So as my first post to this blog, here are some thoughts I had after the Recoil performance last Tuesday at Le Poisson Rouge in New York City (which is an excellent venue, by the way; check them out!). It was truly one of the best weeks I've had in a while, as wiped out as I am! It starts as a review of the show and mutates a bit into a commentary on art and music...oh well, enjoy anyway!
"I'm Gonna Walk Up To Heaven..." Recoil Live At LPR, NYC
To make what is possibly the understatement of the century, I think all the Shunt-heads and Modies in New York were waiting for this night with bated breath...and it was worth it!
Unfortunately, Douglas McCarthy couldn't make it because of the unpronounceable volcano which has sidelined so many people in Europe (anyone want to make t-shirts that say "Blame Bjork"? Aw, I'm just kidding, Bjork), but it was still a very special show.
The set kicked off with a performance by the now-infamous blues guy Joe Richardson. It's always funny to see a musician live after hearing them and not knowing what they look like. Joe looked exactly as I pictured he would; a self-described ponytailed hippie with a beat-up old Strat, just hanging out playing us some tunes. After telling the story of how he met Alan and began working with him, he conducted us all in a rousing audience-participation rendition of "5000 Years" as well as "The Killing Ground" and "Prey" and, as a bonus, a track from his own album. He reminded me a little bit of R.L. Burnside and I really enjoyed it.
Then it got dark, save for some flashing lights and rumbling bass with an appropriately ambient quality to it... and then the footage started. It was the Shotgun mix of "Prey," complete with a pretty cool propaganda/Pop Art-esque projection that reminded me a little of Brute's artwork. One of the things I was particularly curious about with the Recoil performance was not just the live manipulation of the songs (courtesy of Ableton Live, which I'm a big fan of!), but the visual side of it too. As a film geek, I always like being able to see something cool to go along with what I'm hearing.
I also think that when it comes to electronic music, which tends to be minimal as far as stage presence (the bad stereotype is of "some dude with a synthesizer and a laptop." Personally, I find nothing wrong with that!), you can't underestimate the power of compelling eye candy, whether it's Nicole Blackman flinging articles of jewelry into the crowd or HR Giger. Incidentally, within the Recoil/Mode crowd, there seems to be appreciation for both! I've always been curious about Nicole Blackman's work and admittedly, am not hugely familiar- but after seeing her perform, I definitely plan to change that. Her contribution to "Liquid" was actually one of the things that I first found so compelling about Recoil. It rounds out the whole experience as having a human, organic, almost cinematic quality to it.
The other high points included "Stalker" (to which someone in the crowd yelled, "That's right, play his songs even though he's not here!" We all laughed), the "Aggro" mix of "Never Let Me Down Again," and an absolutely unforgettable version of "The Killing Ground" with Joe Richardson- harmonica and Strat in tow- back onstage to join in, which had the whole place stomping. Then of course, we were treated to "Warm Leatherette" at the end (this time it was ME yelling, "YES!" Sorry, it slipped out) and "Shunt" being blasted at epic, lurching, rumbling, arm-hair-raising volume...perfect!
Visually, I loved what they did. I assumed they might have used some sort of video DJ software, similar to Max/Jitter, but it turns out that it was just well-edited and fit the songs really well. I liked how the new Recoil artwork and some of the original Recoil videos were incorporated into the mix.
After the show, there was a meet and greet. The place was packed! Alan and PK were both absolute princes, truly wonderful to talk to, and Nicole Blackman was a trip; she's a really cool woman! (She does talk fast though! I was expecting her to start auctioning off items in the room or something... :-P ) My band mate Kneel and I hung out for a while and got to talk to many different people from the tour. It was truly an honor and a privilege. I can't even begin to explain what this meant for me; what generous, humble people they all are, and how cool it was to be a part of that...to see firsthand how much Alan and his collaborators value the people who come to see, hear, and support them. Beyond that, to see how much they include them; the fact that they borrowed a synth from a fan proves it! (and gives me a case of MS-20 envy to boot...sigh...!)
I had an interesting discussion with Kneel and a promoter who we'd just met, about the attendance at the show. We were talking about how, in short, sometimes the best market is a niche market, because you essentially have a guaranteed audience for life...that for an event like this, they did pretty goddamn good! You don't have to be Bruce Springsteen or Madonna to make an impact on people, you know. (Nothing against them, of course) And maybe sometimes, it's better to just roll with that and do what you can with what you have. I was somewhat amused by the Village Voice listing for the show, which proclaimed, "Alan Wilder (Depeche Mode)". How many more people did that magical phrase, nested inside parentheses, draw? The world will never know, and personally, I don't think that's really our thesis statement here. The bottom line is, people were there to see and hear Recoil...and what a show!
