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| In audio production, '''sampling''' refers to the use of a portion (or sample) from a sound recording within another recording. As pioneers of the {{EL|https://en.wikipedia.org/wiki/Electronic_music electronic music}} {{EL|https://en.wikipedia.org/wiki/Music_genre genre}} in the early 1980s, [[Depeche Mode]] with [[Alan Wilder]] were among the most prolific acts to make use of {{EL|https://en.wikipedia.org/wiki/Sampling_(music) sampling}} technology within a traditional {{EL|https://en.wikipedia.org/wiki/Pop_music pop music}} format. Among the thousands of original samples recorded and utilized by Depeche Mode to enhance the atmosphere of their musical output are many that originated elsewhere, including brief passages of musical recordings by other artists, snippets of audio from television shows, radio broadcasts, films, environmental sounds, and more. Analysis of these '''sample sources''' and how they are manipulated is a popular topic of discussion amongst fans of the group.
| | #REDIRECT [[List of Recoil sample sources by album]] |
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| Upon his departure from [[Depeche Mode]] in 1995, Wilder would expand upon the creative sampling techniques he perfected through the years as a member of Depeche Mode for his [[Recoil]] music project, utilising sampled audio from contemporary music, films, film soundtracks, and samples from his past work with Depeche Mode.
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| To view a list of sample sources for Depeche Mode works, see [[Depeche Mode sample sources]].
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| {{GlossaryLink|
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| link=[[Sample sources glossary|Terms used in this article]]
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| }}
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| = Information =
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| {{Sample_sources_chart}}
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| This page aims to document all verifiable sound sources for many of the musical parts utilised by Alan Wilder for the [[Recoil]] music project in the production of its [[:Category:Recoil albums|studio albums]], official remixes, [[:Category:2010-2011 Selected Events Tour|live performances]], and other works.
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| Due to the manipulated nature of the samples described in this article, there is unavoidable potential for error or sample misattribution. To ensure accuracy, this article strives to use verified quotes from band members and recording personnel with citations wherever possible, audio examples, and independent research voluntarily contributed by Depeche Mode and Recoil fans across the world. This article serves to provide an interesting document on this topic in a tabular format that is organized, well-researched, and reasonably accurate. '''Please bear in mind that due to the limited number of relevant quotes for each sample from band members or associates involved in the production of the music described on this page, audio samples that lack official confirmation are not guaranteed to be accurate.'''
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| This article differentiates samples by their origin: '''Self-made samples''', which describes any material originally recorded by Depeche Mode or Recoil, and '''Sourced samples''', which describe samples which were not originally recorded by either group. In addition to confirmed samples, this article also covers samples that are commonly misreported as having been used but have been directly refuted by a member or associate of Depeche Mode or Recoil.
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| As ever, if you notice an error, wish to contribute or request the removal of information contained within this article, please feel free to [mailto:[email protected] contact us]. | |
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| == <i>[[1 + 2]]</i> (1986) ==
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| {{Sample source
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| |song={{S|1}} & {{S|2}}
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| |artist=[[Recoil]]
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| |releaseyear=1986
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| |ssample1=N/A
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| |ssource1='''Depeche Mode – "[[Any Second Now]]" (Altered)''' - 1981
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| |sstatus1=C
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| |ssample2=N/A
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| |ssource2='''Depeche Mode – "[[If You Want]]"''' - 1984
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| |sstatus2=C
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| |ssample3=N/A
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| |ssource3='''Depeche Mode – "[[The Sun & The Rainfall]]"''' - 1982
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| |sstatus3=C
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| |ssample4=N/A
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| |ssource4='''Depeche Mode – "[[Oberkorn (It's A Small Town)]]"''' - 1982
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| |sstatus4=C
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| |ssample5=N/A
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| |ssource5='''Depeche Mode – "[[The Great Outdoors]]"''' - 1983
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| |sstatus5=C
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| |ssample6=N/A
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| |ssource6='''Depeche Mode – "[[Shouldn't Have Done That]]"''' - 1982
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| |sstatus6=C
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| |ssample7=N/A
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| |ssource7='''Depeche Mode – "[[Tora! Tora! Tora!]]"''' - 1981
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| |sstatus7=C
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| |ssample8=N/A
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| |ssource8='''Depeche Mode – "[[Shake The Disease]]" (Edit the Shake)''' - 1985
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| |sstatus8=C
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| |ssample9=N/A
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| |ssource9='''Depeche Mode – "[[Pipeline]]"''' - 1983
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| |sstatus9=C
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| |ssample10=N/A
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| |ssource10='''Depeche Mode – "[[Blasphemous Rumours]]"''' - 1984
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| |sstatus10=C
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| |ssample11=N/A
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| |ssource11='''Kraftwerk – "Radioaktivität"''' - 1975
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| |sstatus11=UC
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| |ssample12=N/A
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| |ssource12='''Kraftwerk – "Uran"''' - 1975
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| |sstatus12=UC
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| |ssample13=N/A
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| |ssource13='''Kraftwerk – "Radioland"''' - 1975
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| |sstatus13=UC
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| |ssample14=N/A
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| |ssource14='''Duet Emmo – "Or So It Seems"''' - 1983
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| |sstatus14=UC
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| |ssample15=N/A
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| |ssource15='''Duet Emmo – "Heart of Hearts"''' - 1983
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| |sstatus15=UC
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| |ssample16=N/A
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| |ssource16='''The Hitmen – "Shade in, fade out"''' - 1981
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| |sstatus16=UC
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| |ssample17=N/A
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| |ssource17='''Hard Corps - "Je Suis Passée"''' - 1985
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| |sstatus17=UC
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| |snumberofrows=17
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| |sround=1
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| |colorscheme=1+2
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| }}
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| == <i>[[Hydrology]]</i> (1988) ==
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| {{Sample source
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| |song={{S|Grain}}
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| |artist=[[Recoil]]
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| |releaseyear=1988
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| |smsample1=Bell-like outro "ping"
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| |smsnotes1=In May 2020, fan "DMK" kindly provided DM Live Wiki with documentation for a series of {{EL|http://www.vintagesynth.com/emu/emulator2.php Emulator II}} {{EL|https://en.wikipedia.org/wiki/Floppy_disk floppy disks}} that accompanied a collection of restored studio equipment used by ''[[Music For The Masses]]'' producer [[Dave Bascombe]] during the production of music albums for artists other than [[Depeche Mode]] in the mid to late eighties. One floppy disk, labeled "Wineglass (106)", features an untitled preset ("NULL PRESET"), which contains a bell-like sample, presumably the sound of a wine glass being tapped. This sample is played sporadically throughout the orchestral outro of "Grain". Notably, this sound is also used in {{S|Strangelove}}, {{S|Never Let Me Down Again}}, {{S|Behind The Wheel}}, and {{S|Route 66}}.
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| |smsnumberofrows=1
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| |colorscheme=Hydrology
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| }}
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| {{Sample source
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| |song={{S|Stone}}
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| |artist=[[Recoil]]
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| |releaseyear=1988
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| |ssample1=French vocal sample
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| |ssource1='''French train announcer, unidentified source'''
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| |sstatus1=C
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| |snotes1=Wilder confirmed in a Q&A on {{Shunt}}, the official [[Recoil]] website that {{S|Stone}} employs a vocal sample of a French train station announcer, but is unsure of its origin.<ref>Source: [http://www.recoil.co.uk/evidence/qa-vault/qa-recoil/qa-recoil-1-2-hydrology/ Shunt Q&A: ARCHIVES : Recoil : 1 + 2 / HYDROLOGY]</ref> The announcer says: "Attention! Attention! Quai n°5, départ imminent du Nord-Express à destination de Moscou [...]"
