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Author Topic: 1992: Recoil's Bloodline  (Read 8558 times)

Offline Angelinda

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1992: Recoil's Bloodline
« on: 21 April 2012 - 04:50:51 »
This thread contains the few news items regarding Recoil's Bloodline album.

Please let me know if you have more news items.

Credits:
Quote
Cat No. : Mute 94
01. Faith Healer
02. Electro Blues For Bukka White
03. The Defector
04. Edge To Life
05. Curse
06. Bloodline
07. Freeze

production/instruments by alan wilder

engineered by steve lyon, assisted by dave eringa
bloodline was recorded in london between january and march and mixed at konk studios, london between october and november 1991

bass guitar on 'egde of life' by jimmy hughes
special thanks to steve, toni, doug, moby, jim, aaron trinder, kevin van green and diamanda galas

toni halliday appears courtesy of anxious records
douglas mccarthy and diamanda galas appear courtesy of mute records
moby appears coutesy of instinct records
bukka white appears coutesy of sonet records

cut at tape on by stuart hawkes
sleeve designed and photography by martin atkins, t+cp associates gb/usa 
http://www.recoil.co.uk/discography/lps/bloodline/area.html

For more information on Bloodline I recommend this great fansite: http://www.recoil19.net/RECOIL//Sec04/Bloodline_Stumm94_5.htm
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Offline Angelinda

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Re: 1992: Recoil's Bloodline
« Reply #1 on: 21 April 2012 - 04:52:33 »
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Offline Angelinda

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Re: 1992: Recoil's Bloodline
« Reply #2 on: 21 April 2012 - 04:54:19 »
1992-03-xx - MTV (Europe) - MTV News

http://www.youtube.com/watch?v=TBnxq3jZEbw



And MTV News At Night:

https://www.youtube.com/watch?v=R0RXEg3tN4k

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Offline Angelinda

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Re: 1992: Recoil's Bloodline
« Reply #3 on: 21 April 2012 - 04:54:48 »
1992-04-17 - KROQ (US) - Richard Blade Interview with Alan Wilder

[Sadly, we don't have the audio file to this. However, a transcript of it was published in the July 1992 issue of BONG magazine. Taken from the now-defunct website www.sacreddm.net.]

Summary: A transcript of a compelling radio interview with Alan Wilder, discussing the release of "Bloodline", his production work with Nitzer Ebb, and the recording of what became Songs Of Faith And Devotion. An informative piece on some less well-documented aspects of the band. [2096 words]

RICHARD BLADE: We have one member of Depeche Mode and also the guy behind Recoil, Alan Wilder! Hi, Alan!

ALAN WILDER: Hi! How are you?

RB: Okay. Now, before we talk about Recoil, and there’s a lot to talk about, this is the third Recoil album – the third in this ongoing project. Let me just ask you a question that I get asked all the time, and that is, Depeche: is everything on schedule for like, hopefully a single released before the end of the year and then the album in the spring?

AW: Yes, we’ve got quite a simple plan, Richard, which is just to spend this year making a record – on and off, in various different locations – and then we’ll be following that with a big tour, which will probably be most of next year. So, this is a two-year plan.

RB: Wow, so can you name some of the locations you’ve been recording in?

AW: We’re in Madrid. We’ve done some rehearsing there. We’re going back there soon to do another period and then we’ll be moving on to some other places later in the year, yet to be decided

RB: That sounds very exotic for someone who works in the same studio every day. It’s like, yes, I think we’ll record a little bit in Madrid and then it’s off to… because last time wasn’t it Italy and Denmark?

AW: That’s right, yes.

RB: Wow.

AW: Yes, it’s interesting, but actually once you’re in the studio you could be anywhere, really. Particularly, Martin and Fletch like to travel and get around Europe.

RB: Now, is there a particular direction that Depeche is going on this album or is it too soon to say?

AW: It’s far too soon to say really, Richard. You know, it’s very early days and even if I did give you any clue, it would probably change anyway. So, it’s not really for me to say at the moment.

RB: Okay, and the final Depeche question: Were you involved with ”Death’s Door” on the soundtrack of ”Until The End Of The World” and what did you think of the single?

