Coil

Electric Sewer Age “Contemplating Nothingness” (Hallow Ground)

2020-03-20T19:36:13+00:00March 19th, 2020|

Electric Sewer Age’s »Contemplating Nothingness« is a lysergic tapestry culled from the deep end of the collective pop cultural unconscious. The project was originally started anonymously by the late Peter »Sleazy« Christopherson (of Throbbing Gristle, Psychic TV and, most notably, Coil) together with Coil affiliate and seasoned remixer Danny Hyde, who continued the project together with John Deek, who passed away in 2013. »Contemplating Nothingness« is the third release by Electric Sewer Age and the second one that Hyde finished alone. Having previously been only available on CD, it is now re-released by the Swiss Hallow Ground imprint on vinyl both as a standalone release and as a strictly limited bundle together with »Svay Pak,« Hyde’s 2011 EP under his Aural Rage moniker.

Hyde left his imprint on many of Coil’s seminal albums such as »Love’s Secret Domain«, co-produced Pop Will Eat Itself’s »Very Metal Noise Pollution« and remixed a diverse roster of artists such as Nine Inch Nails, Scorn, Chris & Cosey, Psychick Warriors Ov Gaia or Depeche Mode. With his work as Electric Sewer Age, he explores the vast open space between the dark psychedelic aesthetics that he has helped establishing together with John Balance and his long-time collaborate Christopherson with a postmodernist approach that is deeply rooted in studio practice and sampling.

On »Contemplating Nothingness,« disembodied voices mingle with subdued rhythms, muffled harmonies or menacing string themes. Over just a little bit more than half an hour, Hyde conjures up traditional and contemporary production techniques and genres like plunderphonics, Leyland Kirby’s V/VM project or early vaporwave, all while retaining his singular voice. Throbbing industrial gives way to jazz-inflected quasi-rap, autotune balladry and ethno ambient, before closing on eerily alienated synth pop sounds and a stunning exercise in psychedelic minimalism. »Contemplating Nothingness« is an album as surreal and beautiful as a half-remembered dream, constantly navigating through the liminal zone of the familiar and the great unknown.

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Coil “Stolen & Contaminated Songs” (Cold Spring)

2020-03-02T07:04:44+00:00January 23rd, 2020|

Double LP version. 180 gram vinyl; glossy, 350gsm gatefold sleeve. Cold Spring Records announce the long-awaited reissue of Stolen & Contaminated Songs, Coil’s 1992 album. Stolen & Contaminated Songs was recorded and produced by Coil in 1992. It is comprised of over 60 minutes of outtakes and unreleased songs, evolved during the recording sessions for their prior album, Love’s Secret Domain (1991). A wealth of superb material showcasing the diversity of Coil: dark, violent, vivid, and fractured, yet cohesive and beautiful. Combined with the latest studio technology and Coil’s ever-evolving production skills, S&C Songs walks a fine line between tradition and innovation, continually creating semi-abstract soundscapes with a cinematic quality.

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Zos Kia “23” (Infinite Fog)

2019-09-06T04:24:21+00:00September 6th, 2019|

ZOS KIA was formed by John Gosling (MEKON), John Balance (COIL) and Min – with guest Peter ‘Sleazy’ Christopherson (THROBBING GRISTLE). Their one and only long-play album, Transparent, was released August 23rd, 1983 in a cassette the only edition on the now-defunct Nekrophile label, Austria. They were the first released recordings of both COIL and ZOS KIA. It was reissued years later by COIL (Threshold House / Eskaton) in an edited edition. Later, 2017, the entire recordings were reissued on CD/vinyl via COLD SPRING RECORDS. Definitely, “Transparent” one of the most legendary and important industrial releases of all times. But beside of “Transparent”, ZOS KIA released 2 EP vinyl and record several tracks for compilation as well as about an hour of unreleased material which was found in John Gosling archives.