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| |snumberofrows=1
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| |sround=1
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| |colorscheme=Hydrology
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| }}
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| {{Sample source
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| |song={{S|The Sermon}}
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| |artist=[[Recoil]]
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| |releaseyear=1988
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| |smsample1=Polish vocal sample
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| |smsnotes1=A vocal sample from a Polish radio broadcast reporting on Pope John Paul II's 9 June 1987 sermon in Warsaw can be heard in the introduction of {{S|The Sermon}}. Wilder commented on the origin of this sample in a 2008 interview for ''komarnicki.pl'': "I put the microphone on the shortwave radio, I tried to catch some climatic samples and that was the first thing that happened. I had no idea what they were saying! I liked the sound but it wasn't meant to be an integral part of the track, just atmosphere."<ref>Sources: [http://lodz.wyborcza.pl/lodz/1,35135,7785079,Byly_czlonek_Depeche_Mode_zagra_w_Lodzi__Wywiad.html Interview with Alan Wilder for Wyborcza Poland, 2010-04-19] + [https://komarnicki.pl/interview-alan-wilder-depechemodeforum/ Interview with Alan Wilder for ''devotees.pl'', 2008-02-21]</ref> The two audio samples state: <blockquote>
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| [...] radcy nuncjatury w Lizbonie, którego Ojciec Święty mianował Pronuncjuszem Apostolskim w Tajla[-ndii...]
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| [...] wzgórze wypełniło się młodzieżą maturalną… oprócz indywidualnych [inaudible] grup kraj przebyły też dwie pielgrzymki diecezjalne. Pierwsza z Archidiecezji Warszawskiej w liczbie około 8 tysięcy młodzieży [...]<ref>Transcribed by Aleksandra Lech for DMLiveWiki on 2019-07-30</ref></blockquote>
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| English Google translation:
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| <blockquote>
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| [...] counselor of the nunciature in Lisbon, whom the Holy Father appointed as Apostolic Pronunciator in Tajla [Thailand]...
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| [...] the hill was filled with high school graduates ... in addition to individual freelance groups, two diocesan pilgrimages arrived in Prague. The first one, from the Archdiocese of Warsaw, was eight thousand young people strong, and they...
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| </blockquote>
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| |smsample2=Bass guitar
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| |smsnotes2=In May 2020, fan "DMK" kindly provided DM Live Wiki with documentation for a series of Emulator II floppy disks that accompanied a collection of restored studio equipment used by ''[[Music For The Masses]]'' co-producer [[Dave Bascombe]] during the production of music albums for artists other than [[Depeche Mode]] in the mid to late 1980s. One floppy disk, labeled "Bright Bass-GTR", features a preset titled "bright bass" that is comprised of two bass guitar samples which are used throughout "The Sermon" starting from approximately the five minute thirty-second mark. Notably, these bass guitar parts are also used during the chorus sections of the album version and throughout the single version of {{S|Strangelove}}.
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| |ssample1=Tribal chanting
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| |ssource1='''{{EL|https://en.wikipedia.org/wiki/Peter_Gabriel Charles Duvelle}}, Jean-Pierre Martin, Jacques M'bilo - ''Musique centrafricaine'' - "Chant Dakpa pour l'Abbatage d'un arbre"''' - 1962
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| |sstatus1=C
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| |snotes1=A section of audio derived from "Chant Dakpa pour l'Abbatage d'un arbre" as recorded by Charles Duvelle, Jean-Pierre Martin, and Jacques M'bilo for the 1962 {{EL|https://en.wikipedia.org/wiki/Ocora Ocora}} release ''Musique centrafricaine'' is utilised throughout the outro of "The Sermon".
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| |ssample2=Woodwind instrumentation
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| |ssource2='''{{EL|https://en.wikipedia.org/wiki/Peter_Gabriel Charles Duvelle}}, Jean-Pierre Martin, Jacques M'bilo - ''Musique centrafricaine'' - "Musique de chasse Babinga"''' - 1962
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| |sstatus2=C
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| |snotes2=A section of audio derived from "Musique babinga" as recorded by Charles Duvelle, Jean-Pierre Martin, and Jacques M'bilo for the 1962 {{EL|https://en.wikipedia.org/wiki/Ocora Ocora}} release ''Musique centrafricaine'' is utilised throughout the outro of "The Sermon".
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| |ssample3="Buzzy" synth drone
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| |ssource3='''Emulator II factory library disk #37: Electric Guitar - Preset #3: "LoopedGuitar", SAMPLE 5, SAMPLE 9'''
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| |sstatus3=C
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| |snotes3=Two muted harmonic guitar pluck samples derived from the Emulator II factory library disk #37 "Electric Guitar" are individually looped with a tight loop point and layered together to form the "buzzy" monophonic synth drone audible throughout "The Sermon".
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| |snumberofrows=3
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| |colorscheme=Hydrology
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| }}
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| == <i>Ebbhead</i> (Nitzer Ebb album) ==
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| Between the conclusion of the [[:Category:1990 World Violation Tour|World Violation Tour]] and the recording of ''[[Songs Of Faith And Devotion]]'', [[Alan Wilder]] would enter London's KONK Studios to record Recoil's ''[[Bloodline]]'' between January and March 1991. A month later, he would return to the studio to produce Depeche Mode support act Nitzer Ebb's ''Ebbhead'' record in collaboration with producer [[Flood]] and mix engineer [[Steve Lyon]]. As was characteristic of his work in Depeche Mode and Recoil, Wilder would employ samples from a wide variety of sources in the production of ''Ebbhead''.
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| Nitzer Ebb's Bon Harris on Wilder's musical prowess in 1991: "Alan has a very musical ear. He's classically trained, so he knows what he's doing when it comes to melody, but has no tolerance for pop - that's quite a good combination."<ref> Source: [https://www.americanradiohistory.com/Archive-RandR/1990s/1991/RR-1991-07-05.pdf?fbclid=IwAR3TO7hG8RsWxZVVK0O6h0k82la4HyoAQl85shlWHc-qURs4XWnnfckFFuU American Radio History : Archive: 1991-07-05]</ref>
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| {{Sample source
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| |song={{S|Lakeside Drive}}
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| |artist=Nitzer Ebb
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| |releaseyear=1991
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| |smsample1=Cymbal crash with descending pitch
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| |smsnotes1="Lakeside Drive" utilises a cymbal crash originally used throughout {{S|Never Let Me Down Again}}.
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| |smsample2=Synth bass
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| |smsnotes2=A synth bass part originally recorded for use with {{S|Sweetest Perfection}} is used throughout "Lakeside Drive".
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| |smsnumberofrows=2
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| }}
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| {{Sample source
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| |song={{S|I Give To You}}
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| |artist=Nitzer Ebb
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| |releaseyear=1991
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| |smsample1=Harpsichord-like instrument
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| |smsnotes1={{S|I Give To You}} utilises a textured harpsichord-like stab originally recorded for use in {{S|Enjoy The Silence}}.
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| |smsample2=Synth bass
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| |smsnotes2="I Give To You" employs a sampled synth bass part throughout its verse sections. Notably, this sound would later be used in the [[:Category:1994 Exotic Tour|Exotic]] tour arrangement of {{S|I Want You Now}} starting from the third verse.
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| |ssample1=Drum loop
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| |ssource1='''{{EL|https://en.wikipedia.org/wiki/Fancy_(band) Fancy}} - "Feel Good"''' - 1974
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| |sstatus1=C
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| |snotes1=The classic "Feel Good" drum break is used throughout "I Give To You". This loop is also notably used in the chorus sections of {{S|Walking In My Shoes}}, {{S|My Joy}}, and its "Slow Slide" remix.
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| |ssample2=John Bonham drum one-shots
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| |ssource2='''{{EL|https://en.wikipedia.org/wiki/Beastie_Boys Beastie Boys}} - "Rhymin' And Stealin"''' - 1986
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| |sstatus2=OC
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| |snotes2=Wilder confirmed in a Q&A on {{Shunt}}, the official [[Recoil]] project site that "[[Never Let Me Down Again]]" employs some drum elements originally from Led Zeppelin's "When The Levee Breaks" which were sampled second-hand from a rap record (Beastie Boys - "Rhymin And Stealin"). These samples were later re-purposed for use in a variety of Depeche Mode songs. The snare is used throughout "I Give To You".
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| |ssample3=Classic John Bonham drum one-shots
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| |ssource3='''{{EL|https://en.wikipedia.org/wiki/Led_Zeppelin Led Zeppelin}} - "{{EL|https://en.wikipedia.org/wiki/When_the_Levee_Breaks#Led_Zeppelin_version When The Levee Breaks}}"''' - 1971
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| |sstatus3=OC
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| |snotes3=Wilder confirmed in a Q&A on the official Recoil project site that "Never Let Me Down Again" employs some drum elements originally from Led Zeppelin's "When The Levee Breaks" which were sampled second-hand from a rap record (Beastie Boys - "Rhymin And Stealin"). These samples were later re-purposed for use in Depeche Mode's {{S|Halo}}, {{S|Get Right With Me}}, and later Nitzer Ebb's "I Give To You".
