#paris wilder

[elektroblues]

Alan Wilder with his daughter, Paris, in promotional photos for Unsound Methods (1997). Photos by Steve Gullick.

[themarvelousmrswilder]

Liquid

Released in the Spring of 2000, 'Liquid' has been described as the most fervent and unsettling album to date. Once again, Wilder utilises the unique qualities of various guest vocalists - internationally acclaimed fellow Mute artist Diamanda Galás, 1940's Gospel crooners The Golden Gate Jubilee Quartet, New York spoken word performers Nicole Blackman and Samantha Coerbell, Catalan narrator Rosa Torras and additional musicians Steven Monty (drums), Dean Garcia (bass) and Merlin Rhys-Jones (guitar).

The worldwide music press received ‘Liquid’ with a host of glowing reviews and Wilder was awarded the Charles Cros Grand Prix 2000.

“…a series of poetic vignettes brought to vivid life through ambitiously expressionist musical settings, ‘Liquid’ offers a wealth of dark and disturbing pleasures. Uneasy listening for uneasy souls.” Andy Gill – The Independent (Album of the week) – April 2000

“The music on ‘Liquid’ is suitably grand and gothic, filled with the kind of carefully constructed, emotionally unsettling textures that once bedrocked many a Depeche Mode album track: fascinating and rewarding but a far cry from pop music. Wilder is likely heading for a second career of cult sales, critical acclaim and being in demand to produce and compose for others, and he is seemingly quite comfortable with forgoing platinum albums and screaming fans to do so. With works this intriguing and provocative, we should be content with his decision, too.” Tony Fletcher – Sonicnet – April 2000

Strangely enthralling and genuinely unhinging, ‘Liquid’ masquerades as the aural equivalent of a disturbing movie. Its intoxicating soundscapes kick up clouds of the same dark dust that falls on David Lynch or Nine Inch Nails, but where others may hammer out their message with histrionic force, Alan’s touch is lighter and characteristically more subtle. ‘Liquid’ is designed to seep into your brain and drill holes into your psyche – a remarkable work for not-so-quiet reflection in the company of one’s darker side.

After ‘Liquid’, Alan decided to take a break from the pressures of the music business and spend more time concentrating on his young family. In February 2001, his second child Stanley was born and months confined to the studio was neither an enticing nor realistic option. 

"I was adamant that I did not want to bring children into the world and then be an absent father by spending months on the road or in the studio - not to mention the fact that Hep would most definitely not have put up with it! It was important for me to be there to witness my child's development, especially as I'd worked consistently for many years and was lucky enough to have the financial security to be able to enjoy life's pleasures."

[fly-on-the-windscreen15]

Alan Wilder and Paris Wilder, ca. 2000

[the-blasphemous-rumour]

Alan's daughter has an unconventional way of wishing happy birthday to her dad.

[lormor]

Daughter's DM💕💕💕💕

[themarvelousmrswilder]

Cutie Paris Wilder ❤️

[themarvelousmrswilder]

Unsound Methods

Free from his group commitments and after the birth of his first child, Paris, in 1995, his personal life was at last on a much needed even keel. He could now begin to focus solely on Recoil and in September 1996, he began work in his own studio, The Thin Line, gradually piecing together the unnerving scores that would eventually become ‘Unsound Methods’ before again, drawing collaborators into his net of intrigue. The final results were more impressive than ever.

The music that began to emerge seemed to be a far cry from his last Recoil offering but appeared to take up where ‘Songs Of Faith And Devotion’ had left off. Unlike the textural vocal style of ‘Bloodline’, guest vocalists this time played a more up-front role than ever and featured Maggie Estep (a spoken-word artist from New York), Siobhan Lynch (who came to Recoil by way of a demo cassette), the reappearance of Douglas McCarthy, and Hildia Cambell (who had worked with Alan as a backing vocalist on the ‘Devotional’ tour). The styles of each could not be more removed from one another helping to create a startlingly original and diverse collection.

Working in this unique way afforded Alan Wilder far greater freedom of expression allowing him unrestricted access to all his favourite musical areas. During the nine haunting and sultry tracks that comprise ‘Unsound Methods’ the listener is drawn into the shadowy world of a new Recoil for the ’90s.

Released in the autumn of 1997, the album, though perceived as difficult by some, received much critical acclaim and was welcomed by the more adventurous spectrum of the music world…

“A generous, instinctively filmic collaborator, Wilder provides impeccable canvasses – all mournful cellos and thoroughly paralysed beats…. ‘Unsound Methods’ is in exquisite taste. You might have seen the cut before, but then again, it doesn’t look this drop-dead stylish on everyone.” Time out – November 1997

“The concept project of former Depeche Mode producer Alan Wilder removes itself from the music industry norms and blinkers, supplying a confrontational and emotive symphony. Immediately astounding in its ambition, Alan uses the whole sonic vocabulary of jazz, trance, gospel, classical, ambient, thrash, poetry and natural sound effects, conducting these into a theatrical / cinematic narrative. This release stands out as an accomplished and musical experience with the depth of Radiohead and drama of David Lynch: the album echoes far past its conclusion.” Massive – December 1997

[lilydm]

DAYS WITHOUT SHORT - IndieGoGo Campaign Video от Paris Wilder на Vimeo.