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Author Topic: 1997: Recoil's Unsound Methods  (Read 27024 times)

Offline Angelinda

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1997: Recoil's Unsound Methods
« on: 20 April 2012 - 23:22:24 »
This thread contains all news items regarding Alan Wilder's release of Unsound Methods.

When Alan started promoting this release, his official website was not online yet. And considering it's the year 1997 that we're talking about here, I cannot find many news items about this release. However, many reviews were uploaded on Recoil's official site about a year later.

Except for the HQ TV recordings that appear on DMTVA's Recoil DVD, we have no other audio/video files. Please check the Media Recordings thread for the full list: http://www.dmtvarchives.com/forum/index.php?topic=394.0

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

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Re: 1997: Recoil's Unsound Methods
« Reply #1 on: 20 April 2012 - 23:23:10 »
1994-09-24 - Melody Maker (UK) - Alan Wilder: Ten Seconds from Death

[Thanks to Marblehead Johnson for the scan.]



http://recoiline.free.fr/mags/MelodyMaker1996.html
http://web.archive.org/web/20051217020127/http://www.tcn.net/~pcyopick/alamode/alamode2/alan.htm

Alan Wilder: Ten Seconds from Death

DEPECHE MODE'S Alan Wilder narrowly escaped death when an RAF Tornado plane crashed into a hillside near Lochearhead, Perthshire, in Scotland on September 1, killing the two airmen on board. Wilder was showered with debris which scattered across the A85 trunk road after the plane crashed some 200 yards away from his open-topped car. The impact left a 20-yard crater near the road.
Wilder has now issued a statement giving his account of the tragedy, as follows: "As I approached a sharp bend in the road, the sound of the Tornado appeared behind me, and as I looked up, the underside of the aircraft was no more than 50 feet above me. To my astonishment, the plane had crashed beside the road into the glen about 200 yards ahead. Apparently it had been travelling at approximately 400 miles per hour. "As I swerved off the road into a farm track, I heard the sound of the impact and witnessed an enormous explosion from which the smoke and debris almost engulfed me." "Another witness ran to call the police as I drove around the bend towards the site. At the same time, particles of carbon etc., began to rain down on to the open top car. Beyond the bend, parts of the dead airmens' bodies were clearly visible in the road (i.e. parts of a seat belt with "guts" attached, lumps of gore etc.), a parachute, burning shrapnel and a strong, sweet smell of fuel.
After the police arrived, I decided to leave the scene to avoid delay as many cars had arrived, and there was nothing further to do. It was only at this point I realized what an incredible escape I'd had. I would surely have been killed or, worst, severely maimed, had I been 10 seconds further into my journey. "The most incredible thing is the one in a billion chance of that happening and me being there at that particular time given all the circumstances."
The MOD later named the dead airmen as 33-year-old navigator Patrick Harrison and Pilot Flight Lieutenant Peter Mosley, 31. They had been on a routine training Flight From RAF Norfolk when the accident happened.

[More information:
http://www.ukserials.com/pdflosses/maas_19940901_zg708.pdf
http://www.heraldscotland.com/sport/spl/aberdeen/tornado-death-crash-two-killed-as-tornado-hits-hillside-1.487002 ]
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Offline Angelinda

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Re: 1997: Recoil's Unsound Methods
« Reply #2 on: 20 April 2012 - 23:23:32 »
1995-06-01 - Mute - Alan Wilder leaves DM

http://www.tuug.utu.fi/~jaakko/dm/alan.html

Taken from Mute Liberation Technologies
http://www.mutelibtech.com/mute

We are very sorry to have to inform you that Alan Wilder has decided to leave Depeche Mode after over 13 years. The band have no plans to replace Alan and Martin is currently writing new material. Martin, Dave and Fletch intend to continue as Depeche Mode.
The above is a statement from Mute, we will keep you updated with any further announcements and news both here at the web space and also at the FTP/Telnet/BBS site, where, if you wish to discuss this news, there is the Depeche Mode forum. Follow the link to the MLT info to see how to log onto there.

There is now an official statement from Alan posted on the Mute FTP site. It reads:
ALAN WILDER STATEMENT
"Due to increasing dissatisfaction with the internal relations and working practices of the group, it is with some sadness that I have decided to part company from Depeche Mode. My decision to leave the group was not an easy one particularly as our last few albums were an indication of the full potential that Depeche Mode was realising.
Since joining in 1982, I have continually striven to give total energy, enthusiasm and commitment to the furthering of the group's success and in spite of a consistent imbalance in the distribution of the workload, willingly offered this. Unfortunately, within the group, this level of input never received the respect and acknowledgement that it warrants.
Whilst I believe that the calibre of our musical output has improved, the quality of our association has deteriorated to the point where I no longer feel that the end justifies the means. I have no wish to cast aspersions on any individual; suffice to say that relations have become seriously strained, increasingly frustrating and, ultimately, in certain situations, intolerable.
Given these circumstances, I have no option but to leave the group. It seems preferable therefore, to leave on a relative high, and as I still retain a great enthusiasm and passion for music, I am excited by the prospect of pursuing new projects.
The remaining band members have my support and best wishes for anything they may pursue in the future, be it collectively or individually."
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Offline Angelinda

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Re: 1997: Recoil's Unsound Methods
« Reply #3 on: 20 April 2012 - 23:23:57 »
1997-08-09 - Channel 4 (UK) - Teletext

http://web.archive.org/web/19990128171440/http://commline.com/recoil/

This was on Channel 4 (UK) Teletext page 481:
"Former Depeche Mode keyboardist Alan Wilder is returning with his solo project Recoil. - Wilder, who left the Mode in 1995 after attacking their drink and drug abuse, has teamed up with former Nitzer Ebb frontman Douglas McCarthy, artist Maggie Estep and gospel singer Hildia Campbell for a new LP called Unsound Methods. - Newcomer Siobhan Lynch will debut on the band's first single Drifting."
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Offline Angelinda

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Re: 1997: Recoil's Unsound Methods
« Reply #4 on: 20 April 2012 - 23:24:36 »
1997-09-05 - Mute - Mute Unsound Methods Press Release

http://web.archive.org/web/19971009021230/http://www.depeche-mode.com/aw.htm
http://web.archive.org/web/20010714110709/http://www.commline.com/recoil/albums/UM/muteinfo.html

