List of Recoil sample sources by album/Liquid

Glossary Terms used in this article

In audio production, sampling refers to the use of a portion (or sample) from a sound within another recording. During Alan Wilder's tenure with the group, Depeche Mode were among the most prolific acts to make use of sampling technology within a traditional pop music format. Following his departure from Depeche Mode in 1995, Wilder would continue to employ sampling as a means to enhance the atmosphere of his music through the Recoil project, including passages of contemporary music, film soundtracks, sample library audio, and samples from his past work with Depeche Mode. The analysis of these sample sources and how they are manipulated is a popular topic of discussion amongst fans of both groups.

Key
Official	The sample is confirmed to have been used in the specified song by a past/present member of Depeche Mode, an individual involved in its production, or band archivist Daniel "BRAT" Barassi.
Confirmed	The sample is independently confirmed to have been used in the specified song.
Likely	The sample is likely to have been used in the specified song but has not yet been confirmed.
Unconfirmed	The sample is not yet confirmed to have been used in the specified song.
Disproven	The sample is confirmed to not have been used in the specified song.
Unknown	It is unclear if the sample was used in the specified song.

Information

This page aims to document all verifiable sound sources utilised by Alan Wilder in the production of the 2000 Recoil album Liquid.

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.

This article differentiates samples by their origin: Self-made samples, which describes any material originally recorded by Depeche Mode or Alan Wilder for the Recoil music project, 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.

As ever, if you notice an error, wish to contribute or request the removal of information contained within this article, please feel free to contact us.

Liquid (2000)

"Black Box (Pt. 1)"

"Black Box (Pt. 1)" Recoil 2000
	Sample sources
	Sample	Source	Status	Notes	Audio
	Dissonant choir	Terry Edwards, London Sinfonietta Voices - "Magány" - 11 December, 1996	Likely	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)".	✖
	Saxophone	Joe Maneri - "Gardenias For Gardenis" - 25 May 1998	Confirmed	A manipulated section of audio derived from "Gardenias For Gardenis" by Joe Maneri is utilised in the outro of "Black Box (Pt. 1)".	✖
	Orchestral strings	Symphony No. 3 (Górecki) - 1992	Unconfirmed		✖
	N/A	Plastikman - "Consumed" - 1998	Unknown		✖

"Want"

"Want" Recoil 2000
	Sample sources
	Sample	Source	Status	Notes	Audio
	Orchestral brass stab	Gustav Holst, CSR Symphony Orchestra, Bratislava, Viktor Simcisko, Adrian Leaper - Holst: The Planets & Suite de Ballet, Op. 10 - I. Mars, the Bringer of War - 15 December 1989 (recorded 26-30 November 1988)	Confirmed	A dramatic orchestral brass stab audible in the final moments of "Want" is derived from a 1988 performance of the first movement of Gustav Holst's seven-movement orchestral suite The Planets, Op. 32 by the CSR Symphony Orchestra with Viktor Simcisko.	✖
	Drum, bass guitar, guitar elements	Kevin Ayers - Whatevershebringswesing - "There is Loving/Among Us/There is Loving" - 1972	Confirmed	A reversed sample featuring guitar, bass, and drum elements utilised throughout "Want" is derived from "There is Loving/Among Us/There is Loving", the opening song on Kevin Ayers's 1972 solo album Whatevershebringswesing.	✖
	Guitar elements	Alice In Chains - Facelift - "Sea of Sorrow" - 1990 (recorded December 1989 – April 1990)	Confirmed	A reversed sample featuring guitar, bass, and drum elements derived from the opening moments of Alice In Chain's 1990 single "Sea of Sorrow" is utilised mid-way through "Want".	✖
	Drum loop	PJ Harvey - "Is This Desire?" - 1998	Likely		✖

"Jezebel"

"Jezebel" Recoil 2000
	Sample sources
	Sample	Source	Status	Notes	Audio
	Vocals	Golden Gate Quartet - "Jezebel" - 1941	Confirmed		✖
	Dissonant choir	Terry Edwards, London Sinfonietta Voices - "Magány" - 11 December, 1996	Likely	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".	✖

"Breath Control"

"Breath Control" Recoil 2000
	Sample sources
	Sample	Source	Status	Notes	Audio
	Ambient pads	Peter Gabriel - Passion - "Sandstorm" - 1989	Confirmed	A reversed, manipulated section of audio featuring ambient pads derived from "Sandstorm" by Peter Gabriel is utilised throughout and features prominently in the outro of "Breath Control".	✖
	Ambient pad	Massive Attack - Mezzanine - "Group Four (Mad Professor Remix)" - 20 April 1998	Confirmed	A section of audio derived from "Group Four (Mad Professor Remix)" by Massive Attack is utilised throughout "Breath Control".	✖

