astrangehourofrecoil

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Alan on the recording of “In Your Room”

That song was quite difficult. We recorded the song three or four different ways. One was entirely as you hear it in the second verse, with the smaller drum kit and the “groovy” bass line. But the whole song with that rhythm wasn’t strong enough; it didn’t go anywhere. We had the song structure from a fairly early stage. We knew where we wanted the verses, choruses, and middle eights. So much as I did with “I Feel You,” I went in and played drums along with the track in one particular style, then did it again in a funkier style, and so on.

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Alan on Depeche Mode’s sound and sampling process:

With a Depeche Mode song, the first thing we decide upon is atmosphere. After that, we might add sampled sounds. They could be anything—pebbles in a can or industrial noises using oil cans, skips, concrete… All the technology we use is computer-based, but our interest is in what you can do with that, not how it works. There’s no reason to be scared of computer technology. People blame technology for musical sterility, but that’s rubbish. It comes down to ideas.

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Alan on his Recoil works 1+2 and Hydrology:

“Hydrology was a step up from 1+2. It was done on a half-inch 16-track Fostex machine. So there were limitations, but it was much more versatile than the first thing I had done. Recoil was still very much an aside to Depeche Mode, with no pressure or expectations placed upon it. It was always going to be an ‘antidote’ to Depeche Mode in some ways; a way to alleviate the frustrations of always working within a pop format. I have nothing against the pop format, but if I was going to do something on my own, there was no point in repeating what I was already doing in the group. It was intended to be completely different and experimental. It didn’t matter if it was too left field or too weird for some people.”

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Q: I’ve read somewhere that you do not consider yourself a songwriter, but rather someone that structures music and sounds, performing the orchestration of the pieces, sort of orthogonal to the whole natural songwriting process. Can you elaborate on where you see your strengths and weaknesses in that domain?

Alan: Well, that’s pretty much it. For me, it’s exciting to have a vocal melody, a great voice, and a set of lyrics to work with. From there, I think I can build a piece of music which can illustrate what the song’s all about by, firstly, creating an atmosphere. Once that feels right, the rest of the process is structural, rather like finishing a complicated jigsaw, and I gradually fit all the elements together and refine the sound.

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Alan performing at the Montreux Rock Festival in Switzerland, May 1986

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emulator ✨

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stare ✨

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1986

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he looks so good,,, that smile….

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alan in 1987 ✨

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✨

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*silly post, i think this interview is so weird*

alan talking about the aesthetics of bed design in 1999

“musician alan wilder’s ‘brutally contemporary’ hover bed looks like something out of a low-budget, sci-fi fantasy (red dwarf, perhaps, or blake’s seven). "what i look for in a bed," says the former member of pop group depeche mode, "is sleep, sex and aesthetics - the bed has to look good." he and partner hepzibah sessa snooze under a rubberised duvet, framed by polished aluminium panels, their heads resting on neoprene….

"an overlapping duvet ruins the aesthetic," says wilder, who now writes and produces music. there is no denying that the hover has a striking aesthetic, but both bed partners admit that it’s not the most comfortable of things to sleep in - especially if daughter paris is around. "If you extend your leg beyond the duvet, you tend to hit cold metal," explains wilder.”

- pillow talk, the guardian, 19.03.1999

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he is so stunning 🫠

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alan being interviewed about what pursuing recoil means for depeche mode in 1992

@cryinginsynths

@awfullydxpeched

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alan out and about 🖤

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alan practicing photography

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so cute