Now the final and complete anthology of ZOS KIA recordings released under title “23” on 3LP in DE LUXE Triple-Gatefold Set via INFINITE FOG PRODUCTIONS. 23 tracks, more than 2 hours of exciting material in various styles, was сarefully extracted and prepared for publishing by John Gosling himself, and artwork was done by Cold Graves. Well-known track in different forms, unknown, rare and unreleased composition, and many more for the deep-diving into the esoteric underground music from 80th.

“23” is the long-awaited release for those who deeply in the old-school industrial music, collectors, rare-searchers and especially great gift for all COIL lovers.

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Coil / The New Blockaders / Vortex Campaign “The Melancholy Mad Tenant” (Infinite Fog)

2019-09-06T04:24:21+00:00September 6th, 2019|

First-time complete vinyl issue of the whole collaboration! In 1984 VORTEX CAMPAIGN invited COIL and THE NEW BLOCKADERS to collaborate. The result, which was unofficially referred to as Dolbied, was released privately on cassette in an edition of 50. The release has since gone on to become legendary, showcasing two of the most influential groups in the scene at the early stages of their development. The Melancholy Mad Tenant is an authorized release, sanctioned by all three groups. The tracks have been professionally re-mastered and in addition to the COIL/THE NEW BLOCKADERS/VORTEX CAMPAIGN collaboration it also contains the entire VC archive, including two previously unreleased tracks. This wooden box edition hand-numbered and strictly limited to 100 copies only.

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Coil “Theme From The Gay Man’s Guide To Safer Sex” (Musique Pour La Danse)

2020-03-07T07:01:18+00:00July 18th, 2019|

Purple vinyl. Musique Pour La Danse present Coil’s unreleased soundtrack for the VHS only, pre-internet, sexual education documentary entitled The Gay Man’s Guide To Safer Sex released in 1992. Members for this project were John Balance, Peter “Sleazy” Christopherson, and Danny Hyde. The OST, to quote John Balance’s interview for Compulsion Online, “is [a] slightly new age-y, progressive house type thing”. Another way to approach it is as a delightful collection of Balearic beats, smoking jazz not far removed from Badalamenti’s work with David Lynch, somewhat of an ambient house album for your home listening and early morning sunrise dances, Coil style. Taken from the original masters provided by Danny Hyde, The Gay Man’s Guide To Safer Sex features a new sexy edit of the main theme. Bonus tracks “Nasa-Arab” and “Omlagus Garfungiloops” are taken from the 1992 CD-only release Stolen And Contaminated Songs, both being original versions of the radically reworked (for the OST) “Nasa-Arab 2” and “Exploding Frogs” in order to balance the whole album and extend the listening pleasure.

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Coil “Live At The London Convay Hall, October 12 2002” (Planet Claire)

2019-06-07T03:01:13+00:00June 7th, 2019|

Long standing influential British experimental group Coil began performing live again in 1999 after a 15-year hiatus. These now legendary performances included many pieces that were never released on album, including this album-length epic version of “The Universe Is A Haunted House”, captured live on October 12th, 2002 at London’s Convay Hall.

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Coil “Swanyard” (Infinite Fog)

2019-05-31T19:21:16+00:00May 31st, 2019|

Nearly 150 minutes of unreleased Coil recordings from 1993 to 1996, from Danny Hyde’s studio archives. The cover art is by Steven Stapleton and was specially commissioned for this album. It was inspired by a dream recalled by Jhon Balance. Audio mastering by Martin Bowes (Attrition) at The Cage Studios. The vinyl is pressed in an edition of 1000 copies.