AW: Yes, we recorded that but it wasn’t really a single, Richard.

RB: Well, we played it like one.

AW: Yes, I know you did. We recorded that back in April or March last year, and we were pleased with it. We did it quite quickly and eventually it ended up on the soundtrack album which didn’t come out until a lot later. I haven’t even seen the film yet, but I’d be interested to see it.

RB: Well, from what we’ve been reading about the reviews, the soundtrack is by far better than the movie, which is a shame because Wim Wenders has done some great stuff in the past such as Wings [Of Desire], etc…

AW: I hear it’s a very long film.

RB: Yes, it lasts until the end of the world apparently. OK, let’s talk about Recoil, which is definitely an ongoing project. I mean, this is the third from Recoil, right?

AW: That’s right. It’s the first that’s actually been released on Reprise, or Sire, but it is actually the third one I’ve done, and a lot of people wouldn’t have come across the previous ones unless they found them on import or something like that. But, the very first one was really a demo and it sort of, almost by accident, ended up. But it was never really intended as a proper album. But after that, the second one was a ”proper album” if you like. But, it was all instrumental and this more recent one started off in that direction, but as I developed the thing and did some recording back in the early part of last year, I realized that it wasn’t really enough. You know, it didn’t really stand up just as instrumental music. So, it was at that point I decided to get some different vocalists involved, one of which was Douglas from Nitzer Ebb and there’s also Toni Halliday from Curve – she sings on two tracks, and there’s another track which features Moby on vocals. It’s quite varied.

RB: Was there ever any thought of you doing any singing on it?

AW: Uh, no, in a word.

RB: Is that because you’re too shy?

AW: Partly, and partly I just don’t think I’ve got the kind of voice required to carry off a lead vocal. I can sort of handle backing vocals, but no, I never really considered that. I felt, lyrics are not really my strong point, and I wanted to get someone in who I thought was very good at that particular job, or some different people who could add their own character to the album.

RB: We’re going to play a cut from Recoil right now. You were saying that lyrics aren’t your strong point. This is actually a remake from the legendary Alex Harvey Band, right? ”Faith Healer”?

AW: That’s correct, yes.

RB: Now, I remember being a kid in England listening to Alex Harvey and seeing some wild performances he used to do on Top Of The Pops in usually a black and white striped T-shirt. He’s passed away now, right?

AW: That’s right. I think he died of liver failure.

RB: Imbibing too much of the substances, right.

AW: Well, sounds like it. It was a while ago, in fact. I don’t think the Alex Harvey Band were every particularly big in America. And maybe the fact that I’ve covered one of his songs might encourage a few people to go and rediscover some of their records. They did make some very good records back in the early Seventies. And they were, as you say, a particularly good live band, as well.

RB: Yes, I remember seeing them on Top Of The Pops, waiting for Thursday nights, and when Alex Harvey had a new cut I had to see what they would be doing. It was wild stuff. OK, we’re going to play – if you can hang on the Satellite Line because we want to come back to chat some more and play another cut from Recoil. But, we’re going to play ”Faith Healer” right now, on KROQ. Is that alright, can you stick around for a bit, Alan?

AW: Yes, of course.

RB: OK, great.

*THE FAITH HEALER*

RB: That’s the track that leads of Recoil’s album, Bloodline at 106.7 KROQ, K-R-O-Q. The man behind Recoil, the ongoing project, Alan Wilder, with us for a couple more minutes by satellite from England. Great cut. Great version of ”Faith Healer”. Are you pleased with it?

AW: I’m very pleased with it, yes. As I say, it’s one of my all-time favourite songs and I tried to do a version of it about three or four years ago but I never quite got it finished. So when I got another opportunity to do it, I thought I’d take it up.

RB: Right. Now, do you often do that when you listen to records – maybe you’re driving around in the car or you hear something on the radio, do you think: ”God, you know, I’m a musician. I’d like to do a remake of that one myself.”

AW: There’s not that many songs. I think it’s preferable to try and do original material, but there are the occasional ones where you feel you could perhaps offer a tribute to the original artists, and you feel strongly enough to do it. And that’s one of those songs.