I mean, what do I know? I've been happily wedged into the electronic music "scene" for almost 15 years and thus, maybe I'm the wrong person to talk to about how to sell out shows at The Meadowlands. Sorry, guys. But I do know that quite a lot of the people who like Depeche Mode, REALLY like Depeche Mode...with Violator rose tattoos and massive vinyl collections to prove it. And I know that the people who REALLY like Depeche Mode, REALLY like Alan and might even REALLY like Recoil. So what does that REALLY tell you? It tells you that the root of the electronic music formula is exactly what Recoil has been so hugely successful at: collaboration...a sort of "six degrees" game, where you can literally connect all your favorite musicians and artists just like a family tree. It tells you that we don't need reunion tours or crowds of 50,000 to be successful.
I could also compare it to the film world. You have your indie films with your smaller budgets which are still greatly appreciated, sometimes to a "cult classic" degree and an enthusiasm rarely seen for the big, epic, 3-hour blockbusters. Then you have your, well, 3-hour blockbusters. Can we say that James Cameron is more successful or more popular than Kevin Smith? Wait, what? Exactly. You have your apples, and your oranges. Mmm, apples. So there you have it. Recoil has a loyal following for good reason, not all of which has to do with that band that he used to be in. ;-) And you don't need sweaty guys with guitars onstage to make a show memorable. Sometimes all it takes after all, is a couple of dudes with laptops and a synth; something cool to look at, and something cool to hear...it's as simple as that.
The music of Recoil continues to blow my mind with all the different directions it has gone in, each to worthwhile and memorable effect. Who would have ever guessed that you could combine the blues with spoken word, or with synthesizers, for that matter? Is life itself so straightforward that we can only describe it with one word? I doubt it! Recoil as a multimedia project, to me, reflects the intricacies of the human experience in a way that goes beyond one-word genre descriptions and reaches way beyond what most people would ever try to come up with.
I have to admit that the first time I heard "Grain" off of Hydrology, it brought me to tears, as did "Red River Cargo" off Subhuman for that matter. It made me want to run, not walk, home, and work on music...or, in the case of "Grain," to sit down at the piano and play...but it also made me want to slow down and enjoy life, to watch the sunset and listen to the wind through the trees and pet my cat, instead of worrying about work and money and perpetuating the struggle to survive in this city. These songs are decades apart from each other and quite different in style, but they each have a soulful, raw quality to them that got right in there and tugged at my heartstrings. I dare any Top 40 hit to do the same; these days, it's unlikely. Similarly, sometimes it's easier to lose yourself in the moment when you're in a small space with one of your favorite musicians, surrounded by a few hundred instead of a few thousand. It gives the experience an intimate quality which I think is hard to come by in a stadium, especially when you've got nosebleed seats and some tall guy is standing in front of you!
Well done, Alan, Paul, and all else involved in the tour. I will never forget this Strange Hour; it looked and sounded amazing, and left me very inspired. As for the chance to finally meet a few of the people who have made this incredible music which has changed my life, it was a beautiful moment. Thank you!
The set kicked off with a performance by the now-infamous blues guy Joe Richardson. It's always funny to see a musician live after hearing them and not knowing what they look like. Joe looked exactly as I pictured he would; a self-described ponytailed hippie with a beat-up old Strat, just hanging out playing us some tunes. After telling the story of how he met Alan and began working with him, he conducted us all in a rousing audience-participation rendition of "5000 Years" as well as "The Killing Ground" and "Prey" and, as a bonus, a track from his own album. He reminded me a little bit of R.L. Burnside and I really enjoyed it.
Then it got dark, save for some flashing lights and rumbling bass with an appropriately ambient quality to it... and then the footage started. It was the Shotgun mix of "Prey," complete with a pretty cool propaganda/Pop Art-esque projection that reminded me a little of Brute's artwork. One of the things I was particularly curious about with the Recoil performance was not just the live manipulation of the songs (courtesy of Ableton Live, which I'm a big fan of!), but the visual side of it too. As a film geek, I always like being able to see something cool to go along with what I'm hearing.
I also think that when it comes to electronic music, which tends to be minimal as far as stage presence (the bad stereotype is of "some dude with a synthesizer and a laptop." Personally, I find nothing wrong with that!), you can't underestimate the power of compelling eye candy, whether it's Nicole Blackman flinging articles of jewelry into the crowd or HR Giger. Incidentally, within the Recoil/Mode crowd, there seems to be appreciation for both! I've always been curious about Nicole Blackman's work and admittedly, am not hugely familiar- but after seeing her perform, I definitely plan to change that. Her contribution to "Liquid" was actually one of the things that I first found so compelling about Recoil. It rounds out the whole experience as having a human, organic, almost cinematic quality to it.
The other high points included "Stalker" (to which someone in the crowd yelled, "That's right, play his songs even though he's not here!" We all laughed), the "Aggro" mix of "Never Let Me Down Again," and an absolutely unforgettable version of "The Killing Ground" with Joe Richardson- harmonica and Strat in tow- back onstage to join in, which had the whole place stomping. Then of course, we were treated to "Warm Leatherette" at the end (this time it was ME yelling, "YES!" Sorry, it slipped out) and "Shunt" being blasted at epic, lurching, rumbling, arm-hair-raising volume...perfect!