Unsound Methods
The New Recoil Album
Incubus / Drifting / Luscious Apparatus / Stalker / Red River
Control Freak / Missing Piece / Last Breath / Shunt
Courtesy Mute Records
"Ultimately, everything I do tends to have a dark, menace about it," says Alan Wilder. "It has to have substance and atmosphere, to be able to send a shiver up my spine. Otherwise I'm just not interested."
Welcome to Recoil, where the dark recesses of Alan Wilder's mind get music's equivalent of cinemascope treatment. During the nine haunting and sultry tracks that comprise 'Unsound Methods', we are taken to the edge of unease, through dark, dub infected landscapes, reverberating with shivering piano, seductive strings and a deep electronic pulse.
Guest vocalists Siobhan Lynch, Maggie Estep, Douglas McCarthy and Hildia Cambell conspire with the former Depeche Mode man to forage through a jungle of imagery invoking fear, paranoia, longing and lust in equal measures. "There's an underlying strangeness to it all," Wilder agrees. "If there is a theme, it's something to do with psychological damage." Never had a record so apt a title.
'Unsound Methods' is the first fully fledged Recoil LP to which Wilder has been able to devote all his creative energies since leaving Depeche Mode in 1995. Assembling the unnerving scores in his home studio, he gradually pieced together the music and ideas for every track before drawing each collaborator into his net of intrigue. "Most of the tracks emerge in this way, with a loose concept which I will offer to the various singers that they can then elaborate on. Rather than starting with a completely blank piece of paper, they're being asked to write something that evokes a particular feeling, without imposing any more than that. I think that everyone I work with likes having that framework."
Douglas McCarthy, the former Nitzer Ebb singer, opens the album with 'Incubus', whose mood was inspired by Francis Ford Coppola's film 'Apocalypse Now', and includes a few lines of dialogue from it. "The uncanny thing is that Doug naturally sounds exactly like Martin Sheen" grins Wilder. McCarthy goes on to further his Mr Hyde act in the self-explanatory 'Stalker'. "That's Doug wearing his dirty raincoat."
Maggie Estep, who performs on 'Luscious Apparatus' and 'Control Freak', is a spoken word artist from New York. "Actually, I'd been searching for a rapper who was a bit different. Then the idea of Maggie came up," he explains, "she was just what I was looking for, her words are quite edgy and unconventional and as it turned out, her style was much more suitable than a rapper anyway."
Siobhan Lynch came to Recoil on the strength of a demo. "Her material was very stark, just an acoustic guitar and vocal, which I found really refreshing. You could hear every nuance of her voice, all the emotion," reflects Wilder. "I was looking for someone who'd be equally different to Doug and Maggie. Siobhan's tracks are more ambiguous than theirs. The subjects are a bit looser." She sings on 'Missing Piece' and the forthcoming single 'Drifting' which has more of an indeterminate theme. "I felt it could be about somebody who's slightly lost and lonely and I just asked Siobhan to write what she thought."
Completing the Recoil guest-list is Hildia Cambell, who provides the cold, cold blues on 'Red River Cargo' as well as the sensuous 'Last Breath'. Wilder has worked with her before during his time in Depeche Mode. "Hildia is one of the gospel singers who sang on the 'Songs of Faith and Devotion' LP and tour. She required a different approach because I really wanted her to reproduce ideas I already had. I didn't ask her to write her own lyrics as such." Both these tracks feature extracts from old gospel and blues songs.
Along with the tripnotic instrumental 'Shunt' that completes the LP and alternative remix contributions from Flood (Depeche Mode and U2), U.N.K.L.E., Barry Adamson and Panasonic, 'Unsound Methods' makes for a diverse and eclectic collection.
Working in this unique way has afforded Wilder far greater freedom of expression and creativity. This has obviously inspired him. He sees the possibilities now as endless. "This LP has clearly moved on from anything I've done before," Wilder considers, "and it's significantly different to any previous Recoil release. I think it's a perfect situation for me, being able to work with lots of different people. It's a project that really could go anywhere and be anything and I like the fact that it just keeps evolving and changing all the time. Recoil is no longer a side-line."
In the meantime, 'Unsound Methods' makes a startlingly original introduction to Recoil's heart of darkness.
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Offline Angelinda

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Re: 1997: Recoil's Unsound Methods
« Reply #5 on: 20 April 2012 - 23:26:54 »
1997-09-05 - Mute - Single press release

http://www.recoil19.net/RECOIL//Sec04/DriftingMiscellaneousPress.htm
http://web.archive.org/web/20010714110709/http://www.commline.com/recoil/albums/UM/muteinfo.html




http://web.archive.org/web/19971009021230/http://www.depeche-mode.com/aw.htm

Drifting
The New Recoil Single - Released October 13, 1997

Recoil, the brainchild of former Depeche Mode man Alan Wilder, release a new single on Mute on October 13. Entitled 'Drifting', the single will appear on CD and 12-inch formats. A marked detour from the dramatic pop that Wilder helped fashion in his Depeche days, Recoil inhabits a cinemascopic domain taking us to the edge of unease, through dark, dub infected landscapes, reverberating with shivering piano and a deep, electronic pulse.
'Drifting' will appear with the following track listing:
CD (CDMute209)
Drifting    
Drifting    Poison Dub
Control Freak    Barry Adamson Remix
Shunt    Panasonic Mix
12-inch (12Mute209)
Drifting    Poison Dub
Control Freak    Barry Adamson Mix
Shunt    Panasonic Mix
'Drifting' combines a haunting and hypnotic groove with the desolate and vulnerable vocals of Siobhan Lynch, who came to Recoil on the strength of a demo tape. Says Alan Wilder: "Her demo was very stark, just an acoustic guitar and her vocal. You could hear every nuance of her voice, all the emotion."
Meanwhile, 'Control Freak' is given a frenetic reworking by Barry Adamson while Panasonic take the nightmare soundtrack of 'Shunt' into a parallel dimension. Wilder's own 'Poison Dub' boasts additional vocals from former Nitzer Ebb frontman Douglas McCarthy.
All tracks are taken from the forthcoming Recoil LP 'Unsound Methods', which will be released by Mute on October 27. As well as Siobhan Lynch and Douglas McCarthy, the album features New York-based spoken word artist Maggie Estep and gospel singer Hildia Cambell. "If there is a theme to the entire record," says Wilder, "it's one of psychological damage."
Prepare to enter Recoil's heart of darkness.
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Offline Angelinda

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Re: 1997: Recoil's Unsound Methods
« Reply #6 on: 20 April 2012 - 23:27:24 »
1997-09-12 - Recoil - GLR

http://recoil.co.uk/oldside/media/indust/out.htm

We have presented 'Drifting' to all producers and DJs and gave the EP to all specialist shows. The general consensus in the production office was that it was brilliant! Bernie Caffrey who's standing in for Matt Hall (Pete Curran / Andrea Oliver producer) absolutely loves it and played it on Andrea's show on Thursday afternoon. She will be producing Katie Puckrick (Curran's stand-in) next week and said she would put it in one of her shows and would also rave about it to Jon Myer who heads the playlist.

Phil Wilding thinks it's great and wants to play it this weekend, either on Saturday's breakfast show or Phil Jupitas.

Miles Mendoza who will be the stand-in producer for Andrea Oliver next week, also thinks 'Drifting' is great and said he will programme it next week.

