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
Last Call For Liquid Courage
Recoil Lyrics
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The lyrics to Recoil's song Last Call For Liquid Courage depict a night of absolute indulgence and debauchery, with the singer relying on alcohol to fuel their actions and desires. The repeated phrase "It's got to be enough" suggests a sense of desperation or resignation, as if the singer knows deep down that their actions are not sustainable or fulfilling. The line "Peel back what binds you, make you strong!" hints at a desire for liberation or escape from some kind of emotional or psychological burden, but it is ultimately unclear whether alcohol is the solution or merely a temporary escape. The use of graphic and visceral imagery throughout the song paints a vivid picture of the singer's physical and emotional state, and the final repetition of "Enough!" suggests a sense of exhaustion or even disgust with themselves.
Overall, the lyrics to Last Call For Liquid Courage can be interpreted as a commentary on the dangers and pitfalls of relying on alcohol as a coping mechanism or escape from reality. The song depicts a night of reckless abandon and fleeting pleasures, but ultimately leaves the listener with a sense of emptiness and disillusionment.
Line by Line Meaning
Sip still, gotta be enough.
Take another sip, it has to be enough for now.
Wide palms slap skin, let the hitting begin!
Get ready to engage in physical pleasure with a partner.
A done deal. Discarded piles of dignity.
Another night of casual sex has ended, with both parties having lost some self-respect.
Another anonymous evening of absolute flesh.
Participating in meaningless physical intimacy with a stranger.
And tonight, it's got to be enough. It's got to be enough.
The artist is trying to convince themselves that this one night stand is enough, even though they may feel empty or unfulfilled.
Sip another swig, let the night fill you. Stranger pour into you.
Drink more and let the experience with the stranger consume you.
Peel back what binds you, make you strong!
Let go of any emotional attachment or restraint, and become empowered through the physical encounter.
And it's ok, mostly. Today is tonight and tonight's enough.
The artist is trying to convince themselves that the temporary pleasure of tonight is enough to make up for any emotional emptiness they may feel going forward.
Swallow still some sips, Hootchie mamma you is!
Keep drinking and embracing the sexual persona the artist has taken on.
Him hot for poker bid. Stuck his two cents in you.
The partner was interested in sex and made a bid for it, which was accepted by the artist.
Done did make bid for next time but..there's always a but at the end of nights like this.
The partner expressed interest in a potential future encounter, but the singer knows that nothing is guaranteed or certain after nights like this.
Hip, hand, thigh, back, calf, arm, ass, cheek, teeth, knee, heel, neck, elbow, ear, tongue, shoulder.
The artist is listing different parts of the body that have been involved in the sexual encounter.
You thinking it is 4am. Baby damn!
The singer realizes how late it is and may be feeling regret or disappointment with how the night has gone.
What I gotta buy is all for a little pseudoaffectionado. A purry dreamic plead. want to lick it up?
The singer has spent money and time in pursuit of temporary affection and intimacy, which they know is not real or genuine. They question if it's really worth it.
Quiz over every curve you got. Furry tongue making brown liquid slot.
The partner is exploring the singer's body, potentially in a rough or aggressive manner.
Enough tonight. You finally had enough. You had enough. Had enough? Enough!
The artist has had their fill of the sexual encounter and is now ready for it to end. They repeat the word 'enough' as a way of declaring that they are done with this experience.
Lyrics © O/B/O APRA AMCOS
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