Recoil sample sources: Difference between revisions

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{{Sample_sources_chart}}
{{Sample_sources_chart}}


This page aims to document all verifiable sound sources for many of the musical parts uilised 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.
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.


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.'''
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.
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.


As ever, if you notice an error or wish to request the removal of a sample source in this article, please feel free to [mailto:[email protected]depechemode-live.com contact us].
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]dmlive.wiki contact us].


== <i>[[1 + 2]]</i> (1986) ==
== <i>[[1 + 2]]</i> (1986) ==
Line 125: Line 125:
|smsample2=Bass guitar
|smsample2=Bass guitar
|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}}.
|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}}.
|ssample1="Buzzy" synth drone
 
|ssource1='''Emulator II factory library disk #37: Electric Guitar - Preset #3: "LoopedGuitar", SAMPLE 5, SAMPLE 9'''
|ssample1=Tribal chanting
|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
|sstatus1=C
|sstatus1=C
|snotes1=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".
|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".
|snumberofrows=1
 
|ssample2=Woodwind instrumentation
|ssource2='''{{EL|https://en.wikipedia.org/wiki/Peter_Gabriel Charles Duvelle}}, Jean-Pierre Martin, Jacques M'bilo - ''Musique centrafricaine'' - "Musique de chasse Babinga"''' - 1962
|sstatus2=C
|snotes2=A section of audio derived from "Musique de chasse 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".
 
|ssample3="Buzzy" synth drone
|ssource3='''Emulator II factory library disk #37: Electric Guitar - Preset #3: "LoopedGuitar", SAMPLE 5, SAMPLE 9'''
|sstatus3=C
|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".
|snumberofrows=3
|colorscheme=Hydrology
|colorscheme=Hydrology
}}
}}
Line 158: Line 169:
|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.
|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.
|ssample1=Drum loop
|ssample1=Drum loop
|ssource1='''Fancy - "Feel Good"''' - 1974
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Fancy_(band) Fancy}} - "Feel Good"''' - 1974
|sstatus1=C
|sstatus1=C
|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.
|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.
|ssample2=John Bonham drum one-shots
|ssample2=John Bonham drum one-shots
|ssource2='''Beastie Boys - "Rhymin' And Stealin"''' - 1986
|ssource2='''{{EL|https://en.wikipedia.org/wiki/Beastie_Boys Beastie Boys}} - "Rhymin' And Stealin"''' - 1986
|sstatus2=OC
|sstatus2=OC
|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".
|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".
|ssample3=Classic John Bonham drum one-shots
|ssample3=Classic John Bonham drum one-shots
|ssource3='''Led Zeppelin - "When The Levee Breaks"''' - 1971
|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
|sstatus3=OC
|sstatus3=OC
|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".
|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".
|ssample4=Various one-shot orchestral strings
 
|ssource4=Unknown, presumably an orchestral performance recorded and commercially released prior to 1991
|ssample4=Orchestral hit, pads
|sstatus4=U
|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
|snotes4="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.
|sstatus4=C
|ssample5=Exotic percussion loop
|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".
|ssource5=Unknown
 