Patrick, Bob Harris' producer, said he really liked it and would ask Bob his thoughts this weekend. We spoke to Kim who works on the Laura Lee Davies show and she thought she may have played 'Control Freak' on last night's show.
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Offline Angelinda

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Re: 1997: Recoil's Unsound Methods
« Reply #7 on: 20 April 2012 - 23:27:51 »
1997-09-12 - Recoil - Radio One

http://recoil.co.uk/oldside/media/indust/out.htm

OUT PROMOTIONS   

We have seen Alison Howe (John Peel producer) several times regarding Recoil and have given John both the 'Luscious' Promo, the 'Drifting' Radio Edit last week and the EP this week. He played 'Shunt' on Tuesday and we have heard that he also played 'Luscious Apparatus'.
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Offline Angelinda

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Re: 1997: Recoil's Unsound Methods
« Reply #8 on: 20 April 2012 - 23:28:36 »
1997-09-23 - P3 (Sweden) - Alan Wilder radio interview by Henrik Wittgren

[This interview was aired on Swedish radio station P3 on 1997-10-27, but the interviewer had immediately sent this transcript to DM's fanclub, so it was already online on the 23rd of September.]

http://www.tuug.org/~jaakko/dm/dmtekstit/incubus.html

Chatting with Alan Wilder
Date: Tue, 23 Sep 1997
From: Henrik Wittgren
To: bong@commline.com
Yesterday i got the chance to meet Alan for an interview. I had 30 minutes, but I also talked to Alan for about 15 minutes after the interview..just normal talk (no interview questions). Some days before I got the new album from Mute just for preparing the interview. There are 9 tracks:
Incubus
Drifting (also forthcoming single)
Luscious Apparatous
Stalker
Red River Cargo
Control freak
Missing Piece
Last Breath
Shunt
I think Stalker, Luscious App. and Red River Cargo are the best ones....now to the meeting with Alan!
I came to the hotel about 2 hours before the interview :) I waited on a parkbench outside the hotel...after 1 hour Alan and some journalists came out for doing some kind of photosession. When it was my turn I walk into the hotels restaurant and met the mute manager. The interview was delayed for about 5 minutes...I drank a Cola and spoke to the mute manager and Alans wife...the 5 minutes went very slow. I installed the tape recorder and said hi to Alan. I was quite nervous the first question but when I realized that Alan really seemed to enjoy my questions I became very cool :) When my time was out I there seemed to be a pause to Alans next interview...I spoke about 10 minutes with Alan about Swedish music, Depeche Mode-sleeves (antons works) and some other topics... I'm going to listen to the interview-tape now and write down the questions/answers! Dont complain on my bad English! :)
H=me=Henrik Wittgren
A=Alan
H: Its a long time since the last (bloodline) album and much have changed. Whats the difference between Unsound methods and your previous albums?
A: The previous Recoil album was really an instrumental record but we ended up with some vocals on it, but it essentially remained as an instrumental record. So the vocals really were like an afterthought. This time...as the music came together it became clear that every track really required vocals to make it really complete and i was determined this time to push the project so it didnt have anything lacking at the end in my mind anyway. So thats the main difference. And of course, instrumentually it moved on for me well its probably a lot less electronics and less programms and I has a sort of looser feel and it's a bit dark.
H: You have a lot of guest singers on the new album and Recoil seems to be a very free project for you. What do you think about that?
A: for me its essential really in these day...to have that kind of freedom..it was main reason really for leaving Depeche and I've done this project before as a side project to depeche and I wanted to have more time for it and more control of what i'm doing. I felt like I didnt want to be in a group anymore and this project has many advantages if i keep it the way it is where i bring people in to contribute you know..something to it but not to become a permanent member then I can really do just about anything I want to do with it and I like the idea, it keeps changing and new people come into it...
H: Why did you choose "Drifting" as the forthcoming single?
A: Well I think the album doesnt really have what I would call that many radio friendly tracks on it. Its quite dark. So Drifting is probably one of those maybe two or free that are more likely yhe ones the play on the radio and thats really the reason..but well I like the track and it has some sort of more melody with the vocals...some of the other vocals are quite...narrative(?)..they are spoken...
H: What are the words about?
A: Well...I dont write the lyrics so I'm possibly the right person to ask. All of the singers on this album wrote their own lyrics.. Siobhan Lynch whos singing on drifting..her words are quite ambigious so.. you could have different meanings too.. I have an idea in my mind..but I never thought of asking her to tell my...just in case it destroys my own vision...and I think the listener should have that choise as well so I think its better to leave it open and let the listeners make up their own mind what its about.
H: How long have you been working with the album and are you satisfied with the result?
A: I started work last september and finished in June so it took about 9 months with a couple of breaks... Yes essentially i'm happy with the result..i think is the most focused thing I've done and the most completed. There always a side of me that things I could have done something better, but I think thats not a natural reaction...you always feel that you can do more and do better...
H: You have worked with many different peoples in your career. Who do you want to work with in the future? Do you have any dreams?
A: Well. Actually you say that I have worked with a lot of people..but...most of the time in Depeche Mode we didnt work as a group and we didnt used to bring people in..the last album we done..we did have some extra musicians but that was the only one. As I said there is a lot of advantages to having this...I can bring in people..and...I always try to find someone new to work with and think its a real challange to keep your hope(?) It makes you do things differently if you work with a stranger, somebody new...so I like to give myself that challange to find intresting new people each time...so i should carry on looking for new people to work on the next project which I hope will start quite soon.
H: Where do you find your inspiration?
A: Well I try to...I mean..its elements of everything I listening to...so I think a lot of the rhythm on this record are influences by hip-hop...and...many british bands like Portishead and Massive Attack have influenced me too...I think the last album with Recoil..and the Depeche Mode albums are a little bit to much programmed..so i was constantely trying to do something like this...I also bring influences from all my other musical taste...which includes...Classical music, soundtracks, and traditional irish..grunge..
H: Do you like going to other groups gigs?
A: Well, I dont go to many gigs these days to be honest..sometimes I find that I'm to close to it...well I go to a gig and all I can see is the setting up of the scene..and imagine the backstage...I cant just enjoy it for what it is...Generally I dont go to many gigs but I listen to a lot of music which I just mentioned before... I have a huge collection of cds and vinyls...well...I'm the kind of people who hear one track on the radio and then I go and buy the whole album instead of just buying the single... and usually i'm just disapointed with the album...so these days...i moved away from buying too many poprecords...i reasearch all the musicareas...like soundtracksareas are really interesting...
H. Have you ever had plans to play live with Recoil?
A: At the moment there's no plans...although there's always a possibility..you know..if an important tv-station come along or there was a big demand to go on the road then I could consider it but its difficult to imagine how a project like this could be taken on the road... I dont feel like i'm a natural front person...I more like to do things like work in the studio.
H: What kind of response have you got after your depature of Depeche Mode?
A: Well I haven't really had much contact with either media or my fans - if I have got any, cause I've been out of the picture for more than 3 years so this Is really an interesting period for me now to find out really if I do have any fans.
H: Did Depeche Mode set stop for your work with Recoil and it is easier to work with just one project.
A: There was never any problem having a sideproject..but you had not so much time...the last album I did with Recoil i couldnt really promote it cause Depeche Mode took so much time...so this gives me a lot of more time to doing promotion, exactly like this, to put the album further.
H: Depeche Mode cooperated with Anton Corbijn. Is he going to do something for Recoil?
A: Well I havent asked Anton and I dont even know if he would like to do it. I really like Anton and what he does, but I feel I would be a mistake to use Anton cause it would be to close to what i did before.
H: I've heard about a band called Daphne and the Tenderspots. Can you tell me about it?
A: Well. Thats an unfair question....ah...no...it was a group I was in last 70ies...we were some sort of new wave...and Daphne was the singer...and we did have a recorddeal and realesed a few records and then we didnt do anything.
H: Do you have an education, as a musician or a normal education?
A: I have a grammar school education...i only got three o-levels(?) cause I was lazy, but I did have quite a good musical education I had pianolessons and I did well in those..I got up to grade 8 and i didnt really enjoy the lessons at the time but now i'm really pleased that I did have them and I think its a big step for what I do know.
H: Have you written many songs which never have been released?
A: No..I wouldn't say that I'm prelific writer at all..ahm...I write music...but I have trouble writing words and I did write a few songs for the early Depeche Mode-albums...but i really didn't like them and I still don't do...I think theres a few extra tracks that didnt make it onto this album which may get used later...they have different vocals and different words..so they may get used at some point but I havent got to many others.
H: What are you intressted in besides music?
A: ahm..I recently moved to the country and got a child..so that takes up a lot of my time...but having children and being very hand on with them which we are takes a lot of time..I mean we dont have a lot of time to the things we want...I love to go to the cinema...and I went to the cinema a lot before..a really love film..and I love football...Queens Park Rangers...and what else? I go to resturants...ah..I have a sort of.. ah..we both of us collect submedicalinstruments(??) and we go around to antiquefairs and thing like that and collecting pieces of furniture...quite a lot fun...
H: Do you feel old and is there something left in your life that you want to do?
A: I should hope so otherwise I would just top myself right now...ahm...I do feel older...but i actually feel that I'm in a really good time in my life...with complete control of everything I'm doing and I'm really enthustiastic of what I'm doing even more enthustiasthic in making music then I have ever been...and i have created a situation where I got no real limitations..now a've got my homestudio where I working so I can work in exactly the way a want to and when I want to. And I can also combine as I said my privatelife and my family and everything so I feel I have got to a really good stage in my life.
H: This radio show is for greedy students. Have you got any tips on cheap food?
A: Cheap food? I dont know about it cause I'm always going to expensive restaurants. But what is cheap food? McDonalds?
H: no..that is expensive....you have a limit of one pound.
A: ok...they should live the hippie life and grown there own vegetables. thats a cheap way of living.