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| |ssample4=Orchestral hit, pads
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| |ssource4='''{{EL|https://en.wikipedia.org/wiki/Barry_Adamson Barry Adamson}} - "{{EL|https://en.wikipedia.org/wiki/(Themes_from)_The_Man_with_the_Golden_Arm The Man with the Golden Arm}}"''' - 1989
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| |sstatus4=C
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| |snotes4=A sampled orchestral hit and pad derived from the latter half of {{EL|https://en.wikipedia.org/wiki/Barry_Adamson Barry Adamson's}} 1989 cover of "{{EL|https://en.wikipedia.org/wiki/(Themes_from)_The_Man_with_the_Golden_Arm The Man with the Golden Arm}}" is utilised following the second {{EL|https://en.wikipedia.org/wiki/Song_structure#Chorus_or_refrain chorus}} section of "I Give To You".
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| Credit to Ricardo López for this discovery.
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| |ssample5=Various one-shot orchestral strings
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| |ssource5=Unknown, presumably an orchestral performance recorded and commercially released prior to 1991
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| |sstatus5=U
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| |snotes5="I Give To You" utilises a variety of one-shot orchestral string parts, including a solo violin string staccato with a root key of C5; a brief solo viola recording playing a descending A4 > A♭4 > G4 phrase; and a brief violin trill with a root key of G♯6.
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| |ssample6=Exotic percussion loop
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| |ssource6=Unknown
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| |sstatus6=U
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| |snotes6="I Give To You" utilises an "exotic" percussive loop comprised of a percussive instrument with a high pitch timbre, best heard around the three minute mark of the "Elemental" remix. This loop appears to also be used throughout {{S|In Your Room}}, and is most clearly heard in the "Apex" remix starting from 1:45.
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| |snumberofrows=6
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| }}
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| {{Sample source
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| |song={{S|Sugar Sweet}}
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| |artist=Nitzer Ebb
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| |releaseyear=1991
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| |smsample1=Reverberated piano stab
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| |smsnotes1="Sugar Sweet" employs a one-shot sample of a piano stab processed with heavy reverb. Notably, this sound would later be used throughout {{S|Get Right With Me}}.
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| |smsnumberofrows=1
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| }}
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| {{Sample source
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| |song={{S|DJVD}}
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| |artist=Nitzer Ebb
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| |releaseyear=1991
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| |ssample1="Wailing" synth siren
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| |ssource1='''{{EL|https://en.wikipedia.org/wiki/N.W.A N.W.A}} - "Dopeman (Remix)"''' - 1988
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| |sstatus1=C
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| |snotes1="DJVD" employs a manipulated sample of a "wailing" synth siren sound derived from the intro of the 1988 {{EL|https://en.wikipedia.org/wiki/N.W.A N.W.A}} song "Dopeman (Remix)".
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| |snumberofrows=1
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| |sround=1
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| }}
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| {{Sample source
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| |song={{S|Time}}
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| |artist=Nitzer Ebb
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| |releaseyear=1991
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| |ssample1=Variphon pad
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| |ssource1='''{{EL|https://en.wikipedia.org/wiki/Talk_Talk Talk Talk}} - "The Rainbow"''' - 1988
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| |sstatus1=C
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| |snotes1="Time" employs a {{EL|https://en.wikipedia.org/wiki/Variophon Variophon}} pad with a unique distorted texture derived from {{EL|https://en.wikipedia.org/wiki/Talk_Talk Talk Talk's}} "The Rainbow" (approximately 0:55). Notably, this sample is also used during the first verse and outro of {{S|In Your Room}}, as well as the third verse section of {{S|Mercy In You}}.
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| |sround=1
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| |snumberofrows=1
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| }}
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| {{Sample source
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| |song={{S|Ascend}}
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| |artist=Nitzer Ebb
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| |releaseyear=1991
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| |smsample1=Metallic clap
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| |smsnotes1=A resonant, metallic clap sample is utilised throughout "Ascend". Notably, this sample would later see use in the [[:Category:1993 Devotional Tour|Devotional]] tour arrangement of {{S|Enjoy The Silence}}.
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| |smsample2="Watery" piano stab
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| |smsnotes2="Ascend" utilises a textured, "watery"-sounding piano stab originally recorded for use with {{S|Waiting For The Night}}.
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| |ssample1=Guitar hook
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| |ssource1='''{{EL|https://en.wikipedia.org/wiki/Television_(band) Television}} - "{{EL|https://en.wikipedia.org/wiki/Marquee_Moon_(song) Marquee Moon}}"''' - 1 April 1977
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| |sstatus1=C
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| |snotes1="Ascend" utilises a sampled guitar hook derived from American rock band {{EL|https://en.wikipedia.org/wiki/Television_(band) Television's}} 1977 song "{{EL|https://en.wikipedia.org/wiki/Marquee_Moon_(song) Marquee Moon}}", recorded for the {{EL|https://en.wikipedia.org/wiki/Marquee_Moon debut album of the same name}}.
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| |snumberofrows=1
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| }}
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| {{Sample source
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| |song={{S|Godhead}}
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| |artist=Nitzer Ebb
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| |releaseyear=1991
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| |ssample1=Drum/synth loop
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| |ssource1='''Kraftwerk - "Home Computer (The Mix Version)"''' - 1991
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| |sstatus1=C
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| |snumberofrows=1
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| |sround=1
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| }}
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| {{Sample source
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| |song={{S|Trigger Happy}}
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| |artist=Nitzer Ebb
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| |releaseyear=1991
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| |ssample1="When The Levee Breaks" snare drum
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| |ssource1='''Beastie Boys - "Rhymin' And Stealin"''' - 1986
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| |sstatus1=OC
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| |snotes1=Wilder confirmed in a Q&A on {{Shunt}}, the official [[Recoil]] project site that "[[Never Let Me Down Again]]" employs some drum elements originally from Led Zeppelin's "When The Levee Breaks" which were sampled second-hand from a rap record (Beastie Boys - "Rhymin And Stealin"). These samples were later re-purposed for use in a variety of Depeche Mode songs. The snare is used throughout "Trigger Happy".
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| |ssample2="When The Levee Breaks" snare drum
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| |ssource2='''Led Zeppelin - "When The Levee Breaks"''' - 1971
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| |sstatus2=OC
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| |snotes2=
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| |sround=1
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| |snumberofrows=2
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| }}
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| {{Sample source
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| |song=Unidentified song
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| |artist=Nitzer Ebb
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| |releaseyear=1991
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| |ssample1=N/A
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| |ssource1='''Prince - "Kiss"''' - 1990
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| |sstatus1=U
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| |snotes1=In 1991, a fan contest was held where the winner would have the chance to spend a day in the studio with the members of Nitzer Ebb and Wilder during the recording of ''Ebbhead''. During their time in the studio, the contest winner was played back a variety of samples by the group to see if they were able to identify their origin. One sample played to the contest winner was from Prince's 1990 single "Kiss", which the fan had difficulty identifying. This sample may or may not have made it onto the completed album.
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| |snumberofrows=1
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| |sround=1
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| }}
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| == <i>[[Bloodline (album)|Bloodline]]</i> (1992) ==
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| {{Sample source
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| |song={{S|Faith Healer}}
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| |artist=[[Recoil]]
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| |releaseyear=1992
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| |smsample1=Piano-like one-shot sample
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| |smsnotes1=A low octave, piano-like sampled synth part originally recorded for use with {{s|Policy Of Truth}} is used to atmospheric effect in {{S|Faith Healer}}. The part is processed with a chorus effect. Notably, this sample is also used in Wilder's "Eurotech Version" remix of Toni Halliday's "Time Turns Around".
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| |smsample2=Snare
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| |smsnotes2=The distinctive snare originally recorded for use in {{s|World In My Eyes}} is used throughout "Faith Healer".