Credit to Ricardo López for this discovery.
|ssample5=Various one-shot orchestral strings
|ssource5=Unknown, presumably an orchestral performance recorded and commercially released prior to 1991
|sstatus5=U
|sstatus5=U
|snotes5="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.
|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.
|snumberofrows=5
|ssample6=Exotic percussion loop
|ssource6=Unknown
|sstatus6=U
|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.
|snumberofrows=6
}}
}}
{{Sample source
{{Sample source
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|smsample2="Watery" piano stab
|smsample2="Watery" piano stab
|smsnotes2="Ascend" utilises a textured, "watery"-sounding piano stab originally recorded for use with {{S|Waiting For The Night}}.
|smsnotes2="Ascend" utilises a textured, "watery"-sounding piano stab originally recorded for use with {{S|Waiting For The Night}}.
|smsnumberofrows=2
|ssample1=Guitar hook
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Television_(band) Television}} - "{{EL|https://en.wikipedia.org/wiki/Marquee_Moon_(song) Marquee Moon}}"''' - 1 April 1977
|sstatus1=C
|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}}.
|snumberofrows=1
}}
}}
{{Sample source
{{Sample source
Line 233: Line 255:
|artist=Nitzer Ebb
|artist=Nitzer Ebb
|releaseyear=1991
|releaseyear=1991
|ssample1=John Bonham drum one-shots
|ssample1="When The Levee Breaks" snare drum
|ssource1='''Beastie Boys - "Rhymin' And Stealin"''' - 1986
|ssource1='''Beastie Boys - "Rhymin' And Stealin"''' - 1986
|sstatus1=OC
|sstatus1=OC
|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".
|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".
|ssample2=Classic John Bonham drum one-shots
|ssample2="When The Levee Breaks" snare drum
|ssource2='''Led Zeppelin - "When The Levee Breaks"''' - 1971
|ssource2='''Led Zeppelin - "When The Levee Breaks"''' - 1971
|sstatus2=OC
|sstatus2=OC
|snotes2=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 "Trigger Happy".
|snotes2=
|sround=1
|sround=1
|snumberofrows=2
|snumberofrows=2
Line 300: Line 322:
|ssource3='''David Bowie - "Aladdin Sane"''' - 1973
|ssource3='''David Bowie - "Aladdin Sane"''' - 1973
|sstatus3=UC
|sstatus3=UC
|snumberofrows=2
|snumberofrows=3
|colorscheme=Bloodline
|colorscheme=Bloodline
}}
}}
Line 347: Line 369:
|ssource3='''{{EL|https://en.wikipedia.org/wiki/Parliament_(band) Parliament}} - "Theme from the Black Hole"''' - 1979
|ssource3='''{{EL|https://en.wikipedia.org/wiki/Parliament_(band) Parliament}} - "Theme from the Black Hole"''' - 1979
|sstatus3=C
|sstatus3=C
|ssample4=High pitch "wailing" police siren-based scratch effect
|ssample4="You're blind, you're blind from the facts" vocal
|ssource4='''{{EL|https://en.wikipedia.org/wiki/Super_Cat Super Cat}} - "Ghetto Red Hot (Hip Hop Mix)"''' - 1992
|ssource4='''{{EL|https://en.wikipedia.org/wiki/Public_Enemy_(band) Public Enemy}} - "She Watch Channel Zero?!"''' - 1988
|sstatus4=L
|sstatus4=C
|snotes4="Curse" employs a sampled scratch effect as a fill element throughout the song which bears some similarity to the initial transient of a wailing police siren loop that occurs throughout "Ghetto Red Hot (Hip Hop Mix)" by Jamaican DJ Super Cat. Beyond its sonic similarity, the likelihood of this source is furthered given it released on January 4, 1992, coincidentally 101 days prior to the 14 April 1992 release of ''[[Bloodline (album)|Bloodline)]]''. Coupled with the supplemental nature of the scratch effect, which is not integral to the musical structure of "Curse", it is possible but difficult to conclusively state if this part was sampled from "Ghetto Red Hot" and included as a late addition on "Curse".
|snumberofrows=4
|ssample5="You're blind, you're blind from the facts" vocal
|ssource5='''{{EL|https://en.wikipedia.org/wiki/Public_Enemy_(band) Public Enemy}} - "She Watch Channel Zero?!"''' - 1988
|sstatus5=C
|snumberofrows=5
|colorscheme=Bloodline
|colorscheme=Bloodline
}}
}}
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|smsample1=Percussion elements
|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}}.
|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=Shouting vocal
|ssample1=Orchestral strings
|ssource1='''Peter Gabriel - "Rhythm Of The Heat"''' - 1982
|ssource1='''Henryk Górecki - Symphony No. 3, Op. 36: I. Lento - Sostenuto Tranquillo Ma Cantabile''' - released 9 March, 1992 (recorded 4 April, 1977)
|sstatus1=L
|sstatus1=L
|snumberofrows=1
|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".
|sround=1
|ssample2=Shouting vocal
|ssource2='''Peter Gabriel - "Rhythm Of The Heat"''' - 1982
|sstatus2=L
|snumberofrows=2
|colorscheme=Unsound
|colorscheme=Unsound
}}
}}
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|artist=[[Recoil]]
|artist=[[Recoil]]
|releaseyear=1997
|releaseyear=1997
|ssample1=Marimba loop
|ssample1=Marimba rhythm
|ssource1='''Peter Gabriel - "Slow Marimbas"''' - 1985
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Peter_Gabriel Peter Gabriel}} - "Slow Marimbas"''' - 1985
|sstatus1=C
|sstatus1=C
|snumberofrows=1
|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
|sround=1
|colorscheme=Unsound
|colorscheme=Unsound
Line 426: Line 468:
|artist=[[Recoil]]
|artist=[[Recoil]]
|releaseyear=1997
|releaseyear=1997
|ssample1=Introductory guitar chord
|ssample1=Guitar chord
|ssource1='''The Cure - "Club America"''' - 1996
|ssource1='''The Cure - "Club America"''' - 1996
|sstatus1=L
|sstatus1=L
Line 437: Line 479:
|artist=[[Recoil]]
|artist=[[Recoil]]
|releaseyear=1997
|releaseyear=1997
|ssample1="Versus Christus, ave Satani!" vocal chant with orchestral string and trumpet ostinato
 
|ssource1='''Jerry Goldsmith - ''The Omen'' (film soundtrack) - "Killer's Storm"''' - 1976
|ssample1=Noise, ambience
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Simon_Fisher_Turner Simon Fisher Turner}} - "Lower" - 1996
|sstatus1=C
|sstatus1=C
|snotes1=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.
|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=Ambient pads
|ssample2="Versus Christus, ave Satani!" vocal chant with orchestral string and trumpet ostinato
|ssource2='''Peter Gabriel - ''Birdy'' (film soundtrack)''' - Unidentified source song - 1985
|ssource2='''Jerry Goldsmith - ''The Omen'' (film soundtrack) - "Killer's Storm"''' - 1976
|sstatus2=UC
|sstatus2=C
|ssample3=911 operator vocal
|snotes2=A sample of an orchestral ostinato and {{EL|https://en.wikipedia.org/wiki/Latin 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}}. The score from which the sample is derived is notable for its use in the scene featuring disgraced priest Father Brennan ({{EL|https://en.wikipedia.org/wiki/Patrick_Troughton Patrick Troughton}}), who flees in horror to a nearby church to escape the {{EL|https://en.wikipedia.org/wiki/Devil_in_Christianity Devil's}} punishment for Brennan having informed Robert Thorn ({{EL|https://en.wikipedia.org/wiki/Gregory_Peck Gregory Peck}}), the unknowing adopted father of the {{EL|https://en.wikipedia.org/wiki/Antichrist Antichrist}}, of his son's unholy origin.
|ssource3='''<i>The Last Seduction</i> (film)''' - 1994
|ssample3=Ambient pads
|sstatus3=L
|ssource3='''Peter Gabriel - ''Birdy'' (film soundtrack)''' - Unidentified source song - 1985
|snumberofrows=3
|sstatus3=UC
|ssample4=911 operator vocal
|ssource4='''<i>The Last Seduction</i> (film)''' - 1994
|sstatus4=L
|snumberofrows=4
|sround=1
|sround=1
|colorscheme=Unsound
|colorscheme=Unsound
Line 459: Line 506:
|sstatus1=UC
|sstatus1=UC
|snumberofrows=1
|snumberofrows=1
|sround=1
|colorscheme=Unsound
|colorscheme=Unsound
}}
}}
Line 465: Line 513:
|artist=[[Recoil]]
|artist=[[Recoil]]
|releaseyear=1997
|releaseyear=1997
|ssample1=N/A
|ssample1=Orchestral strings
|ssource1='''Marvin Gaye and Tammi Terrell - "You're All I Need To Get By"''' - 1968
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Ravi_Shankar Ravi Shankar}}, {{EL|https://en.wikipedia.org/wiki/Philip_Glass Philip Glass}} - "Offering"''' - 1990
|sstatus1=U
|sstatus1=L
|snumberofrows=1
|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
|sround=1
|colorscheme=Unsound
|colorscheme=Unsound
Line 484: Line 550:
|smsample4=Guitar chords with tremolo
|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".
|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=Orchestral strings
 