Then my time was out...so I pressed the Stop button and thanked Alan for the interview...then he signed some things for me...the bloodline cd, a new promo photo, the innersleeve to World in My Eyes L12" (big photo with Alan) and the 1+2 LP...Alan seemed to have a pause so we talked about swedish synthmusic...he had just got the dm-tribute "Your wolrd in our eyes" and he couldn't find the meaning of doing tributes.... after some minutes I thought that Alan would prefer do be away from people like me so said byebye and went to the trainstation...
/Henrik
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Offline Angelinda

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Re: 1997: Recoil's Unsound Methods
« Reply #9 on: 20 April 2012 - 23:29:21 »
1997-09-23 - MUTE - Alan doing Press Promotion

http://web.archive.org/web/20010714105825/http://www.commline.com/recoil/Europe97-MuteMemo.txt

From: MLT Info <MLT.Info@mutehq.co.uk>
To: MLT Recoil People <info@mutehq.co.uk>
cc: Faith <faith@commline.com>
Subject: [faith] Recoil promotion

Subject:                Recoil promotion

Hi!

Here is a list magazines/radio stations/etc with whom Alan is supposed to be
doing interviews on his current European promotional trip. I'm afraid I don't
have any broadcast or publication dates or any more info, so keep an eye out
locally if you can.

Cheers!

Janet
MLT

------------

SWEDEN:
P3 (radio: Pelle Gustavsson)
Novelty (electro fanzine)
SVD (newspaper)
DN (newspaper)
Aniaria (college radio)
ZTV (Swedish MTV)
Zynthac (electro fanzine)

DENMARK:
Chat Room (Internet)
Zoo (music mag)
Beat (P3: radio: Jan Laursen)
Jam Magazine
Politiken (newspaper)
Berlingske (newspaper)
Ekstra Bladet (newspaper)

BELGIUM:
Gonzo Circus (magazine)
De Morgen (newspaper)
Het Nieuwsblad (newspaper)
De Standard (newspaper)
Le Soir (newspaper)
Radio 21 "5 Heures" (radio: Rudy Leone)
Telemoustique (magazine)

GERMANY:
Niagara (indie mag)
Le Grand Noir (quarterly mag)
ORB (Berlin radio: Jurgen Konig)
Zillo (magazine)
Orkus (magazine)
Vertigo (magazine)
Reflection (fanzine)
WOM Journal (magazine)
Neurostyle (magazine)
Intro (magazine)
New Life (indie mag)
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Offline Angelinda

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Re: 1997: Recoil's Unsound Methods
« Reply #10 on: 20 April 2012 - 23:31:58 »
1997-09-29 - FAITH: Recoil Mailinglist - Alan Wilder Interview

http://web.archive.org/web/20010714110314/http://www.commline.com/recoil/Faith-Interview-1997.html

FAITH/Alan Wilder/Recoil Interview 1997

Total hits since Mon Sep 29
Last updated: Wednesday, 14-Jan-1998
From Mute (MLT) and Faith (The Alan/Recoil Mailing List)
http://www.commline.com/faith/
These questions were solicited of FAITH by Janet, from Mute. The mailing list was more than happy to oblige!
I'd like to thank both Alan and Janet for getting this done. Also KJ and the question submitters. THANKS! :)
-Brian

PART 1 - Unsound Metohds
Subject: The 'faith' interview
Date: 29/9/97
FELLINI PRODUCTIONS PRESENTS
QUESTIONS ABOUT RECOIL AND 'UNSOUND METHODS'