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| |smsample3=Tom/drum fill
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| |smsnotes3=The tom drum fill that bridges the chorus and verse sections of {{s|Personal Jesus}} bears a strong similarity to the equivalent part used during the chorus sections of "Faith Healer".
| |
| |smsample4=Xpander 'zap' and Pro One synth bass sweep<ref name="dubnspace">Credit to remixer Anton Floriano ('dubnspace') for this discovery. - [https://www.gearslutz.com/board/electronic-music-instruments-and-electronic-music-production/1114803-depeche-mode-enjoy-silence-synth-sweep-sound.html GearSlutz : Forum : Electronic Music Instruments and Electronic Music Production : Depeche Mode Enjoy The Silence synth sweep sound]</ref>
| |
| |smsnotes4=A layered Xpander/Pro One bass synth part originally recorded for use during the chorus sections of {{s|Enjoy The Silence}} are utilised during the chorus sections of "Faith Healer".
| |
| |smsample5=“Eyes" vocoder vocal
| |
| |smsnotes5=A quick cut of a vocoded vocal performance originally recorded for use with the "Dub In My Eyes" remix of {{S|World In My Eyes}} is used as a rhythmic element throughout "Faith Healer".
| |
| |smsample6=Looped "ahh" solo male vocal/choir pad (one of two)
| |
| |smsnotes6=A looped male solo vocal pad originally heard during the opening minutes of {{s|Clean}} is used sporadically throughout "Faith Healer".<ref name="BairdCredit">Credit to Christopher Baird for this discovery.</ref>
| |
| |ssample1=Guitar riff and other elements
| |
| |ssource1='''The Sensational Alex Harvey Band - "The Faith Healer"''' - 1973
| |
| |sstatus1=C
| |
| |ssample2=Bell tree sample
| |
| |ssource2='''Fleetwood Mac - "Black Magic Woman"''' - 1982
| |
| |sstatus2=C
| |
| |snotes2=This sample was originally sampled for use in Depeche Mode's "World In My Eyes", and is re-used to atmospheric effect in "Faith Healer".
| |
| |snumberofrows=2
| |
| |colorscheme=Bloodline
| |
| }}
| |
| {{Sample source
| |
| |song={{S|Electro Blues For Bukka White}}
| |
| |artist=[[Recoil]]
| |
| |releaseyear=1992
| |
| |smsample1=Bass sequence
| |
| |smsnotes1=Musician Ehron VonAllen confirmed in a YouTube analysis of his [[Jezebel (Recoil song)#Seductress Mix| remix collaboration]] with [[Alan Wilder]] that the latter employed a bass sequence originally recorded for use with {{S|Waiting For The Night}} in {{S|Electro Blues For Bukka White}}.<ref name="EhronVonAllen">Source: [https://invidio.us/watch?v=v_mNrwcI0s8&iv_load_policy=1 Recoil - Jezebel (Seductress Mix) by Ehron VonAllen with collaboration details 1080p HD] - Ehron VonAllen</ref>
| |
| |ssample1=Bukka White vocal performance
| |
| |ssource1='''Bukka White - "Shake 'Em On Down"''' - 1937
| |
| |sstatus1=C
| |
| |ssample2=Filtered synth percussion
| |
| |ssource2='''The Human League - "Being Boiled"''' - 1980
| |
| |sstatus2=C
| |
| |snotes2=A sample of filtered percussive noise derived from a synthesizer heard in the intro of The Human League's "Being Boiled" is utilised throughout "Electro Blues For Bukka White" starting from the fourteen second mark.
| |
| |ssample3=N/A
| |
| |ssource3='''David Bowie - "Aladdin Sane"''' - 1973
| |
| |sstatus3=UC
| |
| |snumberofrows=3
| |
| |colorscheme=Bloodline
| |
| }}
| |
| {{Sample source
| |
| |song={{S|The Defector}}
| |
| |artist=[[Recoil]]
| |
| |releaseyear=1992
| |
| |ssample1=Anthony Hopkins "Closer...", "That is his nature", "No, no, no, no, no" vocal samples
| |
| |ssource1='''<i>Silence Of The Lambs</i> (film)''' - 1991
| |
| |sstatus1=L
| |
| |ssample2=N/A
| |
| |ssource2='''LFO - "El Ef Oh"''' - 1991
| |
| |sstatus2=U
| |
| |snumberofrows=2
| |
| |sround=1
| |
| |colorscheme=Bloodline
| |
| }}
| |
| {{Sample source
| |
| |song={{S|Edge To Life}}
| |
| |artist=[[Recoil]]
| |
| |releaseyear=1992
| |
| |smsample1=Italian female spoken vocal
| |
| |smsnotes1=A female vocal spoken in Italian from the ''Strange'' video compilation can be heard throughout the song. Spoken by Ippolita "Poppy" Santorelli, the Italian actress prominently featured in the music video for {{S|Behind The Wheel}}.
| |
| Italian:
| |
| <blockquote>Allora, io sono Ippolita, Ippolita Santarelli. I miei amici mi chiamano Poppi. Un giorno, stavo girando per la campagna con la mia Vespa quando vidi un ragazzo con le stampelle. Era la prima volta che vedevo Dave. Noi viaggiammo insieme e ci divertimmo molto. Lui È il mio piccolo Marlon, e mi piace molto ballare con lui. Mi persuase a diventare un pezzo da museo ed io non l'ho pi˘ visto. Mi piacerebbe uscire e ballare ancora con lui. Forse, un giorno, chissà!</blockquote>
| |
| | |
| English:
| |
| <blockquote>So, I am Ippolita, Ippolita Santarelli. My friends call me Poppi. One day, I was riding around the countryside with my Vespa when I saw a boy on crutches. It was the first time I saw Dave. We traveled together and had a lot of fun. He is my little Marlon[?] and I love dancing with him. He persuaded me to become a museum piece[?] and I haven't seen him since. I would love to go out and dance with him again. maybe... one day... who knows... ciao.</blockquote>
| |
| |smsnumberofrows=1
| |
| |colorscheme=Bloodline
| |
| }}
| |
| {{Sample source
| |
| |song={{S|Curse}}
| |
| |artist=[[Recoil]]
| |
| |releaseyear=1992
| |
| |smsample1="Breathing" accordion loop
| |
| |smsnotes1=The "breathing" effect originally recorded for use in {{S|I Want You Now}} is re-purposed for atmosphere throughout {{S|Curse}}. The sound is produced by an accordion being inflated and deflated without depressing a key.<ref name="shuntMFTM">Source: [http://oldsite.recoil.co.uk/forum/qa/dmmftm.htm Shunt Q&A: ARCHIVES : DEPECHE MODE : MUSIC FOR THE MASSES]</ref>
| |
| |ssample1=Diamanda Galás vocal sample
| |
| |ssource1='''{{EL|https://en.wikipedia.org/wiki/Diamanda_Gal%C3%A1s Diamanda Galás}} - Unidentified source'''
| |
| |sstatus1=UC
| |
| |ssample2=Punchy snare and "whirly" bassline
| |
| |ssource2='''{{EL|https://en.wikipedia.org/wiki/Digital_Underground Digital Underground}} - "{{EL|https://en.wikipedia.org/wiki/The_Humpty_Dance The Humpty Dance}}"''' - 1990
| |
| |sstatus2=C
| |
| |snotes2=The "whirly", evolving bassline and fat, punchy snare heard in "The Humpty Dance" by Digital Underground (itself derived from "Theme from the Black Hole" by {{EL|https://en.wikipedia.org/wiki/Parliament_(band) Parliament}}) is used throughout "Curse".
| |
| |ssample3=Punchy snare
| |
| |ssource3='''{{EL|https://en.wikipedia.org/wiki/Parliament_(band) Parliament}} - "Theme from the Black Hole"''' - 1979
| |
| |sstatus3=C
| |
| |ssample4="You're blind, you're blind from the facts" vocal
| |
| |ssource4='''{{EL|https://en.wikipedia.org/wiki/Public_Enemy_(band) Public Enemy}} - "She Watch Channel Zero?!"''' - 1988
| |
| |sstatus4=C
| |
| |snumberofrows=4
| |
| |colorscheme=Bloodline
| |
| }}
| |
| {{Sample source
| |
| |song="[[Bloodline (song)|Bloodline]]"
| |
| |artist=[[Recoil]]
| |
| |releaseyear=1992
| |
| |smsample1="Who's Afraid Of The Big Bad Wolf" nursery rhyme vocal
| |
| |smsnotes1=A reversed vocal performance of the nursery rhyme "Who's Afraid Of The Big Bad Wolf" as sung by Douglas McCarthy's daughter can be heard mid-way through the song. Notably, this sample is also used in the Nitzer Ebb song "Sugar Sweet".