RB: Now, you like doing a lot of stuff behind the scenes in addition to obviously, being a performer with Depeche and working on their music, you’ve done work on production with Nitzer Ebb, right?

AW: Yes, they asked me if I would be interested in working on their album last year, and I thought it would be a good experience for me, as much as anything, just to see what it’s like to work with some different people for a change and also the responsibility of being a producer as such, and the added things you have to do, which I’m not sure I actually enjoyed that much.

RB: Too much work, right?

AW: Well, it’s the responsibility. You’re ultimately the one who has to get the thing in on time and make sure you don’t go over budget and deal with all the politics that goes with talking to the record company. I’m not sure I really enjoy that side of things, although I still value the experience of having done it.

RB: With that experience, does it enable you to ”bring more to the pot”, so to speak, when you come back with Depeche and you’re in the studio?

AW: Hopefully. I mean, that’s the way I try and look at it. Everything I do is learning and something positive to be gained from. Ideally, I should, perhaps, have taken more free time off last year rather than work so hard, but in the end I hope it will bring something positive to the new Depeche album.

RB: Now, when you are not working, just as A. Wilder, the guy, what do you like to do in your free time? You say you didn’t have much of it last year. What would you ideally like to have done? You know, what does someone of your stature in the music business do when they’re not behind the turntable or behind the mixing console?

AW: Really, the simple things in life are just as important to me as anything else. When I do have free time, I like to be fairly private, spend time with the family and just do simple things like go out to restaurants and cinema just like most people, really.

RB: Just a regular guy in the street, right?

AW: That’s right.

RB: Who just so happens to play to 60,000 people when they go on tour. Do you miss that, because it’s been two and a half years now since we’ve seen Depeche Mode live, or two years at least.

AW: Um, I don’t really miss it. I also know that we’re going to be doing another tour next year, so I know it’s all coming around again. And often, when you’re actually involved in a very long tour you start to wonder if you’ll ever want to do it again. But, that’s not to say those moments when you play in front of very big crowds like that aren’t very special.

RB: Yes, the adulation that you must feel as you walk onto that stage must be quite something.

AW: Yes, just the noise level is quite incredible, really. Sometimes, you can’t even hear the music you’re supposed to be playing.

RB: And you’re just hoping the monitor speakers are really on and there hasn’t been a power failure on stage.

AW: That’s right.

RB: OK, well thanks Alan very much for talking with us. We’re going to play another cut from Bloodline which is the third Recoil album, but the first really that you can pick up in any store in America. It’s released on Sire / Reprise records over here. And it’s a terrific album, a seven track album, and which track would you like, Alan?

AW: I’d like to hear ”Edge To Life”, which is one of the tracks that features Toni Halliday from Curve.

RB: Any particular reason why you selected this cut?

AW: It just happens to be my favourite at the moment. It has a nice atmosphere about it which particularly
RB: Are you like me, you know, your tastes change? You said it’s your favourite at the moment, but if I asked you in four days, you might go: ”Well, you know, I quite like ”Freeze” now”?

AW: Yes, that’s true. I change my mind all the time.

RB: OK, well thanks a lot, Alan. We look forward to playing more of Bloodline on the air. We’re going to play ”Edge To Life” right now and as soon as we hear something new from Depeche, I know we’ll be talking to you again and seeing you over here. But again, thanks for your time. Thanks for being on Satellite with KROQ. And we really appreciate it. You got a message for the KROQ listeners?

AW: Just the usual. Thanks for listening and we hope to get over again as soon as we possibly can because we know we’ve got a lot of fans who are listening to KROQ all the time.
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Offline Angelinda

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Re: 1992: Recoil's Bloodline
« Reply #4 on: 21 April 2012 - 05:01:48 »
1992-04-xx - Tele 5 (Germany) - P.O.P.

Appears on DMTVA's Recoil DVD. Not hosted online.




