"You get what anyone gets. A lifetime" - Neil Gaimen
In little over a year since their controversial and boundary breaking second album, “Applied Structure in a Void”, Die Sektor return with their darkest yet most refined album to date. On their third full length release they continue to push the limits of dark electro music: they sound meaner, angrier and altogether more menacing. The sense of hope found on the previous album seems to have vanished completely. This time the listener is taken into an internal world, unstoppable in its folly and imminent collapse.
In typical Die Sektor fashion “The Final Electro Solution” is filled with metaphors, double meaning and hidden references which leave the listener with several ways to interpret each song. The project describe the album as “an apocalyptic themed nervous breakdown, to be played in stereo”. Expect the signature complex arrangements, glitches, insane melodies and unique rhythms Die Sektor are known for. From out of the void comes “The Final Electro Solution”!
The demand for the new RECOIL Blu-ray has been extremely high. That high even that even before they were able informing the press, a huge rush took place for the limited deluxe version Blu-ray of RECOIL’s ‘A Strange Hour In Budapest’ when it became available for pre-order. All of the 1000 copies sold out in record time - not even 24 hours!
It took Alan Wilder and everyone by surprise as it had only been available on-line for such a short time. In order to fulfill other orders, a ‘Red edition’ has now been foreseen for which you can find the full details below.
Orders are now being accepted for ‘A Strange Hour In Budapest’ - RECOIL’s Blu-ray release of the concert film brought to you by Shunt Production & Umatik Entertainment. This is a full HD production, with DTS-HD 5.1 surround sound and stereo soundtrack mixed by Alan Wilder & Paul Kendall.
Directed and edited by Attila Herkó, this Red edition of ‘A Strange Hour In Budapest’ will have a slightly simpler packaging - no digipack but instead a classic black case with alternative cover art, including the 16-page booklet packed with information and photo manipulations by Ákos Szénási. The disc contents will be exactly the same, featuring extra promotional films and live projections. And every order will include the FREE 19-track sampler “Sounds from the Matrix 012”.
Order your copy now!
Freakangel’s singer D. Darling has just completed his very first work as a video director. Out now is the new Freakangel video for “Porcelain Doll”, a track taken from the band’s brand new album “Let It All End”, out now on Alfa Matrix.
You can view the video right here:
Freakangel is also back on the road. More dates will be announced soon, so stay tuned.
Experimenting and Psy’Aviah, it’s quite a natural symbiosis so it seems (even if it results in having their video banned on YouTube). The band has just launched a project, “Urban Sharing” they call it. So what is it all about? The Belgian electro act has spread tens of parcels all over the Belgian city of Antwerp (over 500.000 inhabitants) which have a very cryptic message on them and which include a CD plus a thank you note.
The idea behind this ‘urban sharing’ project is simple: wake up people from their daily routine and thank those who take the risk to open the parcels.
Says Yves Schelpe from Psy’Aviah: “Life is over in no time, and things can quickly turn into a colorless routine. With this project we want people to realize this. Another motivation was an episode of illusionist Derren Brown. He tested if people who felt happy actually also had more happiness in their life. It seemed that those people actually seized more opportunities to become happy and also see the potential around them.”
Psy’Aviah is currently completing this guerilla project in Antwerp but will possibly extend it to other Flemish cities, so keep an eye open if you live in Flanders! Here is a video which explains the project:
The band recently released the DJ EP “Ok/Virtual Gods” on iTunes (direct link) and Beatport with tracks taken from their 4th studio album “Introspection / Extrospection” remixed by M.I.K.E. (PUSH, PLASTIC BOY), JAN VERVLOET (FIOCCO, SCOOP), MASAMUNE, NUDE, RADICAL G, METROLAND and GHOST.
Douglas J. McCarthy of Nitzer Ebb fame and also appeared on recordings by Recoil, is back with his début solo project - ‘LIFE IS SUCKING THE LIFE OUT OF ME’. The single ‘HEY’ and album have are released via Beatport through all digital outlets.
For those lucky enough to be attending Wave Gotik Treffen, Leipzig, Germany on 28 May, 2012 you will have the opportunity to see his premier live performance!
Recoil is the project of Alan Charles Wilder, formerly of Depeche Mode. Born on 1st June 1959, he is a classically-trained musician and renowned contemporary music producer.
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 1991, Wilder recruited guest vocalists for the first time with further contributions from 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 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 grueling 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.
Following a 5 year break from recording, Alan Wilder returned with Recoil’s 5th studio album, entitled ‘subHuman’ released in July 2007.
Collaborating this time was Blues-man Joe Richardson, 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 offered a unique commentary on conflict, religion, incarceration and personal struggle. English singer Carla Trevaskis, a songwriter in her own right, also brought an expressive range and control to ‘subHuman’.
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’ asked 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.”
In 2010, Recoil returned to give us ‘Selected’, a selection of classic Recoil tracks with the listing chosen by Alan who explains: “The collection is made up of my personal favourites, remastered and edited together into what I consider a cohesive and total listening experience.”
‘A Strange Hour’ was presented during 2010 & 2011 in 52 cities across the world, as part of the ‘Selected Events’ tour to celebrate 25 years of the Recoil project, signifying the first time Recoil had ever taken to the road. The events were not so much ‘live’ band but more art installation. The music was comprised of stripped down, edited sections from many Recoil remixes and alternative versions, combined so that what resulted was recognisably Recoil but not necessarily what you would hear on the studio versions. Wilder gathered together filmmakers from as far as Russia, via the Czech Republic and Hungary, all the way to Argentina for this purpose, working very fast, and in the modern way, by creating a central server where everybody could upload their work for others to see, react to and feedback on. Says Wilder: “This for me typifies the whole essence of what Recoil is all about - a collective but with a focused direction - and a very thrilling process it was too, watching and hearing ’A Strange Hour’ come together from our base in the UK.”
Following his remix of ‘In Chains’ for his old Depeche Mode bandmates in 2011, Recoil returns in 2012 to release the concert film ‘A Strange Hour In Budapest’ on Blu-ray. With 5.1 surround sound, the performance was filmed using the latest high-definition technology in order to capture the event in its full glory. For this, the team from Umatik Entertainment was recruited, headed up by director Attila Herkó. The results are stunning and offer a captivating and exhilarating document of ‘A Strange Hour’.
Also in 2012, we see Alan Wilder turn up again as Executive Producer & contributor for a new tribute album to Mark Hollis & Talk Talk. Recoil offers two cover versions for the album utilising the vocal talents of Linton Kwesi Johnson, Shara Worden and Paul Marshall. Wilder also mixed a track for Richard Reed Parry from Arcade Fire. ‘Spirit of Talk Talk’ is due to be released later in the year on Fierce Panda Records.