| |
| |smsnumberofrows=1
| |
| |colorscheme=Bloodline
| |
| }}
| |
| {{Sample source
| |
| |song={{S|Faith Healer}} (Trance Mix)
| |
| |artist=[[Recoil]]
| |
| |releaseyear=1992
| |
| |smsample1=Piano-like one-shot
| |
| |smsnotes1=A low octave, piano-like sampled synth part originally recorded for use with {{S|Policy Of Truth}} is used to atmospheric effect in 'Faith Healer'.
| |
| |smsample4=Tom/drum fill
| |
| |smsnotes4=The tom drum fill that bridges the chorus and verse sections of {{S|Personal Jesus}} bears a strong similarity to the equivalent part used during the chorus sections of "Faith Healer".
| |
| |smsample5=Xpander 'zap' and Pro One synth bass sweep<ref name="dubnspace"></ref>
| |
| |smsnotes5=A layered Xpander/Pro One bass synth part originally recorded for use during the chorus sections of {{S|Enjoy The Silence}} are re-used during the chorus sections of "Faith Healer".
| |
| |smsample6=Eyes" vocoder vocal
| |
| |smsnotes6=A quick cut of a vocoded vocal performance originally recorded for use with the "Dub In My Eyes" remix of "World In My Eyes" is used as a rhythmic element throughout "Faith Healer".
| |
| |ssample1=Guitar riff and other elements
| |
| |ssource1='''The Sensational Alex Harvey Band - "The Faith Healer"''' - 1973
| |
| |sstatus1=C
| |
| |ssample2=N/A
| |
| |ssource2='''LFO - "Love Is The Message"''' - 1991
| |
| |sstatus2=U
| |
| |snumberofrows=2
| |
| |colorscheme=Bloodline
| |
| }}
| |
| {{Sample source
| |
| |song={{S|Freeze}}
| |
| |artist=[[Recoil]]
| |
| |releaseyear=1992
| |
| |smsample1=Synth arpeggio
| |
| |smsnotes1="Freeze" employs a manipulated sample derived from the atmospheric outro of the "Development Mix" of "[[Oberkorn (It's A Small Town)|Oberkorn (It's A Small Town)]]".
| |
| |smsnumberofrows=1
| |
| |colorscheme=Bloodline
| |
| }}
| |
| | |
| == <i>[[Unsound Methods]]</i> (1997) ==
| |
| {{Sample source
| |
| |song={{S|Incubus}}
| |
| |artist=[[Recoil]]
| |
| |releaseyear=1997
| |
| |smsample1=Percussion elements
| |
| |smsnotes1=A percussive loop originally recorded for use in Depeche Mode's {{S|Clean}} is re-used to create a rhythmic, tribal atmosphere in {{S|Incubus}}.
| |
| |ssample1=Orchestral strings
| |
| |ssource1='''Henryk Górecki - Symphony No. 3, Op. 36: I. Lento - Sostenuto Tranquillo Ma Cantabile''' - released 9 March, 1992 (recorded 4 April, 1977)
| |
| |sstatus1=L
| |
| |snotes1=A sampled orchestral/vocal phrase derived from the first movement of Henryk Górecki's Symphony No. 3, Op. 36 is likely utilised throughout "Incubus".
| |
| |ssample2=Shouting vocal
| |
| |ssource2='''Peter Gabriel - "Rhythm Of The Heat"''' - 1982
| |
| |sstatus2=L
| |
| |snumberofrows=2
| |
| |colorscheme=Unsound
| |
| }}
| |
| {{Sample source
| |
| |song={{S|Drifting}}
| |
| |artist=[[Recoil]]
| |
| |releaseyear=1997
| |
| |ssample1=Marimba rhythm
| |
| |ssource1='''{{EL|https://en.wikipedia.org/wiki/Peter_Gabriel Peter Gabriel}} - "Slow Marimbas"''' - 1985
| |
| |sstatus1=C
| |
| |snotes1=A looping section of melodic marimba performance derived from the opening moments of Peter Gabriel's "Slow Marimbas" is utilised throughout "Drifting".
| |
| |ssample2=Orchestral strings
| |
| |ssource2='''{{EL|https://en.wikipedia.org/wiki/Vivian_Kubrick Vivian Kubrick}} (as "Abigail Mead") - {{EL|https://en.wikipedia.org/wiki/Full_Metal_Jacket Full Metal Jacket (Original Motion Picture Soundtrack)}} - "Sniper"''' - 1987
| |
| |sstatus2=C
| |
| |snotes2=A section of orchestral strings derived from {{EL|https://en.wikipedia.org/wiki/Vivian_Kubrick Vivian Kubrick's}} "Sniper" as composed for the soundtrack of the 1987 {{EL|https://en.wikipedia.org/wiki/Stanley_Kubrick Stanley Kubrick}} film {{EL|https://en.wikipedia.org/wiki/Full_Metal_Jacket Full Metal Jacket}} is utilised throughout "Drifting".
| |
| |ssample3=Brass swell
| |
| |ssource3='''{{EL|https://en.wikipedia.org/wiki/The_Walker_Brothers The Walker Brothers}} - "{{EL|https://en.wikipedia.org/wiki/Another_Tear_Falls Another Tear Falls}}"''' - 1966
| |
| |sstatus3=C
| |
| |snotes3=A brass section swell derived from the opening moments of The Walker Brothers' 1966 UK single "Another Tear Falls" is utilised throughout "Drifting".
| |
| |ssample4=Saxophone and choir
| |
| |ssource4='''{{EL|https://en.wikipedia.org/wiki/Hilliard_Ensemble Hilliard Ensemble}} & {{EL|https://en.wikipedia.org/wiki/Jan_Garbarek Jan Garbarek}} - "Sanctus"''' - 1994
| |
| |sstatus4=C
| |
| |snotes4=A section of audio featuring a saxophone and choir phrase derived from the opening moments of a September 1993 performance of "Sanctus" by the {{EL|https://en.wikipedia.org/wiki/Hilliard_Ensemble Hilliard Ensemble}} is utilised for a brief pad during "Drifting".
| |
| |ssample5=Guitar atmospherics
| |
| |ssource5='''{{EL|https://en.wikipedia.org/wiki/The_Comsat_Angels#Discography The Comsat Angels}} - "Missing in Action"''' - 1980
| |
| |sstatus5=C
| |
| |snotes5=A manipulated sample of guitar atmospherics derived from the opening moments of The Comsat Angels' "Missing in Action" is utilised throughout "Drifting".
| |
| |ssample6=Orchestra/vocal phrase
| |
| |ssource6='''{{EL|https://en.wikipedia.org/wiki/Loulie_Jean_Norman Loulie Jean Norman}} - "Summertime"''' - 1959
| |
| |sstatus6=C
| |
| |snotes6=A sampled orchestral/vocal phrase derived from {{EL|https://en.wikipedia.org/wiki/Loulie_Jean_Norman Loulie Jean Norman's}} performance of "Summertime" as recorded for the 1959 ''{{EL|https://en.wikipedia.org/wiki/Porgy_and_Bess_(film) Porgy and Bess}}'' 1959 film soundtrack is likely utilised in the outro of "Drifting".