Alan also did an interview for German TV channel Premiere's TV show Airplay that day, on the same location. Broadcast date unknown.

https://www.youtube.com/watch?v=wo7Ms9SjTPs

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Offline Angelinda

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Re: 1992: Recoil's Bloodline
« Reply #5 on: 21 April 2012 - 05:02:21 »
1992-05-01 - The Boston Globe (US) - It's synthly beyond Depeche Mode 

[Taken from an Intranet archive. Reprinted here: http://articles.chicagotribune.com/1992-05-28/features/9202170601_1_alan-wilder-depeche-mode-martin-gore]

Jim Sullivan, Globe Staff
785 words

You're a member of one of the world's best-selling pop bands, but not, shall we say, one of the hardest-working pop bands. In other words, you've got a lot of time on your hands between projects. What do you do?

What numerous rockers before you have done: Form an offshoot group and shift the focus slightly. Such is the case with Depeche Mode synthesizerist Alan Wilder and his Recoil.

"What happened was last year Depeche Mode decided to take a year off," says Wilder, on the phone from London, "and I didn't want to just stop and do nothing for a year so the obvious thing for me to do was to just do some work on my own. To me, it's as important as working with Depeche Mode even though Depeche Mode is still my main thing and I've no complaints about that and probably -- well, most certainly -- Depeche Mode will be a lot more successful than my stuff will ever be. But to me it's just important to make music and be creative. I can't stand just sitting around watching the clock tick by. I always feel guilty -- I should be doing something."

That latest something is "Bloodline," which is Recoil's third album, but its US debut. The synthesizer-based sound of Recoil will be familiar to Depeche Mode fans. But it's not as pop-oriented. There are different voices employed -- including Douglas McCarthy of Nitzer Ebb and Toni Halliday of Curve -- and there's a pulsing tension the runs through the disc.

"I think it is darker, more moody and mysterious sounding," offers Wilder. "Perhaps those are the elements that I try to bring into Depeche Mode, but because there's four of us I can't completely force that feeling through and I perhaps shouldn't anyway."

Martin Gore is Depeche Mode's principal writer. Wilder says he chipped in during the band's early days but was never really happy with what came out of it. "I think my contribution is more in other areas of sound production," he says. "Depeche Mode is very based around Martin's songs and he writes very well within a particular pop format." For the record, Depeche Mode plans to make an album this year and tour at the beginning of next.

"Recoil really reflects other interests that I have within music," Wilder continues, "and that's not to put down what Depeche Mode does or to say that I don't like pop music. It just means that a lot of music I listen to happens to be in other fields as well. I like a lot of music that takes a bit longer to develop and moves a bit more slowly and has more mood change to it and requires more than just three minutes verse-middle eight-chorus all the time."

"Bloodline" was initially conceived as an all-instrumental album, but in making it Wilder says he realized "they didn't stand up as instrumentals on their own; they sounded like backing tracks." Solution? Find some singers-lyricists and let them loose. And surrender some control?

"Definitely," says Wilder, "but I had ultimate control whether to use it or not, so I never really felt threatened by it and I wanted these people to bring their own character to the thing."

Halliday, of Curve, is one of the rising young stars in the British noise-guitar scene. What attracted Wilder to Halliday, he says, was "the way she uses her voice in Curve, which is more like an instrument rather than a lead vocal. She uses it more as feeling and in some respects the lyrics aren't so important -- the overall emotion of the thing is what I wanted to get."

The album's key track may be its leadoff song, a cover of Alex Harvey's "Faith Healer," a spooky, sensual, throbbing rocker. Harvey, leader of the Sensational Alex Harvey Band was huge in England during parts of the 1970s, but never more than a cult figure in the States. Wilder, a longtime fan, was attracted to the song's pulse and thought it perfect for the Recoil touch.

"It's such a mega-song, really, by the time it gets to the end," says Wilder. "And the other nice aspect about it is to try and bring a whole new audience to Alex Harvey, a rediscovery thing for a lot of people and I quite like that idea as well."
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Offline Angelinda

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Re: 1992: Recoil's Bloodline
« Reply #6 on: 21 April 2012 - 05:02:38 »
1992-05-05 - Recoil - Alan Wilder Bloodline interview

http://www.recoil.co.uk/press_promo/blood/area.html
https://www.box.com/s/bckti8bvushdllxwmuca
http://www.recoil19.net/RECOIL//Sec04/AlanWilderInterviewEdits_C.htm

"Listen to an interview conducted around the time of the 'Bloodline' album (1991).