|ssource1='''{{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
|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
|sstatus1=C
|snotes1=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.
|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"
|snumberofrows=1
 
|sround=1
|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
|colorscheme=Unsound
}}
}}
Line 498: Line 569:
|smsample1=E-bow guitar
|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}}.
|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}}.
|smsample2=Ambient "whale"-like atmosphere
|ssample1=Whale sound effects
|smsnotes2=An undistorted cut of the whale-like noise prominently featured in the "Ambient Whale" remix of {{s|Walking In My Shoes}} is played several notes above its root key in the opening moments of "Last Breath".
|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
|ssample1=Drum loop
|sstatus1=C
|ssource1='''The Incredible Bongo Band - "Last Bongo in Belgium"''' - 1973
|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".
|sstatus1=L
 
|snumberofrows=1
|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
|colorscheme=Unsound
}}
}}
Line 513: Line 597:
|ssource1='''Piquet - "Caress"''' - 1996
|ssource1='''Piquet - "Caress"''' - 1996
|sstatus1=C
|sstatus1=C
|ssample2=Sub bass and bass drum
|snotes1=A section of resonant synth noise derived from "Caress" by Piquet is utilised throughout "Shunt".
|ssource2='''Massive Attack - "Better Things"''' - 1994
 
|sstatus2=L
|ssample2=Guitar and tubular bell hit
|snumberofrows=2
|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
|sround=1
|colorscheme=Unsound
|colorscheme=Unsound
Line 523: Line 615:
== <i>[[Liquid]]</i> (2000) ==
== <i>[[Liquid]]</i> (2000) ==


{{Sample source
{{Sample source with audio
|song="[[Black Box (Pt. 1)]]" & "[[Black Box (Pt. 2)]]"
|song="[[Black Box (Pt. 1)]]" & "[[Black Box (Pt. 2)]]"
|artist=[[Recoil]]
|artist=[[Recoil]]
|releaseyear=2000
|releaseyear=2000
|smsample1="Wind"-like pad
|smsample1="Wind"-like pad
|smsnotes1=A pad with a unique wind-like texture used throughout {{s|I Feel You}} can be heard playing approximately five notes down from its root key at the eighteen second mark of {{S|Black Box (Pt. 2)}}.
|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=Orchestral strings
|ssample1=Dissonant choir
|ssource1='''Symphony No. 3 (Górecki)''' - 1992
|ssource1='''Terry Edwards, London Sinfonietta Voices - "Magány"''' - 11 December, 1996
|sstatus1=UC
|sstatus1=L
|ssample2=N/A
|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)".
|ssource2='''Plastikman - "Consumed"''' - 1998
|ssample2=Orchestral strings
|sstatus2=U
|ssource2='''Symphony No. 3 (Górecki)''' - 1992
|snumberofrows=2
|sstatus2=UC
|ssample3=N/A
|ssource3='''Plastikman - "Consumed"''' - 1998
|sstatus3=U
|snumberofrows=3
|colorscheme=Liquid
|colorscheme=Liquid
}}
}}
{{Sample source
{{Sample source with audio
|song={{S|Want}}
|song={{S|Want}}
|artist=[[Recoil]]
|artist=[[Recoil]]
Line 549: Line 645:
|colorscheme=Liquid
|colorscheme=Liquid
}}
}}
{{Sample source
{{Sample source with audio
|song="[[Jezebel (Recoil song)|Jezebel]]"
|song="[[Jezebel (Recoil song)|Jezebel]]"
|artist=[[Recoil]]
|artist=[[Recoil]]
|releaseyear=2000
|releaseyear=2000
|ssample1=Vocals
|ssample1=Vocals
|ssource1='''Golden Gate Quartet - "Jezebel"''' - 1976
|ssource1='''Golden Gate Quartet - "Jezebel"''' - 1941
|sstatus1=C
|sstatus1=C
|snumberofrows=1
|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
|colorscheme=Liquid
}}
}}
{{Sample source
{{Sample source with audio
|song={{S|Last Call for Liquid Courage}}
|song={{S|Last Call for Liquid Courage}}
|artist=[[Recoil]]
|artist=[[Recoil]]
|releaseyear=2000
|releaseyear=2000
|smsample1=Tambourine loop
|smsample1=Tambourine loop
|smsnotes1=A tambourine loop is time-stretched to match the approximate 127 BPM tempo of {{S|Last Call for Liquid Courage}} and sliced to play in a different way from how it was originally performed. 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}}.
|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
|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=A sample of orchestral strings 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
|colorscheme=Liquid
}}
}}
Line 605: Line 732:
|ssource1='''Digital Intervention - "La Louve"''' - 2003
|ssource1='''Digital Intervention - "La Louve"''' - 2003
|sstatus1=UC
|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
|snumberofrows=1
|sround=1
|sround=1
Line 617: Line 757:
|releaseyear=1989
|releaseyear=1989
|smsample1=Bass synth
|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.
|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
|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}}.
|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}}.
Line 631: Line 771:
|ssource1='''Bassomatic - "Set the Controls for the Heart of the Bass"''' - 1990
|ssource1='''Bassomatic - "Set the Controls for the Heart of the Bass"''' - 1990
|sstatus1=C
|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. Notably, ''Set the Controls for the Heart of the Bass'' album producer William Orbit would later provide the Random Carpet Mix of {{s|Walking In My Shoes}} for its 1993 single release.<ref name="FC">Credit to 'Fatherless Child' for this discovery.</ref>
|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
|snumberofrows=1
}}
}}
Line 638: Line 779:
|artist=[[Depeche Mode]]
|artist=[[Depeche Mode]]
|releaseyear=2011
|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
|ssample1=Ambient pads
|ssource1='''Depeche Mode - "[[I Want It All]]"''' - 2005
|ssource1='''Depeche Mode - "[[I Want It All]]"''' - 2005
|sstatus1=C
|sstatus1=OC
|ssample2=Orchestral string arrangement
|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
|ssource2='''Depeche Mode - "[[I Am You]]"''' - 2001
|sstatus2=C
|sstatus2=OC
|ssample3=Drum loop
|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".
|ssource3='''UNKLE - "Keys to the Kingdom"''' - 2007
 