| |
| |snumberofrows=6
| |
| |sround=1
| |
| |colorscheme=Unsound
| |
| }}
| |
| {{Sample source
| |
| |song={{S|Luscious Apparatus}}
| |
| |artist=[[Recoil]]
| |
| |releaseyear=1997
| |
| |ssample1=Guitar chord
| |
| |ssource1='''The Cure - "Club America"''' - 1996
| |
| |sstatus1=L
| |
| |snumberofrows=1
| |
| |sround=1
| |
| |colorscheme=Unsound
| |
| }}
| |
| {{Sample source
| |
| |song={{S|Stalker}}
| |
| |artist=[[Recoil]]
| |
| |releaseyear=1997
| |
| | |
| |ssample1=Noise, ambience
| |
| |ssource1='''{{EL|https://en.wikipedia.org/wiki/Simon_Fisher_Turner Simon Fisher Turner}} - "Lower" - 1996
| |
| |sstatus1=C
| |
| |snotes1=A section of noise and atmosphere derived from the opening moments of "Lower" by Simon Fisher Turner is utilised throughout the intro of "Stalker"
| |
| |ssample2="Versus Christus, ave Satani!" vocal chant with orchestral string and trumpet ostinato
| |
| |ssource2='''Jerry Goldsmith - ''The Omen'' (film soundtrack) - "Killer's Storm"''' - 1976
| |
| |sstatus2=C
| |
| |snotes2=A sample of an orchestral ostinato and Latin vocal chant from "Killer's Storm", a musical score from the 1976 horror film ''The Omen'' are used to enhance the rhythm of {{S|Stalker}} starting from the three minute sixteen second mark. The sample is sliced so that the orchestral ostinato, which consists of strings and trumpets playing a repeated one note phrase, is played on the first beat for several bars. Cuts of the sample containing the Latin choral chants "Versus Christus" and "Ave Satani" are then played in respective order once on the third beat for two bars. The score from which the sample is derived is notable for its use in the scene featuring disgraced priest Father Brennan (Patrick Troughton), who flees in horror to a nearby church to escape the Devil's punishment for Brennan having informed Robert Thorn (Gregory Peck), the unknowing adopted father of the Antichrist, of his son's unholy origin.
| |
| |ssample3=Ambient pads
| |
| |ssource3='''Peter Gabriel - ''Birdy'' (film soundtrack)''' - Unidentified source song - 1985
| |
| |sstatus3=UC
| |
| |ssample4=911 operator vocal
| |
| |ssource4='''<i>The Last Seduction</i> (film)''' - 1994
| |
| |sstatus4=L
| |
| |snumberofrows=4
| |
| |sround=1
| |
| |colorscheme=Unsound
| |
| }}
| |
| {{Sample source
| |
| |song={{S|Red River Cargo}}
| |
| |artist=[[Recoil]]
| |
| |releaseyear=1997
| |
| |ssample1=N/A
| |
| |ssource1='''<i>Wild At Heart</i> (film)''' - 1990
| |
| |sstatus1=UC
| |
| |snumberofrows=1
| |
| |sround=1
| |
| |colorscheme=Unsound
| |
| }}
| |
| {{Sample source
| |
| |song={{S|Control Freak}}
| |
| |artist=[[Recoil]]
| |
| |releaseyear=1997
| |
| |ssample1=Orchestral strings
| |
| |ssource1='''{{EL|https://en.wikipedia.org/wiki/Ravi_Shankar Ravi Shankar}}, {{EL|https://en.wikipedia.org/wiki/Philip_Glass Philip Glass}} - "Offering"''' - 1990
| |
| |sstatus1=L
| |
| |snotes1=A manipulated sample of orchestral strings derived from "Offering" by Ravi Shankar and Philip Glass is likely utilised throughout "Control Freak".
| |
| |ssample2=Piano
| |
| |ssource2='''{{EL|https://en.wikipedia.org/wiki/Peter_Hammill Peter Hammill}} - "Accidents"''' - 1982
| |
| |sstatus2=L
| |
| |snotes2=A manipulated sample of piano derived from "Accidents" by Peter Hammill is likely utilised throughout "Control Freak".
| |
| |ssample3=Synth fill
| |
| |ssource3='''{{EL|https://en.wikipedia.org/wiki/Brian_Eno Brian Eno}}, {{EL|https://en.wikipedia.org/wiki/David_Byrne David Bryne}} - "Mountain of Needles"''' - February 1981
| |
| |sstatus3=L
| |
| |snotes3=A manipulated sample derived from "Mountain of Needles" by {{EL|https://en.wikipedia.org/wiki/Brian_Eno Brian Eno}} and David Bryne is likely utilised throughout "Control Freak".
| |
| | |
| |ssample4=Synth pad
| |
| |ssource4='''{{EL|https://en.wikipedia.org/wiki/Goldie Goldie}} - "Sea of Tears"''' - 1995
| |
| |sstatus4=L
| |
| |snotes4=A synth pad derived from "Sea of Tears" by {{EL|https://en.wikipedia.org/wiki/Goldie Goldie}} is likely utilised throughout "Control Freak".
| |
| | |
| |ssample5=N/A
| |
| |ssource5='''Marvin Gaye and Tammi Terrell - "You're All I Need To Get By"''' - 1968
| |
| |sstatus5=U
| |
| |snumberofrows=5
| |
| |sround=1
| |
| |colorscheme=Unsound
| |
| }}
| |
| {{Sample source
| |
| |song={{S|Missing Piece}}
| |
| |artist=[[Recoil]]
| |
| |releaseyear=1997
| |
| |smsample1=Slide guitar
| |
| |smsnotes1=A slide guitar part used prominently in the final moments of {{s|Clean}} is re-purposed as a rhythmic element throughout the choruses of {{S|Missing Piece}}. Notably, this sample is also used to atmospheric effect in {{s|Death's Door}}.
| |
| |smsample2=Looped pad, likely derived from a guitar
| |
| |smsnotes2=A textured pad effect originally recorded for embellishment from the second chorus onwards of {{S|Clean}} is re-purposed for atmospherics in "Missing Piece". The part is audible at the two minute thirty second mark.
| |
| |smsample3=E-bow guitar
| |
| |smsnotes3=A series of melodic e-bow guitar parts originally recorded for use during the middle eight and outro sections of {{s|Walking In My Shoes}} are re-used to ominous effect in chorus with orchestral strings at the three minute seven second mark.
| |
| |smsample4=Guitar chords with tremolo
| |
| |smsnotes4="Missing Piece" re-purposes a guitar chord processed through a tremolo effect originally recorded for {{s|Blue Dress}} to dramatic effect at the three minute thirty-two second mark. This guitar part is also notably used during the chorus sections of "Death's Door".
| |
| | |
| |ssample1=Reversed electric piano, guitar atmospherics, drum elements
| |
| |ssource1='''{{EL|https://en.wikipedia.org/wiki/Bj%C3%B6rk Björk}} - "Headphones (0 Remix)"''' - 1996
| |
| |sstatus1=C
| |
| |snotes1=A manipulated section of audio featuring electric piano, guitar, and drum elements derived from mid-way through Bjork's 1996 "Headphones (0 Remix)" is utilised throughout "Missing Piece"
| |
| | |
| |ssample2=Orchestral strings
| |
| |ssource2='''{{EL|https://en.wikipedia.org/wiki/John_Williams John Williams}} - ''{{EL|https://en.wikipedia.org/wiki/Schindler%27s_List_(soundtrack) Schindler's List: Original Motion Picture Soundtrack}}'' - "Auschwitz-Birkenau"''' - 1994
| |
| |sstatus2=C
| |
| |snotes2=A series of orchestral strings derived from "Auschwitz-Birkenau", composed by John Williams for the 1993 film ''{{EL|https://en.wikipedia.org/wiki/Schindler%27s_List Schindler's List}}'' are utilized throughout "Missing Piece". Credit to Thomas of {{EL|https://forcedtomode.de/ Forced To Mode}} for this discovery.
| |
| |snumberofrows=2
| |
| |colorscheme=Unsound
| |
| }}
| |
| {{Sample source
| |
| |song={{S|Last Breath}}
| |
| |artist=[[Recoil]]
| |
| |releaseyear=1997
| |
| |smsample1=E-bow guitar
| |
| |smsnotes1=A series of sustained e-bow guitar parts originally recorded for use during the middle eight and outro sections of {{s|Walking In My Shoes}} are re-used for the outro of {{S|Last Breath}}.
| |
| |ssample1=Whale sound effects
| |
| |ssource1='''<i>HITCD08 - Pascal Gabriel's Dance Samples</i> ({{EL|https://amguk.co.uk/index.html AMG}}) - Track 64 - "Whale 3", "Whale 2", "Whale 5"''' - 1991
| |
| |sstatus1=C
| |
| |snotes1=A series of edited {{EL|https://en.wikipedia.org/wiki/Whale_vocalization whale vocalization}} sound effects derived from AMG's 1991 sample CD ''HITCD08 - Pascal Gabriel's Dance Samples'' are utilised throughout "Last Breath".
