INTERVIEW

 

 

There's actually one question that has been on my mind for quite some time - why did you chose the term "RECOIL" for your solo project? What's the story behind the name?

 

Alan Wilder: I can't really remember! [smiles]

 

 

Because I haven't heard it, read it anywhere...ever!

 

Someone did ask me that yesterday. I don't really know the answer. It just sounded quite good. And actually the meaning of the word is also quite suitable. Because you know what it means... it means to kind of be shot back. Not in a kind of horror but throwing backwards is a recoil. So it's like a reaction... to recoil is like a reaction to something. And I thought it's quite good if the music should have force a reaction. So I liked it for that reason. But I just really liked the sound of the word.

 

 

Okay, let's talk a little bit about the tour. So far 2 events were played in Spain - how was it going? Did everything work out well?

 

Everything worked, which is a good thing. And the crowd was good. And the sound and the visuals were really good in Barcelona and in Madrid not quite so good because it was a strange venue and we didn't have such a big screen there. This thing really needs a really big projection screen to be impressive.

 

From my personal point of view I found I was very self-conscious and I didn't enjoy the first gig too much because I just didn't really feel comfortable. The second one I enjoyed a bit more I kind of just decided trying get into it and enjoy the music and forget about the audience - the audience were shouting "Come back to Depeche Mode" - it's not just what you want to hear, that kind of thing. But they reacted well, very enthusiastic. And when you consider that it's not really a rock'n'roll show - it was a bit strange being with NITZER EBB as they've been booked into rock venues - NITZER EBB gig and then RECOIL came along. Whereas this thing we're doing really works as something different. As a kind of arty installation, presentation and it needs a special venue and a different way of thinking about it. It's not a rock gig.

 

 

Where you included in the choice of the venues? Because there's the Hansa event, the event at the Altona church or were these suggestions by the agency?

 

For Spain yeah, it was, yes. It's difficult - not every city has the perfect venue or the perfect venue that's available on the night you need it. So, each place is gonna be different. And I guess that makes it quite interesting in itself because you just don't know how it's gonna be. We're trying to make each one special but some are going to work better than others. And certainly Hansa is gonna be great, Hamburg should be great and then there are a few other nice looking venues. Zurich could be a good venue.

 

 

I was surprised that Hansa can be booked for an event.

 

Yes, me too! We were there at Christmas, Dennis (webmaster's note: Burmeister) invited us and I didn't realise either! Many said "Yeah! You can book events here!" - perfect really.

 

 

That's nice! Last year we were there for a special DEPECHE MODE Hansa guidance. When we came to Meistersaal there was some seminar going on with overhead projections and we interrupted them. So they went out for having a drink while we were there. Therefore I got it that it is possible to do any seminar stuff there. But to play really any event there was a real surprise for me.

 

I hope we can turn it up loud! But I think they are happy to have us there because it's a little bit of the history of recording there and everything. In some way it's good for Hansa too - that kind of publicity, the DEPECHE MODE thing. And certainly for us it's an interesting venue to play at for the atmosphere and history - we do a little bit talk about it.

 

 

Was the tour also suggested by Mute or was it your idea?

 

No, it was really my idea just because I wanted to do some promotion and I thought I can't just turn up again like last time and just shake hands again. So really it evolved from there. Well, we have to do something else and then we thought we can do this. What we've really done is just a giant remix to present in a venue that would work hopefully in a venue. But that's what it is. We do some live stuff, some live effects but it's really a prepared presentation.

 

 

How long did it take to work out the concept and the mixes?

 

Three months. And making films, that's kind of intense work...

 

 

Who did them?

 

Igor (webmaster's note: Dvorský) he did some, Dmitry (webmaster's note: Semenov) who did the ALLELUJAH one, there's Steve Fabian and there's another guy Marcelo von Schwartz you won't know but he's an Argentinean guy and he's made a film where he used some RECOIL music and we said give us some of your footage in return. So there were four people doing it. But Igor has done most of the work. And Dmitry has done some great stuff as well, really good.

 

 

I read Igor will do the film in the Altona church?

 

He will be here tomorrow. He's coming to quite a lot of the shows. We need his help on the road actually to make sure the projection works.

 

 

Are there any plans to release this film or is it for future use?

 

You know, there's the box edition. That will have the visuals from this in it.

 

 

And the soundtrack...

 

Yeah. But the thing that we're doing in Hamburg, we don't know how this is going to be used yet. We will use it maybe in a documentary or some kind of live and documentary combination. But we don't really know.