|sstatus3=C
|ssample3=Orchestral strings
|snumberofrows=3
|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
{{Sample source
Line 656: Line 810:
|ssource1='''Scott Walker - "Manhattan"''' - 1995
|ssource1='''Scott Walker - "Manhattan"''' - 1995
|sstatus1=U
|sstatus1=U
|sround=1
|snumberofrows=1
|snumberofrows=1
}}
}}
Line 666: Line 821:
|sstatus1=UC
|sstatus1=UC
|snumberofrows=1
|snumberofrows=1
|sround=1
}}
}}
{{Sample source
{{Sample source
Line 675: Line 831:
|sstatus1=C
|sstatus1=C
|snumberofrows=1
|snumberofrows=1
|sround=1
}}
}}


== References ==
== References ==


<metadesc>This page aims to document all verifiable sound sources for many of the musical parts uilised by Alan Wilder for the Recoil music project in the production of its studio albums, official remixes, live performances, and other works.</metadesc><nowiki/>
<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/>

Revision as of 02:18, 29 September 2022

In audio production, sampling refers to the use of a portion (or sample) from a sound recording within another recording. As pioneers of the electronic music genre in the early 1980s, Depeche Mode with Alan Wilder were among the most prolific acts to make use of sampling technology within a traditional 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.

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.

To view a list of sample sources for Depeche Mode works, see Depeche Mode sample sources.

Glossary
Terms used in this article

Information

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.

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.

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 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.

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.

1 + 2 (1986)

"1" & "2" - Recoil
1986

Sourced samples
Sample Source Status Notes
N/A Depeche Mode – "Any Second Now" (Altered) - 1981
Confirmed
N/A Depeche Mode – "If You Want" - 1984
Confirmed
N/A Depeche Mode – "The Sun & The Rainfall" - 1982
Confirmed
N/A Depeche Mode – "Oberkorn (It's A Small Town)" - 1982
Confirmed
N/A Depeche Mode – "The Great Outdoors" - 1983
Confirmed
N/A Depeche Mode – "Shouldn't Have Done That" - 1982
Confirmed
N/A Depeche Mode – "Tora! Tora! Tora!" - 1981
Confirmed
N/A Depeche Mode – "Shake The Disease" (Edit the Shake) - 1985
Confirmed
N/A Depeche Mode – "Pipeline" - 1983
Confirmed
N/A Depeche Mode – "Blasphemous Rumours" - 1984
Confirmed
N/A Kraftwerk – "Radioaktivität" - 1975
Unconfirmed
N/A Kraftwerk – "Uran" - 1975
Unconfirmed
N/A Kraftwerk – "Radioland" - 1975
Unconfirmed
N/A Duet Emmo – "Or So It Seems" - 1983
Unconfirmed
N/A Duet Emmo – "Heart of Hearts" - 1983
Unconfirmed
N/A The Hitmen – "Shade in, fade out" - 1981
Unconfirmed
N/A Hard Corps - "Je Suis Passée" - 1985
Unconfirmed

Hydrology (1988)

"Grain" - Recoil
1988
Self-made samples
Sample Notes
Bell-like outro "ping" 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 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 "Strangelove", "Never Let Me Down Again", "Behind The Wheel", and "Route 66".

"Stone" - Recoil
1988

Sourced samples
Sample Source Status Notes
French vocal sample French train announcer, unidentified source
Confirmed
Wilder confirmed in a Q&A on Shunt, the official Recoil website that "Stone" employs a vocal sample of a French train station announcer, but is unsure of its origin.[1] The announcer says: "Attention! Attention! Quai n°5, départ imminent du Nord-Express à destination de Moscou [...]"