How easy/difficult was it to make Unsound Methods?
What direction did you take with 'Unsound Methods'? Similar to the New-Age like compositions or 'Bloodline'? Or a combination?
How do you think about music? Do you just think in the abstract or do you hang the music bits on something else, like images when you're working with them?
Do you write lyrics before or after the music, or write them with the music?
What if anything, inspires you to write music?
What brings about the perfect frame of mind to write?
How is this new album similar or different to the other Recoil efforts? Have any recent artists influenced you in any way?
Apart from the fact that my studio resembled a 'fridge for much of the winter, making 'Unsound Methods' was relatively painless. I have resolved to improve the heating as I don't hold with the idea that the artist should have to continually suffer for his art. There are definite pros and cons to working on your own. The disadvantages include those moments of self doubt when you need somebody to bounce ideas off or to reassure you that what you're doing is worth pursuing. The advantages however, are enormous - you don't have to continually argue your case for every little idea or reach a compromise to appease other people. Democracy doesn't actually work very well in the studio. When you meet halfway on ideas, nobody ends up happy. If you're in charge, then at least one person is happy.
The album was pieced together with no great overall scheme in mind. I never really know what I'm doing until it's finished. My starting point is often a combination of tried and tested guide sounds that evoke a particular feeling or mood in order to get the ball rolling. Then by trial and error I keep throwing ideas at the track until a theme or concept emerges which I like to keep in mind to focus the direction. From that point I usually park the idea and move on to another track until I have built up more of an overall picture. In this case it became apparent that vocals would be required to do justice to most of these ideas.
Whilst keeping this in mind, I then bring the music to a point where it accurately demonstrates the atmospheres I want to create and is acceptable to play to vocalists. I will explain that I am liable to change the structures once the vocals have been recorded and always make sure that my collaborators trust me to manipulate what they've done afterwards. I rarely, however, change their words.
With this album, I suggested the various themes to the singers but also gave them the option to write about something completely different if they wanted to. They all chose to stick within the framework I gave them.
I think the end result is quite different to what I've done before but it's a difficult thing for me to judge. There is, I hope, a continuity to everything despite its diversity simply because of the methods I employ when putting everything together. I wasn't consciously trying to change although I deliberately made the rhythms less precise and programmed - hence the cut up drum loops and dub baselines. It's very difficult to achieve a really natural groove or feel with programmed drums which is something I feel is lacking in Mode albums with the exception of SOFD. I didn't use as many electronic sounds although they are still in there. To me the most important things are atmosphere, dynamics, melody and groove.
Who has collaborated with you on this most recent Recoil album?
Tell us about the upcoming single 'Drifting' and the vocalist Siobhan Lynch?
What led you to your choice to work with Maggie Estep?
Siobhan Lynch came to me via a demo cassette and I was immediately drawn to her sightly desperate voice. I can't really explain what 'Drifting' is all about - the lyrics are her department. My brief to Siobhan was to create the feeling of someone who had lost their way in life and was drifting aimlessly for whatever reason. I've never asked her what her words mean as I prefer that their ambiguity works the same way for me as they do for other listeners. I have my own interpretation of their meaning which could be completely different from Siobhan's. This is one of the reasons why I don't like to print lyrics on the sleeve.
I recruited Doug McCarthy, who performed on the last Recoil LP and the single, 'Faith healer', partly because I knew he would suit the 2 tracks I had in mind for him and also because he is probably the easiest person in the world to work with. He was formerly one half of Nitzer Ebb and we became good friends after they supported DM on the MFTM and Violator tours.
Maggie Estep, a New-York spoken word artist came to the project after I had been searching, unsuccessfully, for an intelligent rapper with an interesting angle. Even though she is clearly not a rapper, in the end she proved far more in tune with the overall feel of the project and is in sharp contrast to the other vocalists.
Finally, Hildia Cambell, who was one of the gospel singers on the DM Devotional tour, provided her particular style for 2 tracks.
Will there be more promotion done with this release as opposed to your past Recoil releases?
The scale of the promotion really depends on demand. Mute are not the type of company who can afford to take massive marketing risks along the lines that you might see with major labels. The approach is likely to be cautious and sensitive with the emphasis on awareness. Because the project is so diverse it is important that all the marketing eggs are not placed in the radio hit single basket since much of the music isn't really that radio-friendly. I am realistic enough to realise that it may be difficult to get the radio play. I would like to see a slower build which tries to make a wider audience aware that there is a project called Recoil, that Recoil is in fact me, and that it incorporates many areas and is worth exploring.
Are you planning any appearances on TV or any other interviews such as radio, TV or magazines?
Will you be making any personal appearances, when the first single is released? If so, have any cities been picked?
Only in as much as promotion demands it. I am going on a promo trip to Hamburg, Munich, Brussels, Paris, Vienna, Stockholm and Copenhagen and then later to the U.S. This will mainly be meeting the press and the odd TV interview.
It was understood that Recoil in the past would not tour (because of being with DM) but since Recoil is your only project, will you consider touring now?
I have no plans to tour at present or in the immediate future. If a single really took off and demand was great to play a live TV or even a club date, then I may consider it but I think it's unlikely.
Will 'Unsound Methods' be promoted by Reprise or by some other label company in the States?
The LP will be released by Reprise. I think it is scheduled for early November but this is not yet confirmed.
The internet is now being utilised by musicians as another tool for exposing their music to a worldwide audience. Do you plan on having brief audio excepts from your new album anytime soon?
Yes. Keep an eye out.
Who's going to do some of the remixes for the new single(s)?
I've done a dub version of 'Drifting' myself, there is a mix of 'Control Freak' by Barry Adamson and a very minimal mix of 'Shunt' by Panasonic.
Who would you like to remix for and who would you like to have as re-mixers of Recoil songs?
I don't really want to do much in the way of remixes for other people although I always listen to offers and if something interesting enough comes along I would consider it. Generally, I'm wary of remixes - most of them are terrible and done with little care. I try to choose people who will be sympathetic to the track and the song. Unfortunately, the people who you can rely on to do this are few and far between and often quite difficult to get hold of.
Are we going to hear any of your vocals on any of the tracks for your new album? Will you ever sing on a Recoil track?
I do the odd backing vocal but I don't think my singing voice is really strong enough to carry a lead vocal.
Alan, why have you named the band Recoil? Is it a reference to the gun mechanism, or what we do in the face of ugliness or terror? Or is it something else entirely?
There's no great reason. I just liked the sound of the word.
Do you plan to use any of your photos as cover art for Unsound or any of the singles?
No.
We didn't have access to the lyrics in the 'Bloodline' album. Is it intentional? Are you printing lyrics in future Recoil releases?
I don't like to print lyrics. Somehow, it removes some of the magic or mystery. It can alter your perception of a song if you sit and read the words as you listen. The written word can have a completely different effect than when it's spoken or sung and is dependent on inflection, pronunciation, nuance etc..
We've heard Toni Halliday's side of the story regarding her work on 'Bloodline'. Now we'd like to ask you, how did you come to choose Toni?
Do you ever regret not releasing 'Edge to Life' or 'Bloodline' as a single, especially considering how well Leftfield did with their Toni Halliday collaboration?
What was Toni's side? I never heard it. I met Toni through Alan Moulder who worked on the 101 live album. She asked me to do a remix for her, which I did. When I needed someone to sing for me, I immediately thought of her, hoping that she would return the favour. I also loved what Curve were doing at the time more so, actually, than the Leftfield collaboration. I particularly liked 'Edge to Life' and would have liked to release that track as a single.
Who wrote what on the 'Bloodline' album? Did you write it all, text and music yourself?
I wrote all the music (except 'Faith Healer' which was a cover). The lyrics were written entirely

PART 2 - The DM Questions
Subject: The 'faith' interview [Pt II]
Date: 1/10/97
FELLINI PRODUCTIONS PRESENTS
DEPECHE QUESTIONS

