Recoil was born in 1986 as a two-track experimental EP. Simply entitled ‘1 + 2’, this collection of primitive demos caught the attention of Mute Records label boss Daniel Miller and was inconspicuously released as a mini-album on 12" vinyl. An album, Hydrology, soon followed in 1988 and both were eventually re-issued by Mute on CD as Hydrology plus 1+2. These early Recoil recordings revealed Alan’s position as a pioneer in the newly emerging world of sampling technology and demonstrated how he could turn the Depeche sound around to create something entirely new. Wilder described the project at the time as “... an antidote to Depeche Mode; a way to alleviate the frustrations of always working within a pop format”.
Almost immediately, Wilder found himself back in the studio to record what would become the most successful Depeche Mode album to date,‘Violator’. It wasn’t until the band finally allowed themselves an extended break after the enormously successful 'World Violation' tour that Alan could return to Recoil - not, however, before agreeing to produce Ebbhead, an album for label-mates Nitzer Ebb. It was during this time that he cemented a working relationship with lead singer Douglas McCarthy who would return the favour by singing on Recoil’s next album,‘Bloodline’.
Released in 1992, Wilder recruited guest vocalists for the first time with further contributions from Curve's Toni Halliday and Moby, helping to produce an album that demonstrated his ability to concoct slow-burning soundscapes drenched in drowsy paranoia. Bloodline also marked the first Recoil single, a cover of Alex Harvey’s song ‘Faith Healer' as well as the innovative 'Electro Blues For Bukka White', featuring the posthumously sampled voice of Blues-man Bukka White set into a post-modern context - an influential idea later popularised by others.
Between 1992-93 Wilder resumed his Depeche duties as the band recorded the album ‘Songs Of Faith And Devotion’. Released to universal acclaim, it topped the charts in the UK, USA, Germany and a host of other countries. Enjoying hits with ‘I Feel You’, ‘Walking In My Shoes’, ‘In Your Room’ and ‘Condemnation’, the Mode embarked on their most adventurous tour to date, enduring a gruelling 15 months on the road. Although the group had reached the pinnacle of success, aspects of the lifestyle had taken their toll on everyone and things eventually came to a head. In June 1995, having spent 14 years as an integral part of one of the most popular and influential bands the UK has ever produced, Alan Wilder made the difficult but inevitable decision to leave Depeche Mode.
Free from his group commitments, Wilder could now focus solely on Recoil. In September 1996, he began work in his own studio, ‘The Thin Line’, gradually piecing together the unnerving scores that would eventually reveal Recoil's next album ‘Unsound Methods’. The final results were more impressive than ever. What emerged appeared to take up where ‘Songs Of Faith And Devotion’ had left off. Guest vocalists featured Maggie Estep, Siobhan Lynch, the reappearance of Douglas McCarthy, and Hildia Cambell. The styles of each could not be more removed from one another helping to create a startlingly original and diverse collection. The more organic style of Unsound Methods incorporated every imaginable musical genre from trip-hop to gospel whilst dealing with the subject of obsession in all its manifestations, taking the listener to the edge of unease, through dark, dub-infected landscapes, reverberating with shivering piano, seductive strings and a deep electronic pulse.
In the Spring of 2000, Recoil gave us Liquid which this time utilised the unique qualities of internationally acclaimed fellow Mute artist Diamanda Galás, 1940's Gospel crooners The Golden Gate Jubilee Quartet, along with New York spoken-word performers Nicole Blackman and Samantha Coerbell. The worldwide music press received the Liquid album with a host of glowing reviews and Wilder was awarded the Charles Cros Grand Prix 2000. Strangely enthralling and genuinely unhinging, Liquid masquerades as the aural equivalent of a disturbing movie. Wilder's intoxicating soundscapes kick up clouds of the same dark dust that falls on David Lynch or Nine Inch Nails, but where others may hammer out their message with histrionic force, his touch is lighter and characteristically more subtle.
Now, following a 5 year break from recording, Alan Wilder returns with Recoil's 5th studio album, entitled subHuman released in July 2007.
Collaborating this time is Blues-man Joe Richardson with his band Joe Richardson Express, whose evocative vocal style is complimented by accomplished guitar and harmonica performances. Born in Southern Louisiana, Richardson spent years immersed in the murkier side of New Orleans life and offers a unique commentary on conflict, religion, incarceration and personal struggle. English singer Carla Trevaskis, a songwriter in her own right, brings an expressive range and control to subHuman and has worked with artists as diverse as Fred de Faye (Eurythmics), Cliff Hewitt (Apollo 440) and Dave McDonald (Portishead).