"The Sermon" - Recoil
1988
Self-made samples
Sample Notes
Polish vocal sample 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 "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."[2] The two audio samples state:

[...] radcy nuncjatury w Lizbonie, którego Ojciec Święty mianował Pronuncjuszem Apostolskim w Tajla[-ndii...]

[...] 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 [...][3]

English Google translation:

[...] counselor of the nunciature in Lisbon, whom the Holy Father appointed as Apostolic Pronunciator in Tajla [Thailand]...

[...] 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...

Bass guitar 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 "Strangelove".

Sourced samples
Sample Source Status Notes
Tribal chanting Charles Duvelle, Jean-Pierre Martin, Jacques M'bilo - Musique centrafricaine - "Chant Dakpa pour l'Abbatage d'un arbre" - 1962
Confirmed
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 Ocora release Musique centrafricaine is utilised throughout the outro of "The Sermon".
Woodwind instrumentation Charles Duvelle, Jean-Pierre Martin, Jacques M'bilo - Musique centrafricaine - "Musique de chasse Babinga" - 1962
Confirmed
A section of audio derived from "Musique de chasse Babinga" as recorded by Charles Duvelle, Jean-Pierre Martin, and Jacques M'bilo for the 1962 Ocora release Musique centrafricaine is utilised throughout the outro of "The Sermon".
"Buzzy" synth drone Emulator II factory library disk #37: Electric Guitar - Preset #3: "LoopedGuitar", SAMPLE 5, SAMPLE 9
Confirmed
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".

Ebbhead (Nitzer Ebb album)

Between the conclusion of the 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.

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."[4]

"Lakeside Drive" - Nitzer Ebb
1991
Self-made samples
Sample Notes
Cymbal crash with descending pitch "Lakeside Drive" utilises a cymbal crash originally used throughout "Never Let Me Down Again".
Synth bass A synth bass part originally recorded for use with "Sweetest Perfection" is used throughout "Lakeside Drive".

"I Give To You" - Nitzer Ebb
1991
Self-made samples
Sample Notes
Harpsichord-like instrument "I Give To You" utilises a textured harpsichord-like stab originally recorded for use in "Enjoy The Silence".
Synth bass "I Give To You" employs a sampled synth bass part throughout its verse sections. Notably, this sound would later be used in the Exotic tour arrangement of "I Want You Now" starting from the third verse.

Sourced samples
Sample Source Status Notes
Drum loop Fancy - "Feel Good" - 1974
Confirmed
The classic "Feel Good" drum break is used throughout "I Give To You". This loop is also notably used in the chorus sections of "Walking In My Shoes", "My Joy", and its "Slow Slide" remix.
John Bonham drum one-shots Beastie Boys - "Rhymin' And Stealin" - 1986
Official
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".
Classic John Bonham drum one-shots Led Zeppelin - "When The Levee Breaks" - 1971
Official
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 "Halo", "Get Right With Me", and later Nitzer Ebb's "I Give To You".
Orchestral hit, pads Barry Adamson - "The Man with the Golden Arm" - 1989
Confirmed
A sampled orchestral hit and pad derived from the latter half of Barry Adamson's 1989 cover of "The Man with the Golden Arm" is utilised following the second chorus section of "I Give To You".

Credit to Ricardo López for this discovery.

Various one-shot orchestral strings Unknown, presumably an orchestral performance recorded and commercially released prior to 1991
Unknown
"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.
Exotic percussion loop Unknown
Unknown
"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 "In Your Room", and is most clearly heard in the "Apex" remix starting from 1:45.

"Sugar Sweet" - Nitzer Ebb
1991
Self-made samples
Sample Notes
Reverberated piano stab "Sugar Sweet" employs a one-shot sample of a piano stab processed with heavy reverb. Notably, this sound would later be used throughout "Get Right With Me".

"DJVD" - Nitzer Ebb
1991

Sourced samples
Sample Source Status Notes
"Wailing" synth siren N.W.A - "Dopeman (Remix)" - 1988
Confirmed
"DJVD" employs a manipulated sample of a "wailing" synth siren sound derived from the intro of the 1988 N.W.A song "Dopeman (Remix)".

"Time" - Nitzer Ebb
1991

Sourced samples
Sample Source Status Notes
Variphon pad Talk Talk - "The Rainbow" - 1988
Confirmed
"Time" employs a Variophon pad with a unique distorted texture derived from Talk Talk's "The Rainbow" (approximately 0:55). Notably, this sample is also used during the first verse and outro of "In Your Room", as well as the third verse section of "Mercy In You".

"Ascend" - Nitzer Ebb
1991
Self-made samples
Sample Notes
Metallic clap A resonant, metallic clap sample is utilised throughout "Ascend". Notably, this sample would later see use in the Devotional tour arrangement of "Enjoy The Silence".
"Watery" piano stab "Ascend" utilises a textured, "watery"-sounding piano stab originally recorded for use with "Waiting For The Night".

Sourced samples
Sample Source Status Notes
Guitar hook Television - "Marquee Moon" - 1 April 1977
Confirmed
"Ascend" utilises a sampled guitar hook derived from American rock band Television's 1977 song "Marquee Moon", recorded for the debut album of the same name.