 

 

I think it was quite helpful to have Paul on board for this as he has already some experience with events like this because he did something similar with Olivia Louvel and Andrei Samsonov?

 

Yeah, that's right. I mean I don't want to call it DJing - I mean it's the same kind of set-up with laptops but at least we're doing original music!

 

 

Did you get any special response from the audience where you realised that the new mixes resp. certain sections of the tracks worked especially well?

 

I was so nervous and so much concentrating on what we were doing - I didn't really look at the audience. I felt a bit self-conscious looking at them. There aren't any real gaps in the music - it's like a continuous thing. So it's a little bit difficult for them to find a moment to clap or react.

 

So it's difficult to say. I mean there are a couple of moments when they cheer and make noise and stuff. Mostly I think people gonna be listening rather than reacting too much. Which for me is a little bit awkward because I'm used to DEPECHE MODE audience is going crazy and now I'm gonna have an audience that's kind of quiet and listening. If it sounds and looks good then it should work.

 

 

Where you especially nervous the first time after such a long time being on stage? What was the big difference?

 

The problem was I didn't really know what to do with myself some of the time. It's much better when I have something to do. When I was playing the drums that was fine because I could get into it. When I have nothing much to do then I feel stupid.

 

 

I saw the clips on YouTube and they look very nice - the projections together with the music...

 

I think as long people know what to expect or know what NOT to expect then it's OK. If they think there's going to be a big performance and people playing they're going to be disappointed.

 

 

But everybody thought there will be something different - nobody thought you simply put in the SELECTED CD - everybody expected there will be something different you had worked out together with Paul...

 

...Yeah.

 

 

Let's talk a little bit about the SELECTED album - you said Mute approached you last year for this - where you surprised about this interest?

 

A little bit but on the other hand we've never done one and it's been 25 years nearly so it's not a bad time to do it. But I thought it's nice that they're interested enough to want to do it. And I thought this is quite an open project actually. There's not hit singles to worry about and nothing like that so let's just do something that works musically. And it's nice to see if you can put some tracks together in an interesting way and listen to the masters again. And it keeps the project going and maybe introduces it to a few new people. That's the whole idea about "Best Of"s - you attract people that wouldn't normally buy an album but they might just buy a compilation.

 

 

When I first heard there will be a compilation I really couldn't believe it because I know the albums and they work in itself really good as there's a coherent feeling. Picking out a few tracks and putting them together for a compilation didn't feel right to me.

 

...does it kind of work? You haven't already heard it I suppose.

 

 

I know the tracks! But it's a nice collection...

 

...it's quite a nice collection as well because you have a few old mixes and some remixes. And again it should work as a whole thing as well. So that should make it more interesting for you. The first CD is really for people that don't know RECOIL very well. The second CD is for people like you who know RECOIL. And then there's the special edition that's interesting for the fans - it will have this megamix-thing and I think it's expensive but it is a nice package.

 

People have been complaining about the postal charges. Well, I've asked Robert (webmaster's note: Schilling) about it and he says that's because they'll sending them all out by courier. He said what's happened in the past when Mute do things by normal post. They have so many problems and complains - people say "Where's my package?! It hasn't arrived". They said for this time they want to have a guarantee that it arrives and that costs more money.

 

 

But that's not the problem - since Mute Bank moved over to Recordstore the quality of packaging is very poor. It's not the problem that any item doesn't arrive. They arrive but you open the parcel and debris is coming out and you are very disappointed.

 

Of course! That's probably why they are doing it this way. But they can't win really - people complain and I don't know what the answer is. It's a very expensive postal charge and it will put a lot of people off.

 

 

Yes, because I think the cheapest rate outside U.K. is 39 Pounds and to Russia it's even 60 or 70 Pounds!

 

That's crazy!

 

 

And a lot of people say "I would have loved to buy this box but the postage is too high and I'm not interested anymore". And that's really a pity. But it was a real surprise coming up with these boxes because initially only 2 CD formats were announced. Was it planned from the beginning?

 

No.

 

 

Was there some kind of struggle with Mute for formats?

 

Mute originally said this is a low budget project. We do just a quick compilation for retail mainly to try to attract some new people. And it's like all the RECOIL projects as we get into them we realise that there's a kind of level of quality you want to go for and what really happened that record companies now realise there's money to be made in the special editions. And they suddenly say "Ah!" and now I think it's a new trend which I like because everyone's happy! The artist is happy - he gets what he wants. The public gets the choice of what they want and the record company can make money from it too. So everyone's realizing that actually formats are good. It's like having a car with no extras or all the extras. You offer all the options and people just chose what they can afford or what they really want.