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Coil “A Thousand Lights In A Darkened Room” (Dais)

2018-12-17T00:53:38+00:00October 25th, 2018|

During the transitional period in which Coil’s primary leadership (Peter “Sleazy” Christopherson and John Balance) reorganized their creative direction by taking on new membership in the group through their inclusion of Drew McDowall, Coil took a drastic turn towards the metaphysical unknown. Employing the subtle handiwork of Coil’s “real life” members, as well as the cleverly guised aliases and spiritual collaborators, the band chose to filter their identity through a the nome de guerre, Black Light District, setting the precedent of Coil’s future exploration of otherworldly influence.  Recorded during the Winter of 1995/96, Black Light District reflects more on their formal avant-garde pursuits and academic interests rather than their industrial pedigree resume. Starting off with an obvious nod to John Cage with their introductory “Unprepared Piano”, the tone is prepared in exactly the same way… unpredictable. Conceptually abstract, Black Light District shows Coil’s old guard disregarding the pop rhythms found on previous albums, such as Love’s Secret Domain, and fully embracing their experimental electronic trajectory. Subtle patterns of looping melancholy and malaise are placed delicately underneath ghostly electronic timbre. Approaching their creative method as something from the beyond, another realm in which sounds blur and performers seemingly appear from the ether.

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Coil/Zos Kia/Marc Almond “How To Destroy Angels” (Cold Spring)

2018-12-17T00:58:56+00:00October 12th, 2018|

Includes download card. Cold Spring Records present the complete recording of A Slow Fade To Total Transparency. Recorded on August 24th, 1983 at the Air Gallery in London, UK. Personnel for the performance: John Balance (Coil), John Gosling (Zos Kia), Marc Almond (Soft Cell), and live mix by Peter Christopherson (Coil, Throbbing Gristle). Features: “How To Destroy Angels”, the complete 23-minute piece; “How To Destroy Angels (Zos Kia Remix)”, a nine-minute, unheard remix by John Gosling; and “Baptism Of Fire”, an unreleased recording of Zos Kia/Coil at Recession Studios, London, England on October 12, 1983. Liner notes by Michel Faber (Under The Skin (2000), The Crimson Petal And The White). All audio, previously unreleased, has been remastered from the original tapes and is exclusive to this release.

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Coil Presents Black Light District “A Thousand Lights In A Darkened Room” (Dais)

2018-12-17T01:01:00+00:00October 5th, 2018|

During the transitional period in which Coil’s primary leadership (Peter “Sleazy” Christopherson and John Balance) reorganized their creative direction by taking on new membership in the group through their inclusion of Drew McDowall, Coil took a drastic turn towards the metaphysical unknown. Employing the subtle handiwork of Coil’s “real life” members, as well as the cleverly guised aliases and spiritual collaborators, the band chose to filter their identity through a the nome de guerre, Black Light District, setting the precedent of Coil’s future exploration of otherworldly influence.  Recorded during the Winter of 1995/96, Black Light District reflects more on their formal avant-garde pursuits and academic interests rather than their industrial pedigree resume. Starting off with an obvious nod to John Cage with their introductory “Unprepared Piano”, the tone is prepared in exactly the same way… unpredictable. Conceptually abstract, Black Light District shows Coil’s old guard disregarding the pop rhythms found on previous albums, such as Love’s Secret Domain, and fully embracing their experimental electronic trajectory. Subtle patterns of looping melancholy and malaise are placed delicately underneath ghostly electronic timbre. Approaching their creative method as something from the beyond, another realm in which sounds blur and performers seemingly appear from the ether.

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Elph Vs. Coil “Worship The Glitch” (Dais)