It's quite old now but gives an insight as to where Alan was at with the Recoil project at that time."
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Offline Angelinda

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Re: 1992: Recoil's Bloodline
« Reply #7 on: 21 April 2012 - 05:03:07 »
1992-05-24 - FFN Radio (Germany) - Special: Alan on New Recoil Album

[We don't have this audio interview.]
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Offline Angelinda

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Re: 1992: Recoil's Bloodline
« Reply #8 on: 21 April 2012 - 05:04:07 »
1992-05-xx - Select (UK) - Bloodline Review

http://selectmagazinescans.monkeon.co.uk/?p=1471

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Offline Angelinda

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Re: 1992: Recoil's Bloodline
« Reply #9 on: 21 April 2012 - 05:06:59 »
1992-05-xx - Best n° 286 (France) - L'homme Machine

[Thanks to Bruno² for putting these scans and its transcript on his site!]

http://recoilme.wordpress.com/2014/05/18/lhomme-machine-best-n286-mai-1992/




L’HOMME MACHINE
RECOIL : « solitaire»

Depeche Mode vient de s’offrir un an de break. Depuis février, le groupe est à nouveau réuni pour travailler sur leur prochain album. Fêtards invétérés, ils ont choisi une villa madrilène, équipée par leurs soins d’un studio, pour joindre l’utile à l’agréable. Ceci n’est pas forcément du goût d’Alan Wilder, clavier et alchimiste du son de Depeche Mode, qui ne se sent réellement à l’aise que dans les ambiances confinées des studios. Il a profité de cette année sabbatique pour relancer son projet solo et a concocté le deuxième album de Recoil : ‘Bloodline’. Durant quatre mois, au milieu des machines, il a joué les apprentis sorciers, créant et détournant des sonorités pour enfin les marier dans une musique atmosphérique et dansante.

« Je désirais faire un album qui me permette de soulager mes frustrations dans le cadre de Depeche Mode. J’aime bidouiller avec les séquencers et les synthés. Mon album est un mix de beaucoup d’influences, de Kraftwerk à Philippe Glass. Je suis très imprégné par ces auteurs minimalistes d’avant garde qui basent leur musique sur l’hypnotisme et la répétition. Ces éléments me parlent, je veux être hypnotisé, entrer en transe, me perdre, oublier le temps. Je peux rester des heures à travailler sur une séquence. Au départ mes morceaux étaient horriblement longs. J’aime être happé par la musique, qu’elle me conduise quelque part, qu’elle suscite des images. Je trouve que les cordes sont particulièrement appropriés pour créer ces sensations. Je sample dans tout les sens, même du classique, et je traite le son, je le renverse, je le triture. A la fin ça devient quelque chose de nouveau grâce à la technologie. J’utilise l’acoustique ou les machines selon mes besoins. Je commence toujours par la ligne de basse, si elle est bonne il n’y a plus besoin de grand chose. La basse détient une énergie très sexuelle qui définit tout le reste. Je pourrais avoir cette démarche dans Depeche Mode, mais avec plein de restrictions. Recoil n’est pas si éloigné de Depeche Mode puisque le son et les arrangements y dépendent en grande partie de moi, mais l’approche est totalement différente. Nous partons toujours d’un texte et d’une mélodie. Nous traitons cette base pour lui donner une atmosphère, un feeling. Avant de commencer nous savons à peu prés combien de temps durera le morceau, nous n’avons pas réellement de champ libre pour le délire. »