Why did your letter seem to hint at so many other problems within the band that led to your departure? And what might they have been?
Was it Dave, Andy or Martin (my vote is Martin) who you ultimately really couldn't get along with in the band?
Martin has said he has felt that ever since "Black Celebration" the band has been in danger of falling apart. It is also from this period that we got that 'Smash Hits' article with you saying that being in Depeche Mode is not all fun and games, I guess my question is, has it been that difficult to be in the band since those days and if so, why did you carry on?
What have you got to say to those unkind comments made by your former partners?
You got any legal problems with DM?
Do you stay in touch with your ex-band mates?
The reason I made a statement when I left the group was to try to summarise succinctly in my own words some of the reasons for my departure rather than have the press speculate and inevitably draw the wrong conclusions. The other advantage of a statement is that it's a good way to close the lid on something. I have no wish to elaborate further on what was said in it, suffice to say that things are never as straight forward as they appear from the outside.
The overriding reason for my departure, above all else, is that for the last few years I hadn't been enjoying life in the group enough to warrant sticking with it, especially given that I didn't feel there was anything more I could personally achieve within its boundaries. I have to say that I never had any doubts that it was the right thing to do at the right time for me and I am now happier than ever both in my personal and musical life.
My involvement with Depeche has been good to me and I am grateful for the position it has left me in. Some of the things that have been said are disappointing but I have no problems with the other members of the group. Life is too short to bear grudges and my dignity would never allow me to resort to petty squabblings in public. I'm glad to hear that Dave (who, incidentally, has been nothing but a gentleman throughout) is recovering from his well documented problems. The other members of the group and I have resolved any outstanding legal matters. We don't have any social contact but then again, we never really did.
Does it make you feel vindicated that it took an entire team of programmers to replace you?
I think the credits for 'Ultra' tell the whole story.
Where does the title 'Control Freak' come from? Is it in reference to some accusations by your former band-mates?
The title 'Control Freak' does bear a little irony but when you hear the song it's quite clear that it has nothing to to do with my former colleagues.
Would you do a DM production or remix if you were kindly asked to?
There is no chance that I would be asked to do a production job or remix for Depeche.
Do you like 'Ultra'?
No comment.
Your fave DM album, song, remix and concert?
My favourite LP is 'Songs of Faith and Devotion' with 'Walking In My Shoes' and 'In Your Room' being my favourite songs from it. 'Violator' is also good but now sounds too precise and polite. I also like 'Never Let Me Down', 'Clean', 'Stripped' and some others. My favourite remixes are the Eno mixes of 'I Feel You' and Johnny Dollar's remix of 'Walking...'. I don't really have a favourite concert, they tend to merge into one long 'on the road' experience.
What were your favourite DM songs to play live, remix or tool around with?
'I Feel You' and 'In Your Room' because I really enjoyed playing the drums on them.
Did you sing the vocals on "Two Minute Warning" and "The Landscape is Changing"?
No, Dave sang these.
Who really is responsible for the closing instrumental part on Judas?
If it's the bit I think you mean, I was. Martin never liked that sequence. In fact, we had a lot of trouble seeing eye to eye on the approach for that song.
Is it true that you were never happy about not being mentioned on the 'Broken Frame' album?
I was unhappy to have been excluded from the making of it considering I had been performing / touring with the group since the beginning of that year and they expected me to help promote it after its release. Their reasoning for my omission was that they wanted to prove a point to Vince who had left after the first album.
Did you have great laughs with Dave about Martin's outfits?
The more you laughed at Martin's outfits, the more outrageous he would make them! He's very stubborn that way.
Finally, what does Andrew Fletcher really do in the band?
Umm.....
Have you ever smacked Fletch in the face? Did you enjoy that?
A physical brawl did ensue between us backstage in Salt Lake City during the MFTM tour I think. Punches were thrown, some landed, most missed and I heard that a few tears were shed (ahh..). The worse thing was that we all had to go straight back on stage to play 'Just Can't Get Enough'. In fact, all the physical encounters that have taken place over the years have included Fletch although the predicted big one involving the other most aggressive member has, strangely, never gone off - I'd like to see it when it does.
Now that you're not with DM (feel free to take all the credit for everything here), is it true that you intentionally increased your workload (i.e. playing multiple parts in the songs, producing, etc.) while diminishing Andy's role because you recognised that he really did have a fantastic natural talent for clapping off beat and dancing funny?
It is laughable to suggest that I deliberately diminished Fletch's role to anything less than it has always been. I spent weeks preparing the music for the live show (which included many days programming Fletch's keyboard sounds as well as Martin's and my own) in order to ensure the best possible live sound within everybody's capabilities - not because I wanted more work for myself but simply because it needed to be done. I increased my own personal workload on stage, which included playing drums, to challenge myself so that I didn't get bored. It wouldn't have affected Fletch if I had played less on stage as the extra sounds would have been run from sequencers or tape instead.
I must agree however, that his world renowned clapping abilities are without precedent.

PART 3 - The General Questions
Subject: The 'faith' interview [Part 3]
Date: 2/10/97
FELLINI PRODUCTIONS PRESENT
GENERAL QUESTIONS