 

 

That was actually one of my questions because I remember your article "Music For The Masses - I think not". And there was this example of A-HA's Magne Furuholmen who did this limited edition with hand painted sleeves. It really seems as you said that record companies slowly changed their minds again - there are dedicated fans out there who want to buy the stuff.

 

Exactly! I mean I was very surprised when Mute said we want to do 4 vinyl discs! Vinyl?!? You know me I have to beg you for vinyl! And now they're coming to me saying "we want to do vinyl!". And we want to do 4 discs! In a box! [very excited] And I thought hang on a minute that's a bit over the top. But then they explained to me we will produce just a certain amount. You make sure you'll sell this amount and it pays for itself. Or it makes more profit and everybody is happy. And it seems the perfect way of doing things in the current climate.

 

 

You said you had to locate the original masters for the remastering. I always thought that all the masters are stored at a central space...

 

...they are all over the place!

 

 

Somewhere at Mute down in the cellar?

 

They actually use Abbey Road to have a storage facility and I think most of the remasters are kept there. But they do have a system and they kind of know where things are but it takes them a while to find them. And over the years they have improved that. It used to be terribly - you could never find anything! But now they do actually have a better system but it still takes a long while to find some of the original tapes.

 

The problem normally is not so much finding them but working out what's written on the boxes because every studio, every tape operator does labels in a different way. And those labels after a few years - "What does that mean?". "I don't actually understand what they are saying there...is this -4dB or what is that?" So it just takes you a long while to decipher the codes really of what the boxes mean and then you can say "That's the master!"

 

And when we finally had the tape we put them in this baking process to make sure they play, make a digital transfer and listen. It's a long process but it's an interesting one and nice to go back and hear the difference. Because normally when you finished an album and you master it to a half inch tape and maybe you do a half inch tape and DAT you're so close to it but you don't trust the tape. Because the tape actually sounds different to what you put onto it.

 

What you put on tape and what you get back from the tape is a bit different. And normally that freaks you out. When you come back a few years later with fresh ears and you say I'm going to listen to that you will always enjoy the tape more because it does sound different but it adds something good. It's a kind of wider, a nice compression on the base, sometimes more base. Anyway, we listened with fresh ears and we decided that the tapes sounded really good.

 

 

Did you only remaster the SELECTED tracks or did you remaster the whole albums starting from BLOODLINE?

 

No, only the tracks for the compilation we wanted to use. It's quite expensive - mastering is quite expensive and it would have taken a long time to do everything.

 

 

Because I thought when you have already the tapes in your hands...

 

...I know what you mean. But it's still a lot more work.

 

 

The second CD features a lot of remixes you did in the past with Paul. And some new ones. I always loved your mixes such as the "Poison Dub", the "Filthy Dog Mix", the "Punished Mix" with its beautiful string section. Do you particularly enjoy doing remixes? Or was it something you had to do for the singles?

 

No, I do quite enjoy them. If it's a good track, a track that I like it's nice. I mean quite often with remixes you kind of free your mind. You've got "the" version so you can now do something more radical maybe. It's less pressure when you do a remix. So I quite like it for that reason. And my favourite ones tend to be the ones we did ourselves rather than the ones you get from other people. I suppose that's not surprising but I think the ones I did with Paul are the best ones.

 

 

Are there any people approaching you because they want to do a remix for you?

 

Well, I get asked by a lot of fans "Can I do any remix for you?" There are a few people that have come to me that are more interesting that said I'd like to do. Davide Rossi did a string version that's quite nice and NITZER EBB did one. It's always good to have their input. Bon did a more minimal version. Have you heard any of them yet?

 

 

No.

 

You haven't heard any.

 

 

But it won't take long!

 

But it's good! I'm pleased you haven't heard it yet - it's not on the internet yet - I'm quite surprised actually!

 

 

I didn't even download the subHuman album then.

 

I don't suggest it to be done, I'm just saying you're normally one of the first persons to know. [grinning]

 

 

[me laughing]

 

So if you're not aware of them then it's a good secret.

 

 

The last time I was going home from the interview the SMS messages were popping in that the new album is on the internet. But I said no, because in general there is a bad quality of the stuff around and I really waited for the proper release to enjoy it. You did a nice remix for NITZER EBB. I was wondering about the female backing vocals. Can you tell me who it was?

 

Can YOU tell me who it was? [grinning]

 

 

No. That's why I'm asking. [laughing]

 

Do you recognize the voices? I can't tell you then... [still grinning]

 

 

So it's someone I should know?

