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
Edge To Life
Recoil Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
To rule my mind or anything
I don't need your band of gold
To take me where I need to go
There's an edge to life
That will cut you like a knife
When you lay your head down
That gets kicked in your face
To see how easily you'd fall from grace
There's a piece of dust
That crumbles in your hand
If you decide to lose control
No one can escape
When you find out they're fake
And you want to take the whole lot down
A simple man
Well he could do more
But you can only see the traces
That have gone before
There's a pot of gold at the end of the rainbow
If you walk the white line
There's a piece of dust that crumbles in your hand
If you decide to lose control
There's a castle of sand that gets kicked in your face
To see how easily you'd fall from grace
Yes, there's a pot of gold at the end of the rainbow
There's an edge to life that will cut you like a knife
When you lay your head down
You know you can't escape when you find out they're fake
And you want to take the whole lot down
There's no truth in the lie that only angels cry
When everybody knows we're all born to die
There's an edge to life that will cut you like a knife
I miss you
There's no power that is such a thrill
That can make a man or anything
I miss you
The lyrics of Recoil's "Edge To Life" express a rejection of societal norms and material possessions, suggesting that they are not necessary for personal fulfillment. The singer declares that they are not waiting for a leader to control their thoughts or a wedding ring to find direction in life. They emphasize the unpredictable and precarious nature of life, warning that there is an "edge" that can cut one's metaphorical "castle of sand" down with a single kick. The song appears to exalt the innate worth of human life, with the lyrics bemoaning the inevitable end that all must face due to the fleeting nature of existence.
The singer remarks that there is no obligation to walk a straight and narrow path to find a pot of gold at the end of the rainbow, as it may be much more rewarding to lose control and take chances. They suggest that chasing vague promises of wealth and status is futile, as they cannot provide security in the event of life's many unpredictable challenges.
Ultimately, the song appears to celebrate individuality, personal freedom, and the inherent value of life, while cautioning against the superficiality and danger of societal expectations.
Line by Line Meaning
I'm not waiting for a king
I am not dependent on anyone or waiting for someone to govern my life.
To rule my mind or anything
I don't let anyone rule my thoughts, decisions, or life in general.
I don't need your band of gold
I don't seek materialistic things like money or jewelry from someone to fulfill my needs.
To take me where I need to go
I am self-sufficient and determined to achieve my goals on my own.
There's an edge to life
Life has its own set of struggles and challenges that are bound to cut you deep like a sharp knife.
That will cut you like a knife
The harsh realities of life hurt and wound you emotionally and mentally.
When you lay your head down
These challenges are always waiting for you, even when you want to rest and seek peace.
There's a castle of sand
The things that we build with our own efforts have a fragile foundation that can be easily destroyed.
That gets kicked in your face
Others can destroy what you've built with their actions or words, making you feel humiliated and defeated.
To see how easily you'd fall from grace
People test your strength and ability to handle adverse situations by deliberately trying to bring you down.
There's a piece of dust
Even the smallest of things can have a significant impact on your life, and you have to be careful with how you handle them.
That crumbles in your hand
Sometimes, things that are fragile, delicate, or weak can easily break or shatter if you're not careful enough.
If you decide to lose control
When you lose your grip on reality and let your emotions overpower you, you can unintentionally cause damage to things around you.
No one can escape
Nobody is immune to life's difficulties, and everyone has to go through their own set of challenges to grow and evolve.
When you find out they're fake
People's true intentions, behavior, or personality can be disguised or hidden, and you can only see their real self after a certain point.
And you want to take the whole lot down
You may feel like retaliating or reacting strongly when someone deceives you, but it's not always necessary, and you should let karma do the work.
A simple man
Someone who has a modest lifestyle or basic needs.
Well he could do more
Even if someone seems simple, they can have a lot of untapped potential and can achieve more if they try.
But you can only see the traces
It's hard to see someone's true potential or qualities by just looking at their external appearance.
That have gone before
Someone's past experiences or actions can give you an insight into their abilities, but it's not the only measure of their worth.
There's a pot of gold at the end of the rainbow
If you keep working hard and have faith, you will eventually achieve your goals and be rewarded with something precious.
If you walk the white line
If you follow the path of integrity, honesty, and morality, you'll have better chances of success and happiness.
Yes, there's a pot of gold at the end of the rainbow
Reinforcing the idea that your hard work will pay off eventually.
There's no truth in the lie
Something that appears deceptive or false has no basis in reality or accuracy.
That only angels cry
Even the toughest or strongest people can cry and feel vulnerable sometimes, and it doesn't diminish their strength.
When everybody knows we're all born to die
Death is a universal truth and fate that every living being has to face, and nothing can change that.
I miss you
A simple expression of feeling a void or absence in someone's life and longing for their presence.
There's no power that is such a thrill
Sometimes, people mistake their love or infatuation for someone as power or control, but it's just a temporary high.
That can make a man or anything
Nothing can give someone identity or purpose except themselves, and they shouldn't rely on anyone else to define them.
Lyrics © O/B/O APRA AMCOS
Written by: ALAN WILDER, TONI HALLIDAY
Lyrics Licensed & Provided by LyricFind