Visually, I loved what they did. I assumed they might have used some sort of video DJ software, similar to Max/Jitter, but it turns out that it was just well-edited and fit the songs really well. I liked how the new Recoil artwork and some of the original Recoil videos were incorporated into the mix.
After the show, there was a meet and greet. The place was packed! Alan and PK were both absolute princes, truly wonderful to talk to, and Nicole Blackman was a trip; she's a really cool woman! (She does talk fast though! I was expecting her to start auctioning off items in the room or something... :-P ) My band mate Kneel and I hung out for a while and got to talk to many different people from the tour. It was truly an honor and a privilege. I can't even begin to explain what this meant for me; what generous, humble people they all are, and how cool it was to be a part of that...to see firsthand how much Alan and his collaborators value the people who come to see, hear, and support them. Beyond that, to see how much they include them; the fact that they borrowed a synth from a fan proves it! (and gives me a case of MS-20 envy to boot...sigh...!)
I had an interesting discussion with Kneel and a promoter who we'd just met, about the attendance at the show. We were talking about how, in short, sometimes the best market is a niche market, because you essentially have a guaranteed audience for life...that for an event like this, they did pretty goddamn good! You don't have to be Bruce Springsteen or Madonna to make an impact on people, you know. (Nothing against them, of course) And maybe sometimes, it's better to just roll with that and do what you can with what you have. I was somewhat amused by the Village Voice listing for the show, which proclaimed, "Alan Wilder (Depeche Mode)". How many more people did that magical phrase, nested inside parentheses, draw? The world will never know, and personally, I don't think that's really our thesis statement here. The bottom line is, people were there to see and hear Recoil...and what a show!
I mean, what do I know? I've been happily wedged into the electronic music "scene" for almost 15 years and thus, maybe I'm the wrong person to talk to about how to sell out shows at The Meadowlands. Sorry, guys. But I do know that quite a lot of the people who like Depeche Mode, REALLY like Depeche Mode...with Violator rose tattoos and massive vinyl collections to prove it. And I know that the people who REALLY like Depeche Mode, REALLY like Alan and might even REALLY like Recoil. So what does that REALLY tell you? It tells you that the root of the electronic music formula is exactly what Recoil has been so hugely successful at: collaboration...a sort of "six degrees" game, where you can literally connect all your favorite musicians and artists just like a family tree. It tells you that we don't need reunion tours or crowds of 50,000 to be successful.
I could also compare it to the film world. You have your indie films with your smaller budgets which are still greatly appreciated, sometimes to a "cult classic" degree and an enthusiasm rarely seen for the big, epic, 3-hour blockbusters. Then you have your, well, 3-hour blockbusters. Can we say that James Cameron is more successful or more popular than Kevin Smith? Wait, what? Exactly. You have your apples, and your oranges. Mmm, apples. So there you have it. Recoil has a loyal following for good reason, not all of which has to do with that band that he used to be in. ;-) And you don't need sweaty guys with guitars onstage to make a show memorable. Sometimes all it takes after all, is a couple of dudes with laptops and a synth; something cool to look at, and something cool to hear...it's as simple as that.
The music of Recoil continues to blow my mind with all the different directions it has gone in, each to worthwhile and memorable effect. Who would have ever guessed that you could combine the blues with spoken word, or with synthesizers, for that matter? Is life itself so straightforward that we can only describe it with one word? I doubt it! Recoil as a multimedia project, to me, reflects the intricacies of the human experience in a way that goes beyond one-word genre descriptions and reaches way beyond what most people would ever try to come up with.
I have to admit that the first time I heard "Grain" off of Hydrology, it brought me to tears, as did "Red River Cargo" off Subhuman for that matter. It made me want to run, not walk, home, and work on music...or, in the case of "Grain," to sit down at the piano and play...but it also made me want to slow down and enjoy life, to watch the sunset and listen to the wind through the trees and pet my cat, instead of worrying about work and money and perpetuating the struggle to survive in this city. These songs are decades apart from each other and quite different in style, but they each have a soulful, raw quality to them that got right in there and tugged at my heartstrings. I dare any Top 40 hit to do the same; these days, it's unlikely. Similarly, sometimes it's easier to lose yourself in the moment when you're in a small space with one of your favorite musicians, surrounded by a few hundred instead of a few thousand. It gives the experience an intimate quality which I think is hard to come by in a stadium, especially when you've got nosebleed seats and some tall guy is standing in front of you!
Well done, Alan, Paul, and all else involved in the tour. I will never forget this Strange Hour; it looked and sounded amazing, and left me very inspired. As for the chance to finally meet a few of the people who have made this incredible music which has changed my life, it was a beautiful moment. Thank you!
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