Would you ever consider having your photos published?
 I'm not a serious photographer at all. I used to dabble a bit when I was younger but I don't really bother these days. I do have a good collection of photos from the earlier Mode days but they're not really good enough to publish. I also have a great collection of home movie footage of Depeche in the studio and on tour between 1983 -87 but you're never going to see it!
How did you feel barely missing the plane that came down near you recently, was this a life-changing experience?
Having witnessed the Tornado crash in '94, has it changed your outlook on anything and how?
I didn't find religion or have any life transforming experience but it left its mark. Both Hep and myself still have the odd nightmare. I'm actually writing this on the day after Princess Diana was bumped off (nobody really believes it was an accident, do they?) and the thought of witnessing that event leaves me with exactly the same feeling I had in Scotland. The thing that struck me was that such an instantaneous tragedy is immediately followed by the banality of continuing life. As 2 dead airman were splattered across the road, the sun shone and the birds sang and no music played.
Any insight as to your music's relationship to your personal life, and their effect on each other?
Making music, for me, is probably a form of therapy. My personality is not necessarily how you might imagine it is by listening to the music. Writing music probably eleviates a darker side of my personality enabling me to resist actually stalking people and merely write about it.
What else have you been doing besides recording 'Unsound Methods'?
What did you name your baby?
The major thing that has taken up most of my time, has been becoming a father for the first time (and the last, believe me!). Our daughter's called Paris (that's where she was made) and, if you keep your eyes open, you can spot her making a guest appearance in the 'Drifting' video. We've taken a very hands-on approach and take her everywhere with us - in fact she was in the studio all the time during the making of this album and I'm sure being exposed to the real ins and outs of the process will stand her in good stead in the future. She's extremely mischievous (gets that from me) and even managed to flick off the main power switch one day, losing me hours of programming. As for other interests...When I come off tour I tend to want to immerse myself in 'normal' activities and as I'm really interested in interior design, especially the styles from 1900 - 1950 (We live in a 1930's built house) and modern industrial design, I spent a lot of time decorating and rummaging around junk shops for interesting bits and pieces. It's all very un rock 'n' roll I'm afraid. We also moved out of London which has its pros and cons. I suppose I miss the spontaneity of living in a busy city where you can go out to great restaurants, go clubbing, visit the cinema etc. at more or less the drop of a hat. When you live in the country you have to plan things much more, especially if you have a child.
What do you say to the charge that you are a virile love machine?
Guilty.
I can't see any piercings or tattoos. Is that out of reluctance to do something permanent or are there things out of sight?
They're just a bit silly, aren't they?
What do you wear, boxers or briefs?
Usually nothing or silk boxers.
Which is it? Brunettes or redheads?
They don't necessarily have to have a head at all.
Are you easy to please?
Give me a sandwich, a large vodka and non-stop football and I'm anyone's.
Do you still support Queens Park Rangers, and if so why?!!
The thinking man's team. I've been thinking recently that they're not very good.
Who is your favourite footballer?
The one and only Stan 'Stanley' Bowles. A gambling, no good drunk who lit up West London in the 70's like no other before or since.
If you were in the desert and you saw a tortoise stuck on its back, would you help it?
I'd eat it.
Do you have any favourite words or phrases?
Sandwich, Vodka, football, It's a rap, bollocks, pothouse.
What is your idea of happiness?
A sandwich, a large vodka and non-stop football.
What do you think when the X-files themes are compared to your music?
I've never actually watched the X-Files so I'm not really qualified to talk about it. I knew someone who was totally engrossed in all that alien abduction stuff and they were really irritating - perhaps that's put me off. I went out and bought the X-files music but found it disjointed, lacking any real edge and ultimately disappointing, like it was trying too hard to be 'weird'.
If you want to hear a composer who really connects with the film-maker and reflects what he is saying, I think Badalamenti (Twin Peaks) is better. To create a really unsettling atmosphere is not that simple.
Do you ever drive around all night listening to c.d.'s?
No, I've got better things to do at night.
Are you going to put an official Alan Wilder / Recoil homepage in the WWW?
No plans. Perhaps I would if I had time to keep on top of it but I'm not sure I would have enough information to keep it interesting.
Do you still have three cats? Do you have any weird cat stories?
No animals - too much responsibility. Like plants, I like to see them well away from my living space.
Do you maintain any kind of friendly or working relationship with Flood?
Friendly - yes. Working - no. He's usually entangled in his commitments working with a particularly well known Irish group.
Some bands like Cassandra Complex, are defining fan interactivity to a whole new level by having fans submit musical excerpts or samples to the band and acknowledging credit in return. What are your thoughts on this practice? Would you consider doing this?
Why not. I probably wouldn't bother myself since I enjoy the process of finding my own samples.
Did you record these songs (partly with Moby)?
1. Blue
2. Infinitive Rotation
3. Life totally
4. The shortest Distance between two points
5. Lost Time
6. Movement
7. Above
8. Wound
No.
Have you seen the Mr. Bean movie yet, is it any good?
Haven't seen it.
Have you been reading this list and what do you think of it?
No, I didn't know anything about it until Janet at Mute pointed it out. I'm intrigued about some of the things said. I may be looking in a bit more often from now on.
What's the most embarrassing song you really like?
Bohemian Rhapsody.
Have you ever read Ayn Rand?
Who?
We of FAITH have noticed your fondness, or at least pronounced use of the word, 'allocate'. Are you aware of this and if so, how did this develop?
It's a subliminal message to my mother, Kathleen.
Do you have your stereo set up so that you can play different things at the the same time? Like, monks in the bedroom and nuns in the kitchen and rain in the bathroom and Rite of Spring in the living room? And if so, what's the best combination you've hit on so far?
Ehh? Calm down. Have you been sniffing glue?
You are commonly referred to by your fans as "Slik". I have heard that this was a nickname given to you by DM because you were the only one in the band who looked like a rock star. Though there is evidence that you acknowledge this name (i.e. In Your Memory, Slik mix) is it really a name that you readily respond to?
I think Dave coined this one although, thankfully, it hasn't been used for years. My close friends usually call me Charlie (my middle name) which I much prefer. 'Er indoors' has a further array of unmentionable names at her disposal.

PART 4 - FUTURE PLANS
Subject: The 'faith' interview - final part
Date: 2/10/97
FELLINI PRODUCTIONS PRESENT
FUTURE PLANS

What do you see in Recoil's future? Have you got any other projects in mind?
I'm hoping to start writing some new tracks almost immediately after I've finished promoting this latest release.
Are you planning to compose movie soundtracks in the future?
It depends if I'm offered any. I would certainly listen to serious offers although I'm quite choosy so it would have to be something particularly interesting. Also, because film companies are notoriously unreliable, I would only produce a piece of music which I felt stood up on its own merits in case the commission fell through. I couldn't stand the idea of wasting a year in the studio and coming away with nothing.
Are you going to appear on Top of the Pops?
You're optimistic aren't you?
Are you teaming up with Bon Harris to form this band Maven? If so, have you been working on some new material?
It's the first I've heard of it.
Will you ever dispense with the vocals and release an instrumental album again?
Like I said before, I never really know how each project is going to turn out so anything's possible.
Have you ever considered doing a classical album, as you did for the B-side of 'Little 15'?
No. It was Martin who wanted to record 'Moonlight Sonata' anyway. I never really saw the point of it.

Here are some missing pieces from the 'faith' interview posted earlier this year. For some strange reason, these seem to have been missed out when I posted the interview in parts. Enjoy!
PART 5 - The Missing Questions
Subject: Missing faith questions
Date: 18 Dec 1997
OTHER QUESTIONS

