ: Frequently listening to music, one can notice, that he had met the melody earlier already. In many cases we deal with plagiarism, but I, for example, think, that it often happens, that to different people come identical sounds into their mind. Is it possible, or do you think that music is such an area, where the repetitions are unreal?
AW: Most music is derived or influenced by what has gone before. Even the great classical composers stole from one another. It is part of what makes music interesting. One thing leads to another. One trend leads to another. How many pieces of truly original music can you name me?

IJ: On your website in the Internet you have announced, that you will go in September to Barcelona. Whether you are afraid, the fans will go by crowds searching you there? :-)
AW: They wont know where I am staying;-)

IJ: How do you choose a place for the rest in general? Why, for example, Barcelona. And why then Capetown, where you've already been? Why don't you go there, where you haven't been yet? Whether there are any especial arguments in favour of this or that place?
AW: I know it is an exciting city but I've never had the chance to explore it. And it's warm, we have a great hotel and I'm looking forward to a nice break. I will have my new powerbook with me though so I can keep an eye on Shunt.

IJ: You are very respectful to the fans, you constantly communicate with them, they can contact you, being sure, that you will answer and so on. What depends it on? Why in your opinion some musicians are accessible to the fans, and it is simply impossible to approach to another?
AW: The internet allows me to communicate with fans at my own discretion. It is also a very important tool for keeping up the awareness of Recoil. I can't always rely on Record Company promotion and many people can't find out about Recoil other than the web, so I like to be there for those that are searching for information. There will be even more emphasis on the internet side of things in the future.

IJ: Whether you plan to let out a fanzine? Do you think, the dialogue with the fans through the Internet is quite enough?
AW: I think it's enough - more and more people are on-line these days.

IJ: My favourite subject - question about the lyrics to Electro Blues For Bukka White :) Whether you tried sometimes to decipher words, listening, for example, to this composition in headphones? And whether you've been tormented some years of an idea, that you don't know, what White was singing there about? Whether you asked, for example, Hep to help you to understand?
AW: I quite liked not knowing exactly what he was saying. Somehow it's more magical that way. But it was good to get the actual words from you after such a long time to see where I'd been hearing it wrong.

IJ: Whether was the absence of words to this song the reason, that there were no words to other compositions in the booklet to the album ? You see, it was impossible to write, that there were no lyrics at all.
AW: No, that wasn't the reason. I like people to use their imagination. Although for the new LP, I think we are going to print the lyrics.

IJ: Does a situation happen to you sometimes, when you go along the street, and suddenly a good melody comes into your mind - what do you do? Do you go at once to your studio, or you are sure, you've fixed it well and there is no fear to forget it?
AW: I just keep it in my head, doesn't happen very often;-)

IJ: And whether such things come in a sleep? If yes, whether it was sometimes necessary for you to wake up to write anything down, before the music escaped from your mind?
AW: I have written symphonies in my sleep! All forgotten of course.

IJ: And the last question: whether you play sometimes on the drum set amusing yourself? Whether you miss the stage and a large crowd at the stadium? Whether do you have sometimes a strong desire to perform live?
AW: No desire to perform live but I do sometimes play the drums although not as much as I would like. I don't seem to find the time.

IJ: Thank you very much for the interview! I wish you a great success with your new album!!!
AW: You're welcome.
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Offline Angelinda

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Re: 2000: Recoil's Liquid
« Reply #11 on: 03 April 2012 - 02:40:00 »
1999-08-xx - Depeche Mode Friends (Czech Republic) - Alan Wilder interview

http://depechemode.cz/prilohy/zapisy/halo_20.pdf
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Offline Angelinda

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Re: 2000: Recoil's Liquid
« Reply #12 on: 03 April 2012 - 02:40:22 »
1999-09-01 - Shout (Russia) - Recoil News

http://www.oocities.org/sunsetstrip/club/9952/p1_9_e.htm#2

•   01.09.99 - NEW RECOIL ALBUM - Release date set.
As reported on the official Recoil site, the new Recoil L.P. will be entitled "Liquid" and has been set for release in mid-February 2000. A single (title to be confirmed) will precede the L.P. on or around January 31st. These dates are still somewhat tentative and always subject to change. All formats are yet to be finalised but the possiblity of an enhanced CD to include Recoil videos is currently being researched. 'Liquid', written and produced by Alan with additional production and sound design by PK, features nine new tracks and vocal contributions from fellow Mute artist Diamanda Galas, New York performers Nicole Blackman and Samantha Coerbell, gospel singers The Golden Gate Jubilee Quartet and Recoil fan and poet, Rosa M.Torras.
Extra musicians include Curve's Dean Garcia (additional bass) and Steven Monty (drum sources), Merlin Rhys-Jones (guitar sources) from Ian Dury's Blockheads and Hepzibah Sessa (violin, backing vocals). As with 'Unsound Methods', the design company Intro has been commissioned to co-ordinate the visuals and discussions are already underway in this department.
•   Recoil-news
The official Recoil site has announced that Alan Wilder has completely finished mixing and mastering the album, which is due for release in early 2000. According to the page there are 5 all-new separate vocal collaborations, one or two guest musicians and some extra tracks included in the album. The extra tracks are "destined to come your way as a forerunner to the album itself." Alan confirmed this by saying that "a little taster of the album will (hopefully) be released before the Millennium rush - an MP3 perhaps." A few artist names thrown around on the official Shunt and Bong mailinglists are David Gilmore, Diamanda Galas and even David Gahan, although this last option is no option according to Alan Wilder.
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Offline Angelinda

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Re: 2000: Recoil's Liquid
« Reply #13 on: 03 April 2012 - 02:43:37 »
1999-10-20 - Shout (Russia) - Non-confirmed Liquid tracklisting (new Recoil album)

http://www.oocities.org/sunsetstrip/club/9952/p1_9_e.htm#8

•   20.10.99 - * Non-confirmed * Liquid tracklisting (new Recoil album):
Black Box Intro
Want
Jezebel
Breath Control
Last Call for Liquid Courage
Courage
Strange Hours
Arab
Supreme
Chrome
Black Box Outro
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Offline Angelinda

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Re: 2000: Recoil's Liquid
« Reply #14 on: 03 April 2012 - 02:44:01 »
1999-10-21 - Shout (Russia) - NEW MUTE COMPILATION CD

http://www.oocities.org/sunsetstrip/club/9952/p1_9_e.htm#9

•   21.10.99 - NEW MUTE COMPILATION CD........includes Recoil track.
A brand new Recoil track (from the forthcoming LP 'Liquid') has been included in the following release on Mute - 14 Irregular Files - A Mute Accumulation. Full track listing:
1.   Add N To (X)   Skills
2.   Appliance   Soyuz
3.   Echoboy   Canada
4.   Komputer   Intercom 2
5.   Luke Slater   Hard Knock Rock
6.   Moby   Find My Baby
7.   NON   Solitude
8.   Pan American   Track One
9.   Recoil   Chrome
10.   Richie Hawtin   Excerpts from Decks, Efx & 909
11.   Simon Fisher Turner   Eyes Open
12.   Slick Sixty   The Wrestler
13.   The Clarke & Ware Experiment   Disappearing Breakthroughs
14.   The Jon Spencer Blues Explosion   Heavy (Remix, Radio Edit)
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