Dans Depeche Mode, les fondations dépendent de Martin Gore. Il est l’image et la tête. Pour Alan, il est parfois aussi la camisole d’un style trop marqué, trop abouti, bref incontournable. « Martin écrit des chansons qui viennent du cœur. Son honnêteté dans la manière d’exprimer des sentiments très personnels transparait et les gens s’identifient dans ses textes. C’est peut être la clef du succès. Evidemment il y a également la manière dont le groupe traduit cet esprit. Au départ la musique était très naïve puis elle a gagné en maturité. Maintenant Depeche Mode ne peut plus changer foncièrement. Chaque membre a évolué dans son propre sens. Au sein du groupe je ne vois aucun changement sensible. Martin s’inspire toujours des mêmes sujets et le traitement en studio reste assez uniforme. J’espère que nous pourrons faire des choses très différentes, mais je n’y crois pas. Ca n’a rien à voir avec le public, c’est juste une question relationnelle. Nous vivons ensemble et nous devons trouver des compromis. Un bouleversement radical créerait forcément des problèmes et nous ne le désirons pas. Je ne pense pas que l’histoire de Depeche Mode puisse continuer longtemps. C’est bien d’être membre d’un groupe qui marche et fait de l’argent mais ce qui m’intéresse, c’est de créer une musique qui me plaît, spontanée. Les médias et les tournées m’amusent de moins en moins. Tout le système du business rock me semble relativement ridicule. Et à un moment, tu te rends compte que ton groupe a dépassé ses limites et ne peut plus que se répéter. Je ne veux pas continuer uniquement pour le fric. Un jour, j’arrêterais pour me lancer sur un nouveau pari. Mais pas maintenant. »

Myriam LEON

[biashead has translated the last part of this article:]

In Depeche Mode, foundations depend on Martin Gore. He is the image and head. To Alan, it is sometimes a strait-jacket of a too strong, too successful style, briefly. "Martin writes songs from the heart. His honesty of how to express very personal feelings shines through and people identify themselves in his lyrics. That may be the key to our success. Obviously there is also the way how the group reflects this spirit. Initially the music was very naive then it has matured. Now Depeche Mode may not change fundamentally. Each member has moved in its own direction. Within the group I see no significant change. Martin is still based on the same subjects and studio processing remains fairly consistent. I hope we can do very different things, but I don't believe so. It has nothing to do with the public, it's just a relational issue. We live together and we need to find compromises. A radical change inevitably create problems and we're not wishing for it. I do not think the story of Depeche Mode can last too long. It's good to be a member of a group that works and makes money but what interests me is to create music of my taste spontaneously. The media and touring is amusing me less and less. All this rock business seems fairly ridiculous. And at some point, you realize that your group has exceeded its limits and cannot repeat themselves. I do not want to keep on only for the money. One day I might stop to find a new challenge. But not now."
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Offline Angelinda

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Re: 1992: Recoil's Bloodline
« Reply #10 on: 21 April 2012 - 05:09:53 »
1992-08-xx - El Gran Musical nº369 (Spain) - Depeche Mode se me queda pequeño

Thanks to Pacodemode for scanning this for this forum.]






1992-xx-xx - Popular (Czech Republic) - McCarthy and Wilder

[Courtesy of Recoil.cz; thanks to Igor for sending this scan!]

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Offline Angelinda

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Re: 1992: Recoil's Bloodline
« Reply #11 on: 21 April 2012 - 05:10:42 »
1992-xx-xx - Uni (Czech Republic) - Bloodline Review

[Thanks to Igor from Recoil.cz for offering this scan!]

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Offline Angelinda

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Re: 1992: Recoil's Bloodline
« Reply #12 on: 21 April 2012 - 05:11:51 »
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Offline Angelinda

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Re: 1992: Recoil's Bloodline
« Reply #13 on: 21 April 2012 - 05:14:56 »
1992-xx-xx - Unknown (Czech Republic) - Recoil Bloodline

http://sanctuary.cz/retro/6657-alan-wilder-recoil

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Offline Angelinda

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Re: 1992: Recoil's Bloodline
« Reply #14 on: 21 April 2012 - 05:17:38 »
1992-xx-xx - Kamarat (Czechoslovakia) - Recoil Interview

[Thanks to Milik for offering to send in this scan!]





1992-xx-xx - Télémoustique (Belgium) - A La Mode Wilder

[Thanks to fatherlesschild for this scan!]

2017-06-30: Photobucket has disabled external image hosting, all scans will have to be re-uploaded on another site.