What current music are you listening to?
What CD's have you bought recently?
Has pioneering electronic music, like the works of Wendy/Walter Carlos, influenced your musical style?
You've previously stated that you listen to Gustav Mahler, whose works are quite intense and passionate. How does his work influence what you're doing now?
I'm still attached to the bands I listened to when I was younger such as The Beatles, Bowie (pre. 1980), Hendrix, some Pink Floyd ('Meddle' and 'Dark side of the moon'), Roxy Music, Eno, Peter Gabriel, Alex Harvey, Mott the Hoople, Magazine, Television, Ian Dury, Public Image (when they first started), Kraftwerk, Talk Talk (last 3 LP's), Cocteau Twins etc. I really like singers such as K.D. Lang, Jimmy Scott, Julie London, Nat King Cole, Billie Holliday, Arethra Franklin etc. Current groups I like include Radiohead, Morphine, Beck, Rage Against the Machine, Massive Attack, Portishead, Soul Coughin', Eels and some rap and dance bands like House of Pain, Cypress Hill, Public Enemy, Beastie Boys, Juno Reactor, Tresor, LFO. Proper Soundtracks with dialogue as opposed to compiled pop soundtracks like Clockwork Orange (yes I do like Walter Carlos), The Godfather, Taxi Driver, anything by Angelo Badalamenti, Morricone, John Barry etc.. The new soundtrack for David Lynch's 'Lost Highway' is also good.
In terms of classical music I particularly like modern British composers like Elgar and Vaughan Williams, Walton etc , 20th century Europeans such as Berg and Schoenberg, Shostokovich, Mahler etc., New world composers: Gershwin, Barber, Kurt Weil, and the minimalists like Reich, Glass, Nyman and Wim Mertens. I also like traditional Irish and Cajun, Mike Flowers, Margarita Pracatan and, of course, Little Jimmy Osmond. I have an enormous collection with just about everything you could imagine so it's impossible to list everything.
It's perhaps easier to say what I don't like as there is so much to despair of. For example, I have no time for the tuneless pub-rock mediocrity of retro bands especially those who have the audacity to compare themselves to classic artists such as the Beatles - who would want to listen to the Beatles without the songs, the wit, the charm, the musicianship or the intensity of Lennon and McCartney? The other genre that irritates me, and I don't want to be misinterpreted as racist, is so-called soul and R&B music endlessly churned out by MTV and radio. The worst examples are those awful girl groups - Eternal, TLC, Sisters with voices, Toni Braxton, and anyone featuring DJ Jazzy Jelly Puff Pastry etc, etc, etc. - irritating, banal voices which wail and moan over moronic stylised music, diabolical lyrics and predictable promos bumping and grinding with the same tired old simulated shagging moves....need I go on? And then there's Mariah Carey who has taken the subtle art of ad-libbing to an obscene extreme where she never shuts up for 2 seconds and can't hold a straight note without tailing it off into a strangled wail (never so better demonstrated than in her duet with Boyz 2 men - something about Heaven). Also, the big budget ballad with its faked audience response, soft focus and double key change finale (Celine Dion and on and on and on........). Jingly-jangly Celtic rock in general - Texas, Wet Wet Wet (never had a band so apt a name), the aoh so politically-conscious Cranberries and Sinead O Conner, not to mention The Beautiful South (Ugly north), Paul Weller (never understood the appeal), Sheryl Crow and many many more....
What do you think of the current, media-hyped shift to electronic music?
Do you think you have inspired this in any way?
Do you enjoy the sort of fast-paced, violent direction it seems to be heading [ie gabber] or do you prefer more classical sounding pieces?
Do you listen to the actual industrial bands (NIN, Marilyn Manson) and what do you think of them.
Do you consider some of your tracks as industrial?
I can understand the appeal of the rock/dance synthesis of Prodigy, Chemical Brothers etc. and there are aspects of their sound that I appreciate. I would rather this kind of music was breaking through than, say, Brit pop for example. 'Setting Sun' was quite good although I think a lot of that was down to the video. The problem I find is the lack of dynamic variation and melodic content. I get easily bored, so after the first few tracks of an album I just start to habitualize and switch off. I don't just want to hear the same thing over and over again. I do like Trent Reznor but the jury's still out on Marilyn Manson.
Who do you think are the 3 most influential/profound artists (musical or otherwise) of the 1990's?
I actually can't think of anyone at the moment. It's the sort of question which requires hindsight to answer.
Do you consider yourself an innovator?
That would be extremely arrogant of me, wouldn't it?
Do you have your own studio at home? If so, what's your hardware/software?
I am lucky enough to have a studio at home in a separate building. It is really designed to be more like a workshop environment. It's quite big and doesn't have a controlled sound but this is not a problem until the mix stage at which time I move my equipment to another studio.
Is there a favourite studio you like to work in?
In the past, Hansa in Berlin was very good for atmosphere, Puk in Denmark for its equipment, its space and the chef. Olympic in London is also one of my favourites but I think in future I will phase out the use of other studios and refine my own in order to complete projects there. I then have the advantages of saving costs, not having to travel and not having to move all my gear etc.
What equipment are you using these days?
What keyboards are you using now?
Do you like Korg?
Are you still primarily using EMU samplers, or do you have any new equipment you1re particularly excited about?
For you trainspotters - at present I have a Soundtracs 36 channel desk with no automation, a Mackintosh 7600 which I use to run Cubase XT as my sequencer, including an Audiomedia card for hard disk recording with an external 2 gig diskdrive for storage. Samplers: Akai 3000, Akai 1100, E111. Synths: Korg DW100, Midi moog, Obx, EMS. Outboard effects: Roland R880, Lexicon PCM70, SPX 901s, Zoom guitar FX, gates and compressors. Also, a Yamaha drum kit, Knight guitar and a few other bits and pieces.
What other instruments do you play other than keyboards and drums?
I don't really play any other instruments well although I did learn the flute at school to a reasonable standard. I doubt I could even get a note now as I haven't played in years. I play drums adequately, I can play bass lines up to a point which I usually sample after - same applies to guitar.

And some closing comments from the wonderful Janet:
Questions came form: KellieJane Adan; Adrian; Rebecca Bellamy; Syed Bokhari; Cath; Noshin Chowdhury; Jane-Anne Denison; Susie Duncan; Eric Ernewein; Fran; Virginia Fugarino; Francisco Jose Gamiz Sarria; Michael Kraft; Javier Lopez; Majikalman; Tracy Miller; Tracey Morris; Nev; Klaus Ringe Nielsen; Edith L Owen; Andrew J Posch; Hubert Razack; Shaun; Sherry; Brandon K Snavely; Henrik Stromberg; Dan Wentz; Ben Williams.
Thanks to all of you.


[This interview later appeared in Muzikal'naya Gazeta (Russia):
Thanks to Nadinada for supplying the scans!]




It also appeared in музыкальная газета (Belarus): http://www.nestor.minsk.by/mg/1997/42/mg74208.html
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Offline Angelinda

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Re: 1997: Recoil's Unsound Methods
« Reply #11 on: 20 April 2012 - 23:33:05 »
1997-09-xx - New Life (Germany) - Recoil

[Thanks to farmclub for scanning this for this forum!]



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Offline Angelinda

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Re: 1997: Recoil's Unsound Methods
« Reply #12 on: 20 April 2012 - 23:34:01 »
1997-10-01 - HALO - News

http://web.archive.org/web/19971009020302/http://www.depeche-mode.com/news.htm

 Alan Wilder has completed a new Recoil album, "Unsound Methods". The first single titled Drifting will be released on October 13, 1997. It will be available on Mute under the catalogue number Stumm 159, released on October 27th. Guest musicians appearing on the album are Douglas McCarthy (Nitzer Ebb), Maggie Estep, and Hildia Cambell. More information can be found on the Alan Wilder Page.
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Offline Angelinda

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Re: 1997: Recoil's Unsound Methods
« Reply #13 on: 20 April 2012 - 23:34:20 »
1997-10-03 - Recoil - MTV

http://recoil.co.uk/oldside/media/indust/out.htm

The video got a good reaction in the acquisitions meeting this week. It will get a play on Chill on Saturday 11th October.
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Offline Angelinda

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Re: 1997: Recoil's Unsound Methods
« Reply #14 on: 20 April 2012 - 23:35:17 »
1997-10-03 - Recoil - GLR

http://recoil.co.uk/oldside/media/indust/out.htm

Laura Lee Davies played the single on last night's show and also trailed the Sean Hughes interview. She will also give it another trail on next week's show.
2017-06-30: Photobucket has disabled external image hosting, all scans will have to be re-uploaded on another site.