"Last Call for Liquid Courage"

"Last Call for Liquid Courage" Recoil 2000	Self-made samples
	Sample	Notes			Audio
	Tambourine loop	A tambourine loop is utilised throughout "Last Call for Liquid Courage". Notably, this tambourine loop is also used starting from the middle eight section of the Exotic tour version of "I Want You Now".			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	Brass, orchestral strings	Eartha Kitt - "Lovin' Spree" - 1957	Confirmed	A section of audio derived from "Lovin' Spree" by Eartha Kitt is utilised throughout "Last Call for Liquid Courage".	✖
	Orchestral strings	Eartha Kitt - "Oh, John!" - 1955	Confirmed	A section of audio derived from "Oh, John!" by Eartha Kitt is utilised throughout "Last Call for Liquid Courage".	✖

"Strange Hours"

"Strange Hours" Recoil 2000
	Sample sources
	Sample	Source	Status	Notes	Audio
	Orchestral strings	Bessie Smith - "Them's Graveyard Words" - 3 March, 1927	Confirmed	A manipulated sample of orchestral strings derived from the opening moments of "Them's Graveyard Words" by Bessie Smith is utilised throughout "Strange Hours".	✖
	Bass and guitar elements	Tortoise - Millions Now Living Will Never Die - "Goriri" - 30 January 1996 (recorded June–September 1995)	Confirmed	A manipulated section of audio featuring bass and guitar elements derived from the outro of "Goriri" by Tortoise is utilised throughout "Strange Hours".	✖
	Electronic drums, ambience	Cabaret Voltaire - "Taxi Music" - 1980	Confirmed	A section of audio derived from "Taxi Music" by Cabaret Voltaire is utilised throughout "Strange Hours".	✖
	Guitar, drums, multiple elements	Earl King - "Darling Honey Angel Child" - 1960	Confirmed	A section of audio derived from "Darling Honey Angel Child" by Earl King is utilised in the intro of "Strange Hours".	✖

"Vertigen"

"Vertigen" Recoil 2000
	Sample sources
	Sample	Source	Status	Notes	Audio
	Arabic singing with orchestral instrumentation	Eric Martinez, Pascal Morel - Earth: Travels & Documentaries - "Mirage" - 1995	Likely	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 likely utilised throughout "Vertigen".	✖
	Dissonant choir	György Ligeti – Lux Aeterna	Likely	A series of dissonant, sustained choir chants derived from György Ligeti's Lux Aeterna is likely utilised throughout "Vertigen".	✖
	Throat singing	Dmitry Damba-Darzhaa - "Край Артыы сайыр / Artyy Sayir Area" - 1969 or earlier	Likely	A sampled Tuvan throat singing recording derived from a 1969 or earlier performance of "Край Артыы сайыр" ("Artyy Sayir Area") by Dmitry Damba-Darzhaa is likely utilised throughout "Vertigen". Notably, this throat singing performance was previously utilised by Depeche Mode during Wilder's tenure in the group for "Waiting For The Night" on 1990's Violator.	✖
	Synthesizer arpeggio	Tangerine Dream - "Rubycon, Part One" - 1975	Likely	"Vertigen" likely employs a manipulated sample of a synth arpeggio derived from Tangerine Dream's "Rubycon, Part One". This sample would later see use on Recoil's "Allelujah".	✖

"Supreme"

"Supreme" Recoil 2000
	Sample sources
	Sample	Source	Status	Notes	Audio
	Orchestral strings	Henryk Górecki, London Sinfonietta - Górecki – Kleines Requiem Für Eine Polka / Harpsichord Concerto / Good Night: III Lento - Largo: Dolcissimo - Cantabillissimo - 13 June, 1995 (recorded 1990)	Likely	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".	✖

"Chrome"

Recoil 2000
	Sample sources
	Sample	Source	Status	Notes	Audio
	Breathing, ambience	John Cage, Theatre Of Voices, Paul Hillier, Terry Riley - Litany For The Whale - "Song Books, Volumes I: Solo for Voice 22 (Two Voices and Electronics)" - 1998	Confirmed	A section of audio derived from "Song Books, Volumes I: Solo for Voice 22 (Two Voices and Electronics)" by John Cage with Paul Hillier, Terry Riley and the Theatre Of Voices is utilised throughout "Chrome".	✖