| |
| | |
| |ssample2=Piano/orchestral strings
| |
| |ssource2='''Paul Robeson - "Take Me Away from the River"''' - 1933
| |
| |sstatus2=C
| |
| |snotes2=A piano and orchestral strings sample derived from the opening moments of Paul Robeson's 1933 "Take Me Away from the River" is likely utilised throughout "Last Breath".
| |
| | |
| |ssample3=Piano/orchestral strings
| |
| |ssource3='''{{EL|https://en.wikipedia.org/wiki/Gustav_Mahler Gustav Mahler}} - {{EL|https://en.wikipedia.org/wiki/Symphony_No._5_(Mahler) Symphony No.5 in C sharp minor - 4. Adagietto (Sehr langsam)}} - {{EL|https://en.wikipedia.org/wiki/Chicago_Symphony_Orchestra Chicago Symphony Orchestra}}''' - March 1970
| |
| |sstatus3=C
| |
| |snotes3=An orchestral strings phrase derived from the fourth movement of Gustav Mahler's Symphony No. 5 in C sharp minor is likely utilised throughout "Last Breath".
| |
| | |
| |ssample4=Drum loop
| |
| |ssource4='''The Incredible Bongo Band - "Last Bongo in Belgium"''' - 1973
| |
| |sstatus4=L
| |
| |snumberofrows=4
| |
| |colorscheme=Unsound
| |
| }}
| |
| {{Sample source
| |
| |song={{S|Shunt}}
| |
| |artist=[[Recoil]]
| |
| |releaseyear=1997
| |
| |ssample1=Gated synth
| |
| |ssource1='''Piquet - "Caress"''' - 1996
| |
| |sstatus1=C
| |
| |snotes1=A section of resonant synth noise derived from "Caress" by Piquet is utilised throughout "Shunt".
| |
| | |
| |ssample2=Guitar and tubular bell hit
| |
| |ssource2='''{{EL|https://en.wikipedia.org/wiki/Laibach Laibach}} - "Dues Ex MacHina"''' - 1996
| |
| |snotes2=A sample featuring a guitar and tubular bell derived from the opening moments of "Dues Ex MacHina" by {{EL|https://en.wikipedia.org/wiki/Laibach Laibach}} is utilised throughout "Shunt".
| |
| |sstatus2=C
| |
| | |
| |ssample3=Sub bass and bass drum
| |
| |ssource3='''{{EL|https://en.wikipedia.org/wiki/Massive_Attack Massive Attack}} - "Better Things"''' - 1994
| |
| |sstatus3=L
| |
| |snotes3=A low frequency bass element derived from the opening moments of "Better Things" by {{EL|https://en.wikipedia.org/wiki/Massive_Attack Massive Attack}} is utilised throughout "Shunt".
| |
| |snumberofrows=3
| |
| |sround=1
| |
| |colorscheme=Unsound
| |
| }}
| |
| | |
| == <i>[[Liquid]]</i> (2000) ==
| |
| | |
| {{Sample source with audio
| |
| |song="[[Black Box (Pt. 1)]]" & "[[Black Box (Pt. 2)]]"
| |
| |artist=[[Recoil]]
| |
| |releaseyear=2000
| |
| |smsample1="Wind"-like pad
| |
| |smsnotes1=A pad with a unique wind-like texture used throughout {{s|I Feel You}} can be heard in the opening moments of {{S|Black Box (Pt. 2)}}.
| |
| |ssample1=Dissonant choir
| |
| |ssource1='''Terry Edwards, London Sinfonietta Voices - "Magány"''' - 11 December, 1996
| |
| |sstatus1=L
| |
| |snotes1=A dissonant choir sample derived from the final moments of Terry Edwards's "Magány" as performed by the London Sinfonietta Voices is likely utilised throughout "Black Box (Pt. 1)".
| |
| |ssample2=Orchestral strings
| |
| |ssource2='''Symphony No. 3 (Górecki)''' - 1992
| |
| |sstatus2=UC
| |
| |ssample3=N/A
| |
| |ssource3='''Plastikman - "Consumed"''' - 1998
| |
| |sstatus3=U
| |
| |snumberofrows=3
| |
| |colorscheme=Liquid
| |
| }}
| |
| {{Sample source with audio
| |
| |song={{S|Want}}
| |
| |artist=[[Recoil]]
| |
| |releaseyear=2000
| |
| |ssample1=Drum loop
| |
| |ssource1='''PJ Harvey - "Is This Desire?"''' - 1998
| |
| |sstatus1=L
| |
| |snumberofrows=1
| |
| |sround=1
| |
| |colorscheme=Liquid
| |
| }}
| |
| {{Sample source with audio
| |
| |song="[[Jezebel (Recoil song)|Jezebel]]"
| |
| |artist=[[Recoil]]
| |
| |releaseyear=2000
| |
| |ssample1=Vocals
| |
| |ssource1='''Golden Gate Quartet - "Jezebel"''' - 1941
| |
| |sstatus1=C
| |
| |ssample2=Dissonant choir
| |
| |ssource2='''Terry Edwards, London Sinfonietta Voices - "Magány"''' - 11 December, 1996
| |
| |sstatus2=L
| |
| |snotes2=A dissonant choir sample derived from the final moments of Terry Edwards's "Magány" as performed by the London Sinfonietta Voices is likely utilised throughout "Jezebel".
| |
| |snumberofrows=2
| |
| |sround=1
| |
| |colorscheme=Liquid
| |
| }}
| |
| {{Sample source with audio
| |
| |song={{S|Last Call for Liquid Courage}}
| |
| |artist=[[Recoil]]
| |
| |releaseyear=2000
| |
| |smsample1=Tambourine loop
| |
| |smsnotes1=A tambourine loop is utilised throughout {{S|Last Call for Liquid Courage}}. Notably, this tambourine loop is also used starting from the middle eight section of the [[:Category:1994 Exotic Tour|Exotic]] tour version of {{S|I Want You Now}}.
| |
| |smsnumberofrows=1
| |
| |colorscheme=Liquid
| |
| }}
| |
| | |
| {{Sample source with audio
| |
| |song={{S|Strange Hours}}
| |
| |artist=[[Recoil]]
| |
| |releaseyear=2000
| |
| |ssample1=Orchestral strings
| |
| |ssource1='''Bessie Smith - "Them's Graveyard Words"''' - 3 March, 1927
| |
| |sstatus1=C
| |
| |snotes1=An orchestral strings sample derived from the opening moments of "Them's Graveyard Words" by Bessie Smith is likely utilised throughout "Strange Hours".
| |
| |snumberofrows=1
| |
| |sround=1
| |
| |colorscheme=Liquid
| |
| }}
| |
| | |
| {{Sample source with audio
| |
| |song={{S|Supreme}}
| |
| |artist=[[Recoil]]
| |
| |releaseyear=2000
| |
| |ssample1=Orchestral strings
| |
| |ssource1='''Henryk Górecki, London Sinfonietta - Górecki* – Kleines Requiem Für Eine Polka / Harpsichord Concerto / Good Night: III Lento - Largo: Dolcissimo - Cantabillissimo''' - 13 June, 1995 (recorded 1990)
| |
| |sstatus1=L
| |
| |snotes1=An orchestral strings sample derived from the opening moments of "Good Night: III. Lento - largo: dolcissimo - cantabilissimo" by Henryk Górecki is likely utilised throughout "Supreme".
| |
| |snumberofrows=1
| |
| |sround=1
| |
| |colorscheme=Liquid
| |
| }}
| |
| | |
| == <i>[[SubHuman]]</i> (2007) ==
| |
| | |
| {{Sample source
| |
| |song={{S|Allelujah}}
| |
| |artist=[[Recoil]]
| |
| |releaseyear=2007
| |
| |smsample1=Double-tracked "splang" guitar chords
| |
| |smsnotes1=The double-tracked guitar chords originally recorded for use during the chorus sections of {{s|In Your Room}} are re-purposed for use throughout "Allelujah". Wilder describes the composition of this sound in a Q&A on {{Shunt}}, the official [[Recoil]] website: "Affectionately known (to me anyway) as 'Splang' rather than 'twoo, twaa and twee', the sound is derived from a guitar. Each chord was sampled individually and then double-tracked with a second but different guitar sound."<ref name="shuntSOFAD">Source: [http://oldsite.recoil.co.uk/forum/qa/dmsfd.htm Shunt Q&A: ARCHIVES : DEPECHE MODE : SONGS OF FAITH AND DEVOTION]</ref></blockquote>
| |
| |ssample1=Synth arpeggio and pad
| |
| |ssource1='''Tangerine Dream - "Rubycon, Part One"''' - 1975
| |
| |sstatus1=C
| |
| |snotes1="Allelujah" employs a manipulated sample of a synth arpeggio with a built-in pad effect derived from the eight minute twenty-three second mark of "Rubycon, Part One".