"Godhead" - Nitzer Ebb
1991

Sourced samples
Sample Source Status Notes
Drum/synth loop Kraftwerk - "Home Computer (The Mix Version)" - 1991
Confirmed

"Trigger Happy" - Nitzer Ebb
1991

Sourced samples
Sample Source Status Notes
"When The Levee Breaks" snare drum Beastie Boys - "Rhymin' And Stealin" - 1986
Official
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".
"When The Levee Breaks" snare drum Led Zeppelin - "When The Levee Breaks" - 1971
Official

Unidentified song - Nitzer Ebb
1991

Sourced samples
Sample Source Status Notes
N/A Prince - "Kiss" - 1990
Unknown
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.

Bloodline (1992)

"Faith Healer" - Recoil
1992
Self-made samples
Sample Notes
Piano-like one-shot sample A low octave, piano-like sampled synth part originally recorded for use with "Policy Of Truth" is used to atmospheric effect in "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".
Snare The distinctive snare originally recorded for use in "World In My Eyes" is used throughout "Faith Healer".
Tom/drum fill The tom drum fill that bridges the chorus and verse sections of "Personal Jesus" bears a strong similarity to the equivalent part used during the chorus sections of "Faith Healer".
Xpander 'zap' and Pro One synth bass sweep[5] A layered Xpander/Pro One bass synth part originally recorded for use during the chorus sections of "Enjoy The Silence" are utilised during the chorus sections of "Faith Healer".
“Eyes" vocoder vocal 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".
Looped "ahh" solo male vocal/choir pad (one of two) A looped male solo vocal pad originally heard during the opening minutes of "Clean" is used sporadically throughout "Faith Healer".[6]

Sourced samples
Sample Source Status Notes
Guitar riff and other elements The Sensational Alex Harvey Band - "The Faith Healer" - 1973
Confirmed
Bell tree sample Fleetwood Mac - "Black Magic Woman" - 1982
Confirmed
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".

"Electro Blues For Bukka White" - Recoil
1992
Self-made samples
Sample Notes
Bass sequence Musician Ehron VonAllen confirmed in a YouTube analysis of his remix collaboration with Alan Wilder that the latter employed a bass sequence originally recorded for use with "Waiting For The Night" in "Electro Blues For Bukka White".[7]

Sourced samples
Sample Source Status Notes
Bukka White vocal performance Bukka White - "Shake 'Em On Down" - 1937
Confirmed
Filtered synth percussion The Human League - "Being Boiled" - 1980
Confirmed
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.
N/A David Bowie - "Aladdin Sane" - 1973
Unconfirmed

"The Defector" - Recoil
1992

Sourced samples
Sample Source Status Notes
Anthony Hopkins "Closer...", "That is his nature", "No, no, no, no, no" vocal samples Silence Of The Lambs (film) - 1991
Likely
N/A LFO - "El Ef Oh" - 1991
Unknown

"Edge To Life" - Recoil
1992
Self-made samples
Sample Notes
Italian female spoken vocal 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 "Behind The Wheel".

Italian:

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!

English:

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.

"Curse" - Recoil
1992
Self-made samples
Sample Notes
"Breathing" accordion loop The "breathing" effect originally recorded for use in "I Want You Now" is re-purposed for atmosphere throughout "Curse". The sound is produced by an accordion being inflated and deflated without depressing a key.[8]

Sourced samples
Sample Source Status Notes
Diamanda Galás vocal sample Diamanda Galás - Unidentified source
Unconfirmed
Punchy snare and "whirly" bassline Digital Underground - "The Humpty Dance" - 1990
Confirmed
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 Parliament) is used throughout "Curse".
Punchy snare Parliament - "Theme from the Black Hole" - 1979
Confirmed
"You're blind, you're blind from the facts" vocal Public Enemy - "She Watch Channel Zero?!" - 1988
Confirmed

"Bloodline" - Recoil
1992
Self-made samples
Sample Notes
"Who's Afraid Of The Big Bad Wolf" nursery rhyme vocal 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".

"Faith Healer" (Trance Mix) - Recoil
1992
Self-made samples
Sample Notes
Piano-like one-shot A low octave, piano-like sampled synth part originally recorded for use with "Policy Of Truth" is used to atmospheric effect in 'Faith Healer'.

Tom/drum fill The tom drum fill that bridges the chorus and verse sections of "Personal Jesus" bears a strong similarity to the equivalent part used during the chorus sections of "Faith Healer".
Xpander 'zap' and Pro One synth bass sweep[5] A layered Xpander/Pro One bass synth part originally recorded for use during the chorus sections of "Enjoy The Silence" are re-used during the chorus sections of "Faith Healer".
Eyes" vocoder vocal 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".

Sourced samples
Sample Source Status Notes
Guitar riff and other elements The Sensational Alex Harvey Band - "The Faith Healer" - 1973
Confirmed
N/A LFO - "Love Is The Message" - 1991
Unknown

"Freeze" - Recoil
1992
Self-made samples
Sample Notes
Synth arpeggio "Freeze" employs a manipulated sample derived from the atmospheric outro of the "Development Mix" of "Oberkorn (It's A Small Town)".

Unsound Methods (1997)

"Incubus" - Recoil
1997
Self-made samples
Sample Notes
Percussion elements A percussive loop originally recorded for use in Depeche Mode's "Clean" is re-used to create a rhythmic, tribal atmosphere in "Incubus".