 

Yeah maybe...

 

 

Okay I will listen again.

 

Yeah have another listen... it's someone who has worked with RECOIL before. Anyway you have to work it out. It's something that's not released. So you won't recognize it from something that's released. But it's something I did when I was working with her and then I reused it in this remix. Anyway, it's Toni Halliday's voice.

 

 

Ahh, Toni Halliday! I only remember you used some spoken word parts of Maggie Estep for the "Punished Mix". It was recorded but not used until this mix.

 

But also that's the common thing that happens in this live set when we use bits from one mix and put it in another mix. The vocals from one thing and the rhythm from something else. So even though what you'll hear tomorrow is mainly RECOIL, you won't always recognize it as RECOIL. It kind of works like that - this live set. It's quite interesting - it's like a collage really.

 

 

Most of the events seem to be quite unique because in every city there's a different collaborator for the show. I think it's good and bad - it's very interesting because there's a change going on, on the other side it's sad because, as an example a lot of fans want to see Douglas and he won't be around. Did you record the vocals? Will there be any "SELECTED LIVE" maybe?

 

Well, I think he's going to appear in a few other shows. We're trying to get him to do Prague and Budapest... and we will probably record him. We didn't record the audio but we filmed him. And I think we may record his voice in Prague probably with Igor (webmaster's note: Dvorský). Igor can set that up. And then there are some other singers to turn up somewhere...

 

 

I think it would be interesting to record all the contributors and maybe release some of the tracks.

 

Most of the other people are doing there own thing, they are not playing with me. It's difficult for me to get any vocals involved. Maybe Joe can do something in America, he would like to. Nicole Blackman could turn up somewhere... But also the music is kind of set up differently to that. It's not like songs - there are kind of parts of songs. So it's a bit difficult for the vocalists to come and do things. But you'll see when you get an idea tomorrow.

 

 

I will be attending three shows.

 

Where else will you go?

 

 

I will come to Cologne and Prague.

 

Prague should be great - there's a huge screen they have there. Igor's got like an eight Meter screen which is massive.

 

 

So you don't take the equipment with you? I thought you will take the screen with you.

 

No, we rely on the promoter to provide that. And we insist that it is as good as possible. Every venue is different - in some venues you can't get a big screen in, in some you can. In Hamburg we'll have a really big screen in the church. So you have the combination of a massive cinema screen and the church - it should look fantastic. So you're coming to Prague, Cologne, anywhere else?

 

 

Berlin!

 

Berlin! I don't know the Cologne venue. Do you know it?

 

 

No, I've never been there.

 

I think it's a very well known place so we'll see how that one is. And some have sold very well and some are not quite so good. Munich is a bit of a problem but it will be OK.

 

 

The Hansa venue is the one with the smallest audience, that's about 500 people.

 

600.

 

 

I think the one in Hamburg will be the most beautiful venue inside the church.

 

Should be! The sound could be really good. The sound is probably ambient.

 

 

We have something similar in Vienna. A church that's used for events like this. There were several artists playing there like Tori Amos who is always coming there playing on her Bösendorfer piano. Maybe you will come to Vienna one day [laughing] - I think there are 50 people there who know RECOIL.

 

Yeah Vienna, that's the problem - I think that would be slow. Germany and Switzerland are a bit slow. Zurich is a bit slow - it's a nice venue in Zurich, it looks great but it's quite big and we have some work to do to sell the tickets - it's about half so far. But it should be OK.

 

 

Okay, I think we should come to and end... do you see the SELECTED album as some kind of closing chapter, some kind of consolidation of your previous work?

 

Not really. It's convenient - I didn't realise that the project is already 25 years old, can you believe it? So it's quite nice from that point of view. No, I carry on and do some new stuff and see what happens. See where it goes next.

 

 

So we can expect a new album?

 

Oh yeah, I don't know when... I just started. I started some stuff, I got some tracks going and then this came along and stopped all that. But I'll carry on after the tour. But there's the world cup first! And then I'll go back to work...

 

 

Thank you for the interview... I think I was the only one so far who didn't ask you any DEPECHE MODE question, right?

 

Probably! I think that's correct. Yeah there are a lot questions about that.

 

 

There's actually one more question I got from Fabe (webmaster's note: Steve Fabian) for you: "Did you ever had an idea of eating a banana on stage?"

 

Haaa! There was a banana incident at Barcelona. I presented the banana to one of the audience [everybody's laughing].   Okay Thomas see you tomorrow...       END