| |
| |ssample2=Drum loop
| |
| |ssource2='''Elbow - "Fugitive Motel"''' - 2003
| |
| |sstatus2=U
| |
| |snumberofrows=2
| |
| |colorscheme=SubHuman
| |
| }}
| |
| {{Sample source
| |
| |song={{S|The Killing Ground}}
| |
| |artist=[[Recoil]]
| |
| |releaseyear=2007
| |
| |ssample1=Harmonica and drum elements
| |
| |ssource1='''Talk Talk - "The Rainbow"''' - 1988
| |
| |sstatus1=L
| |
| |snumberofrows=1
| |
| |sround=1
| |
| |colorscheme=SubHuman
| |
| }}
| |
| {{Sample source
| |
| |song={{S|99 To Life}}
| |
| |artist=[[Recoil]]
| |
| |releaseyear=2007
| |
| |ssample1=N/A
| |
| |ssource1='''Digital Intervention - "La Louve"''' - 2003
| |
| |sstatus1=UC
| |
| |snumberofrows=1
| |
| |sround=1
| |
| |colorscheme=SubHuman
| |
| }}
| |
| | |
| {{Sample source
| |
| |song=[[5000 Years|5000 Years (A Romanian Elegy For Strings)]]
| |
| |artist=[[Recoil]]
| |
| |releaseyear=2010
| |
| |ssample1=Arabic singing with orchestral instrumentation
| |
| |ssource1='''Various Artists - Earth: Travels & Documentaries - "Mirage"''' - 1995
| |
| |sstatus1=C
| |
| |snotes1=A section of audio featuring Arabic vocal stylings and orchestral instrumentation derived from "Mirage", a piece of production music featured on the 1995 Universal Production Music CD ''Earth: Travels & Documentaries'', is utilised in the outro of "5000 Years (A Romanian Elegy For Strings)".
| |
| |snumberofrows=1
| |
| |sround=1
| |
| |colorscheme=SubHuman
| |
| }}
| |
| | |
| == Miscellaneous remixes ==
| |
| | |
| {{Sample source
| |
| |song="Time Turns Around" (Eurotech Version)
| |
| |artist=Toni Halliday
| |
| |releaseyear=1989
| |
| |smsample1=Bass synth
| |
| |smsnotes1=[[Alan Wilder|Alan Wilder's]] (Eurotech Version) remix of Toni Halliday's "Time Turns Around" utilises a four-note bass synth sequence derived from a longer seven note sequence originally recorded for use throughout [[Depeche Mode|Depeche Mode's]] {{S|Never Let Me Down Again}}. The part is time-stretched to match the approximate 125 BPM of "Time Turns Around" so that the sequence plays out over the course of the first beat of the first bar every four bars during the verse sections. The part is processed with a filtered 1/4 delay panned to the right stereo channel.
| |
| |smsample2=Piano stab
| |
| |smsnotes2=A sampled piano stab processed with reverb is used throughout the remix as a bass sound. As this sample is not audible in the original version or other remixed versions of "Time Turns Around", it is assumed to be a self-made sample. The part would later be used during the chorus and break sections of {{S|Policy Of Truth}}.
| |
| |smsample3=Snare
| |
| |smsnotes3=A crisp snare is heard through the remix. As this sample is not audible in the original version or other remixed versions of "Time Turns Around", it is assumed to be a self-made sample. The snare would later be used during the chorus sections of {{S|Halo}}.
| |
| |snumberofrows=3
| |
| }}
| |
| {{Sample source
| |
| |song="Come Alive"
| |
| |artist=Nitzer Ebb
| |
| |releaseyear=1990
| |
| |ssample1=Rhythmic synth
| |
| |ssource1='''Bassomatic - "Set the Controls for the Heart of the Bass"''' - 1990
| |
| |sstatus1=C
| |
| |snotes1=A filtered rhythm element derived from a synthesizer heard in the intro of the 1990 Bassomatic song "Set the Controls for the Heart of the Bass" for the album of the same name is time-stretched and re-pitched for use in "Come Alive" starting from the four minute ten second mark.<ref name="FC">Credit to 'Fatherless Child' for this discovery.</ref>
| |
| |sround=1
| |
| |snumberofrows=1
| |
| }}
| |
| {{Sample source
| |
| |song="[[In Chains (Alan Wilder Remix)]]"
| |
| |artist=[[Depeche Mode]]
| |
| |releaseyear=2011
| |
| | |
| |smsample1=Bass element
| |
| |smsnotes1=A textured bass element originally recorded for [[Depeche Mode|Depeche Mode's]] "[[Black Celebration]]" is confirmed by Wilder as having been re-purposed for his remix of "In Chains".
| |
| | |
| |ssample1=Ambient pads
| |
| |ssource1='''Depeche Mode - "[[I Want It All]]"''' - 2005
| |
| |sstatus1=OC
| |
| |snotes1=A synthesized pad phrase originally recorded for [[Depeche Mode|Depeche Mode's]] "[[I Want It All]]" is confirmed by Wilder as having been re-purposed for his remix of "In Chains".
| |
| | |
| |ssample2=Orchestral strings
| |
| |ssource2='''Depeche Mode - "[[I Am You]]"''' - 2001
| |
| |sstatus2=OC
| |
| |snotes1=An orchestral string passage originally recorded for [[Depeche Mode|Depeche Mode's]] "[[I Am You]]" is confirmed by Wilder as having been re-purposed for his remix of "In Chains".
| |
| | |
| |ssample3=Orchestral strings
| |
| |ssource3='''{{EL|https://en.wikipedia.org/wiki/Massive_Attack Massive Attack}} - "Paradise Circus"''' - 2010
| |
| |sstatus3=L
| |
| |snotes3=A series of orchestral string phrases derived from "Paradise Circus" by {{EL|https://en.wikipedia.org/wiki/Massive_Attack Massive Attack}} is likely utilised in the outro of the Alan Wilder remix of "In Chains".
| |
| | |
| |ssample4=Drum loop
| |
| |ssource4='''UNKLE - "Keys to the Kingdom"''' - 2007
| |
| |sstatus4=C
| |
| |snumberofrows=4
| |
| }}
| |
| {{Sample source
| |
| |song="[[I Am Undone (Alan Wilder Remix)]]"
| |
| |artist=Nitzer Ebb
| |
| |releaseyear=2011
| |
| |ssample1=Percussion elements
| |
| |ssource1='''Scott Walker - "Manhattan"''' - 1995
| |
| |sstatus1=U
| |
| |sround=1
| |
| |snumberofrows=1
| |
| }}
| |
| {{Sample source
| |
| |song={{S|Inheritance}}
| |
| |artist=[[Recoil]]
| |
| |releaseyear=2012
| |
| |ssample1=Percussion elements
| |
| |ssource1='''Depeche Mode - "[[Nothing's Impossible]]"''' - 2005
| |
| |sstatus1=UC
| |
| |snumberofrows=1
| |
| |sround=1
| |
| }}
| |
| {{Sample source
| |
| |song="[[Dum Dum Girl]]" feat. Shara Worden
| |
| |artist=[[Recoil]]
| |
| |releaseyear=2012
| |
| |ssample1=Percussion elements
| |
| |ssource1='''Depeche Mode - "[[Nothing's Impossible]]"''' - 2005
| |
| |sstatus1=C
| |
| |snumberofrows=1
| |
| |sround=1
| |
| }}
| |
| | |
| == References ==
| |
| | |
| <metadesc>This page aims to document all verifiable sound sources for many of the musical parts utilised by Alan Wilder for the Recoil music project in the production of its studio albums, official remixes, live performances, and other works.</metadesc><nowiki/>
| |