Sourced samples
Sample Source Status Notes
Orchestral strings Henryk Górecki - Symphony No. 3, Op. 36: I. Lento - Sostenuto Tranquillo Ma Cantabile - released 9 March, 1992 (recorded 4 April, 1977)
Likely
A sampled orchestral/vocal phrase derived from the first movement of Henryk Górecki's Symphony No. 3, Op. 36 is likely utilised throughout "Incubus".
Shouting vocal Peter Gabriel - "Rhythm Of The Heat" - 1982
Likely

"Drifting" - Recoil
1997

Sourced samples
Sample Source Status Notes
Marimba rhythm Peter Gabriel - "Slow Marimbas" - 1985
Confirmed
A looping section of melodic marimba performance derived from the opening moments of Peter Gabriel's "Slow Marimbas" is utilised throughout "Drifting".
Orchestral strings Vivian Kubrick (as "Abigail Mead") - Full Metal Jacket (Original Motion Picture Soundtrack) - "Sniper" - 1987
Confirmed
A section of orchestral strings derived from Vivian Kubrick's "Sniper" as composed for the soundtrack of the 1987 Stanley Kubrick film Full Metal Jacket is utilised throughout "Drifting".
Brass swell The Walker Brothers - "Another Tear Falls" - 1966
Confirmed
A brass section swell derived from the opening moments of The Walker Brothers' 1966 UK single "Another Tear Falls" is utilised throughout "Drifting".
Saxophone and choir Hilliard Ensemble & Jan Garbarek - "Sanctus" - 1994
Confirmed
A section of audio featuring a saxophone and choir phrase derived from the opening moments of a September 1993 performance of "Sanctus" by the Hilliard Ensemble is utilised for a brief pad during "Drifting".
Guitar atmospherics The Comsat Angels - "Missing in Action" - 1980
Confirmed
A manipulated sample of guitar atmospherics derived from the opening moments of The Comsat Angels' "Missing in Action" is utilised throughout "Drifting".
Orchestra/vocal phrase Loulie Jean Norman - "Summertime" - 1959
Confirmed
A sampled orchestral/vocal phrase derived from Loulie Jean Norman's performance of "Summertime" as recorded for the 1959 Porgy and Bess 1959 film soundtrack is likely utilised in the outro of "Drifting".

"Luscious Apparatus" - Recoil
1997

Sourced samples
Sample Source Status Notes
Guitar chord The Cure - "Club America" - 1996
Likely

"Stalker" - Recoil
1997

Sourced samples
Sample Source Status Notes
Noise, ambience Simon Fisher Turner - "Lower" - 1996
Confirmed
A section of noise and atmosphere derived from the opening moments of "Lower" by Simon Fisher Turner is utilised throughout the intro of "Stalker"
"Versus Christus, ave Satani!" vocal chant with orchestral string and trumpet ostinato Jerry Goldsmith - The Omen (film soundtrack) - "Killer's Storm" - 1976
Confirmed
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 "Stalker". 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.
Ambient pads Peter Gabriel - Birdy (film soundtrack) - Unidentified source song - 1985
Unconfirmed
911 operator vocal The Last Seduction (film) - 1994
Likely

"Red River Cargo" - Recoil
1997

Sourced samples
Sample Source Status Notes
N/A Wild At Heart (film) - 1990
Unconfirmed

"Control Freak" - Recoil
1997

Sourced samples
Sample Source Status Notes
Orchestral strings Ravi Shankar, Philip Glass - "Offering" - 1990
Likely
A manipulated sample of orchestral strings derived from "Offering" by Ravi Shankar and Philip Glass is likely utilised throughout "Control Freak".
Piano Peter Hammill - "Accidents" - 1982
Likely
A manipulated sample of piano derived from "Accidents" by Peter Hammill is likely utilised throughout "Control Freak".
Synth fill Brian Eno, David Bryne - "Mountain of Needles" - February 1981
Likely
A manipulated sample derived from "Mountain of Needles" by Brian Eno and David Bryne is likely utilised throughout "Control Freak".
Synth pad Goldie - "Sea of Tears" - 1995
Likely
A synth pad derived from "Sea of Tears" by Goldie is likely utilised throughout "Control Freak".
N/A Marvin Gaye and Tammi Terrell - "You're All I Need To Get By" - 1968
Unknown

"Missing Piece" - Recoil
1997
Self-made samples
Sample Notes
Slide guitar A slide guitar part used prominently in the final moments of "Clean" is re-purposed as a rhythmic element throughout the choruses of "Missing Piece". Notably, this sample is also used to atmospheric effect in "Death's Door".
Looped pad, likely derived from a guitar A textured pad effect originally recorded for embellishment from the second chorus onwards of "Clean" is re-purposed for atmospherics in "Missing Piece". The part is audible at the two minute thirty second mark.
E-bow guitar A series of melodic e-bow guitar parts originally recorded for use during the middle eight and outro sections of "Walking In My Shoes" are re-used to ominous effect in chorus with orchestral strings at the three minute seven second mark.
Guitar chords with tremolo "Missing Piece" re-purposes a guitar chord processed through a tremolo effect originally recorded for "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".

Sourced samples
Sample Source Status Notes
Reversed electric piano, guitar atmospherics, drum elements Björk - "Headphones (0 Remix)" - 1996
Confirmed
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"
Orchestral strings John Williams - Schindler's List: Original Motion Picture Soundtrack - "Auschwitz-Birkenau" - 1994
Confirmed
A series of orchestral strings derived from "Auschwitz-Birkenau", composed by John Williams for the 1993 film Schindler's List are utilized throughout "Missing Piece". Credit to Thomas of Forced To Mode for this discovery.

"Last Breath" - Recoil
1997
Self-made samples
Sample Notes
E-bow guitar A series of sustained e-bow guitar parts originally recorded for use during the middle eight and outro sections of "Walking In My Shoes" are re-used for the outro of "Last Breath".

