Two decades ago this week saw the release of the third studio release from Alan Wilder‘s Recoil project, Unsound Methods. Whereas 1992’s Bloodline and its predecessors 1+2 (1986) and Hydrology (1987) had been primarily side-steps for Wilder, allowing him to explore different directions than he could with Depeche Mode, by 1997 he was now a solo artist in his own right, and this album came just months after his former bandmates’ comeback with Ultra.
It opens with Incubus, on which Francis Ford Coppola gets a writing credit thanks to a sample from Apocalypse Now. Vocals come from Nitzer Ebb‘s singer Douglas McCarthy, giving it a grimy quality which the preceding album had only hinted at.
Lead single Drifting is next, probably the most commercial of any of the tracks on here. It’s a bluesy, beatsy piece, with a brilliant vocal from Siobhan Lynch, and it serves as good preparation for the next track, the filthy, angry Luscious Apparatus. Narrated by the late poet and writer Maggie Estep, it’s a fascinatingly angst-ridden story of love and hate that fits the mood of this album perfectly.
Stalker is next, another collaboration with Douglas McCarthy, which is every bit as dirty as the title might lead you to expect. It was later released as a double a-side single with Missing Piece. Then comes the bleakly midwestern Red River Cargo, a huge piece of experimental semi-electronic blues rock which might actually be one of the best tracks on here.
Next is Control Freak, returning to earlier collaborator Estep for a slightly less successful but entirely enjoyable exploration, before we get the other half of that second single, Missing Piece. As with the first single, Siobhan Lynch appears to deliver the vocals on possibly the most laid back track on the whole album. It’s not particularly slow, but notably less angry than anything we’ve heard before now, and that’s pretty welcome by now.
By this point in the album you should pretty much have an idea of how it works, and be in the right mood to enjoy it, but it’s winding down already – Last Breath may not be the last track, but it is the penultimate. The tempo seems to be dropping too – this track still has the blues flavour (or perhaps flavor?) that previous tracks have brought us, but it’s also fairly relaxed now.
Finally we get Shunt, another dark and this time particularly rail-themed track that closes the album over the course of seven minutes or so. It’s an entirely appropriate ending to this curiously middle American album.
Unsound Methods is understated, challenging, experimental, and ultimately an excellent departure for Alan Wilder. Like many, I’d have been happier if he’d stayed to help shape Depeche Mode over the years that followed, but I’m also glad that we have Recoil to keep us challenged.
You can still find Unsound Methods at all major retailers.