Says Wilder: “We seem to have learnt nothing from past experiences and our so called ‘civilised’ world is still awash with personal and global atrocities. From suicide bombings in the Middle East, to ethnic cleansing in the Balkans; from the homophobic rhetoric of the Christian fundamentalist preacher, to the activities of Western governments engaged in their ‘war on terror’".
subHuman asks us to reach within ourselves and extract the very essence of what makes us human - and more importantly what allows us to subordinate others, sometimes with the most brutal consequences. "We are all 'subhuman' in somebody's eyes."
Official site: http://www.recoil.co.uk
Bloodline
Recoil Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Seek me out because I'm ready to get stung.
So long, so long, feed me.
Come on, show me, come on, need me.
Come on, show me the way.
Come on, need me in that way, so long.
You just never ever get what you want!
Come on, you deserve me.
Come on, it's the thought of you in my veins. Come on, show me the way.
Come on, show me the feeling, so long.
You just never ever get what you want!
You just never ever get what you need!
Get what you want! Get what you need
The lyrics of Recoil's song Bloodline convey a sense of desperation and longing, as the singer pleads for someone to come and fulfill their desires. The repeated phrases "come on" and "so long" add to the feeling of urgency and frustration, emphasizing the singer's unfulfilled needs. The metaphorical language of "get stung" and "the thought of you in my veins" suggest a lustful, intense desire that the singer cannot shake off.
The chorus, which states "You just never ever get what you want/You just never ever get what you need," highlights the theme of unfulfilled desire that runs throughout the song. Despite the singer's desperate pleas and efforts, they are left unsatisfied and unfulfilled. The repetition of this phrase throughout the song adds to its impact and emphasizes the singer's frustrations.
Overall, Bloodline is a powerful and emotionally charged song that speaks to the human experience of longing for something that may never come. Its raw and intense energy makes it a standout track in Recoil's discography.
Line by Line Meaning
Come on, the night is young.
Let's go, it's early in the night and there's still plenty of time.
Seek me out because I'm ready to get stung.
Come find me, because I'm willing to take risks and suffer the consequences.
So long, so long, feed me.
It's been a while, and I need to be fulfilled.
Come on, show me, come on, need me.
Give me what I desire, I long for it.
Come on, show me the way.
Guide me to that one thing I crave.
Come on, need me in that way, so long.
I yearn for your attention and affection, it's been too long since I've felt it.
You just never ever get what you want!
It often feels like what we desire is always just out of reach.
You just never ever get what you need!
Even our fundamental needs are sometimes unmet.
Come on, you deserve me.
I am worth your time and effort.
Come on, it's the thought of you in my veins. Come on, show me the way.
Thinking of you intoxicates me, lead me towards it.
Come on, show me the feeling, so long.
It's been too long since I've felt that exhilarating emotion.
Get what you want! Get what you need!
Encouragement to continue pursuing our desires and needs.
Lyrics © O/B/O APRA AMCOS
Written by: ALAN WILDER, TONI HALLIDAY
Lyrics Licensed & Provided by LyricFind
Marina Mendoza C
No había tenido la oportunidad de escuchar el tema, es una obra maestra que te hace viajar en la imaginación, mucha gracias Alan Wilder por existir en mi mundo
It's Me Eazy
Wow. Most underrated guy in the electronic music ever? There'd clearly be no NIN without Alan Wilder.
Jason Vyzer
Exactly. You're either influenced by Alan Wilder directly or second hand. He is a pioneer of the dark electronic & EBM genre's
chrissy hammond
You called it!👍
Ian Knights
Not sure about that but I think they'd both be pleased with the association
Carlos Morales Pompa
I think I have said they are influenced by DM
Transmission
And Alan is one of the great drummer in the world too.... Let's see him on Devotional Tour with DM....❤
MrLeoben2
If you are looking for what is missing from newer Depeche Mode music, you found it right here. Wilder provided the soul.
indianiecworld
as long as they are all alive, things are possible
innosanto
The most essential member is Martin Gore from as far as I know but I haven'r researched a lot the group. This is my impression that he is the main creator.
Maybe Alan gave great samples. I don't know.