Sourced samples
Sample Source Status Notes
Whale sound effects HITCD08 - Pascal Gabriel's Dance Samples (AMG) - Track 64 - "Whale 3", "Whale 2", "Whale 5" - 1991
Confirmed
A series of edited whale vocalization sound effects derived from AMG's 1991 sample CD HITCD08 - Pascal Gabriel's Dance Samples are utilised throughout "Last Breath".
Piano/orchestral strings Paul Robeson - "Take Me Away from the River" - 1933
Confirmed
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".
Piano/orchestral strings Gustav Mahler - Symphony No.5 in C sharp minor - 4. Adagietto (Sehr langsam) - Chicago Symphony Orchestra - March 1970
Confirmed
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".
Drum loop The Incredible Bongo Band - "Last Bongo in Belgium" - 1973
Likely

"Shunt" - Recoil
1997

Sourced samples
Sample Source Status Notes
Gated synth Piquet - "Caress" - 1996
Confirmed
A section of resonant synth noise derived from "Caress" by Piquet is utilised throughout "Shunt".
Guitar and tubular bell hit Laibach - "Dues Ex MacHina" - 1996
Confirmed
A sample featuring a guitar and tubular bell derived from the opening moments of "Dues Ex MacHina" by Laibach is utilised throughout "Shunt".
Sub bass and bass drum Massive Attack - "Better Things" - 1994
Likely
A low frequency bass element derived from the opening moments of "Better Things" by Massive Attack is utilised throughout "Shunt".

Liquid (2000)

"Black Box (Pt. 1)" & "Black Box (Pt. 2)" - Recoil
2000
Self-made samples
Sample Notes Audio
"Wind"-like pad A pad with a unique wind-like texture used throughout "I Feel You" can be heard in the opening moments of "Black Box (Pt. 2)".

Sourced samples
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)".
Orchestral strings Symphony No. 3 (Górecki) - 1992
Unconfirmed
N/A Plastikman - "Consumed" - 1998
Unknown

"Want" - Recoil
2000

Sourced samples
Sample Source Status Notes Audio
Drum loop PJ Harvey - "Is This Desire?" - 1998
Likely

"Jezebel" - Recoil
2000

Sourced samples
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".

"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".

"Strange Hours" - Recoil
2000

Sourced samples
Sample Source Status Notes Audio
Orchestral strings Bessie Smith - "Them's Graveyard Words" - 3 March, 1927
Confirmed
A sample of orchestral strings derived from the opening moments of "Them's Graveyard Words" by Bessie Smith is likely utilised throughout "Strange Hours".

"Supreme" - Recoil
2000

Sourced samples
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".

SubHuman (2007)

"Allelujah" - Recoil
2007
Self-made samples
Sample Notes
Double-tracked "splang" guitar chords The double-tracked guitar chords originally recorded for use during the chorus sections of "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."[9]

Sourced samples
Sample Source Status Notes
Synth arpeggio and pad Tangerine Dream - "Rubycon, Part One" - 1975
Confirmed
"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".
Drum loop Elbow - "Fugitive Motel" - 2003
Unknown

"The Killing Ground" - Recoil
2007

Sourced samples
Sample Source Status Notes
Harmonica and drum elements Talk Talk - "The Rainbow" - 1988
Likely

"99 To Life" - Recoil
2007

Sourced samples
Sample Source Status Notes
N/A Digital Intervention - "La Louve" - 2003
Unconfirmed

5000 Years (A Romanian Elegy For Strings) - Recoil
2010

Sourced samples
Sample Source Status Notes
Arabic singing with orchestral instrumentation Various Artists - Earth: Travels & Documentaries - "Mirage" - 1995
Confirmed
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)".

Miscellaneous remixes

"Time Turns Around" (Eurotech Version) - Toni Halliday
1989
Self-made samples
Sample Notes
Bass synth 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'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.
Piano stab 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 "Policy Of Truth".
Snare 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 "Halo".

"Come Alive" - Nitzer Ebb
1990

Sourced samples
Sample Source Status Notes
Rhythmic synth Bassomatic - "Set the Controls for the Heart of the Bass" - 1990
Confirmed
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.[10]

"In Chains (Alan Wilder Remix)" - Depeche Mode
2011
Self-made samples
Sample Notes
Bass element A textured bass element originally recorded for Depeche Mode's "Black Celebration" is confirmed by Wilder as having been re-purposed for his remix of "In Chains".

Sourced samples
Sample Source Status Notes
Ambient pads Depeche Mode - "I Want It All" - 2005
Official
An orchestral string passage originally recorded for Depeche Mode's "I Am You" is confirmed by Wilder as having been re-purposed for his remix of "In Chains".
Orchestral strings Depeche Mode - "I Am You" - 2001
Official
Orchestral strings Massive Attack - "Paradise Circus" - 2010
Likely
A series of orchestral string phrases derived from "Paradise Circus" by Massive Attack is likely utilised in the outro of the Alan Wilder remix of "In Chains".
Drum loop UNKLE - "Keys to the Kingdom" - 2007
Confirmed

"I Am Undone (Alan Wilder Remix)" - Nitzer Ebb
2011

Sourced samples
Sample Source Status Notes
Percussion elements Scott Walker - "Manhattan" - 1995
Unknown

"Inheritance" - Recoil
2012

Sourced samples
Sample Source Status Notes
Percussion elements Depeche Mode - "Nothing's Impossible" - 2005
Unconfirmed

"Dum Dum Girl" feat. Shara Worden - Recoil
2012

Sourced samples
Sample Source Status Notes
Percussion elements Depeche Mode - "Nothing's Impossible" - 2005
Confirmed

References