2020-03-07T07:26:33+00:00July 6th, 2018|

“Unexplainable” may well be the best explanation for the members of the UK based electronic outfit COIL. Making a radical shift from intentional accessibility, by means of traditional pop songwriting, to abstract happenstance, Coil had entered into a new phase in their career…uncharted waters utilizing what was then the newest computer technology, digital and analog synthesis and the newly formed ideas that something outside of themselves was steering the ship.  During the studio sessions that developed into what would become “Worship the Glitch”, Coil became aware of random compositions emitting from their gear, and were at odds with constant “accidents” that were perpetually plaguing the recordings. The band called these unintentional emissions “ELpH”: a conceptual being that is one part physical equipment, one part celestial being… constantly playing the role of trickster, throwing a wrench into Coil’s methodology. Eventually, these accidents and mistakes were embraced by the band, and the process of misusing audio software to create intentional “errors” was adopted as a musical technique. The acceptance of the “mistake”, and the use of discovered mistakes as intentional elements slowly became the drive and concept behind the album, thus birthing the title “Worship the Glitch.”  Originally released in 1995 on Coil’s in-house imprint Eskaton, Worship the Glitch was Coil’s first proper album-length attempt at conceptual ambient composition, with a radical focus on chance. Seamless vignettes of shattered electronics (though ebbing softly and in delicate balance with each other) provide an underlying uncertainty and discomfort to the listener.

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Coil “Un/Finished Musics” (Prescriptions)

2018-12-17T01:45:35+00:00March 1st, 2018|

These rare COIL tracks were recorded as part of the legendary Prescription label album sessions in the late 1990s that resulted in the album Astral Disaster. As we described with regards to our first Coil volume, they were invited to record at Sun Dial’s studios beneath the London Bridge Hop Exchange. This studio was no ordinary studio. It was originally know as Samurai Studios, and had been originally built and owned by Iron Maiden. The premises in Victorian times had been an old debtors prison, which had three underground levels, and still had the original chains, manacles and wrought iron doors from the old prison. This caught the attention of JOHN BALANCE, and he was very keen to record there. At GARY RAMON’s invitation, Coil spent a number of days recording at the studio during Halloween 1998. Coil developed a number of tracks, some of which resulted in the Astral Disaster album. For various reasons, unissued material and mixes were omitted from the original album. That brings us to here and now, and this LP, which provides Coil fans with their first opportunity to listen to this additional material from the Astral Disaster sessions. This album includes previously unissued mixes, the rare version of ‘I Don’t Want To Be The One’ (only included on the very rare 1999 promo only Prescription sampler); and the 14-minute track ‘Cosmic Disaster,’ which was the original working title of the album. Edition of 1,000 copies.

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Coil with Black Sun Productions “The Plastic Spider Thing” (Rust Blade)

2020-03-07T05:56:05+00:00November 14th, 2017|

Double LP version. “This album, featuring Coil’s music literally remixed and re-arranged in ritual form to serve as the soundtrack to the Black Sun Productions extreme performance art spectacle entitled Plastic Spider Things, following the performers’ (among who was counted John Balance himself) every move. Synths, drones, and psychedelic textures lead us on mystical tour of sex and magic, serving as a testament to the undeniable connection between Coil’s music, ritual magic, and performance art. Included with the CD is a collection of Black Sun Productions videos documenting the history of Black Sun Productions and its strong ties with Coil.”

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Coil “Time Machines” (Dais)

2020-03-07T06:25:12+00:00November 14th, 2017|

NOW AVAILABLE ON VINYL!!! “4 Tones to facilitate travel through time.” So begins the listeners’ journey into what has become one of the most treasured and revered pieces of COIL history ever released. Each of the four pieces on Time Machines is named after the chemical compound of the hallucinogenic drug that they were composed for, and the album was meticulously crafted to enable what JOHN BALANCE referred to as “temporal slips” in time and space, allowing both the artist and audience to figuratively “dissolve time”. Inspired by long form ceremonial music of Tibet and other religions, where the intent is to lose oneself in the music—to meditate or achieve a trance state—Time Machines became DREW MCDOWALL, Balance, and PETER CHIRSTOPHERSON’s “electronic punk-primitive” answer to this tribal concept. Starting as a rough demo tape recorded solely by Coil member Drew McDowall, Time Machines started to take full form when McDowall enthusiastically delivered these demo recordings to Balance and Christopherson as sketches for a new Coil project with the primary goal of shifting Coil’s sound further into a more conceptually abstract direction. Largely recorded in 1997 using single takes with minimal post production, these four drones contain every intended fluctuation and tone, along with every glitch of the original – “Artifacts generated by your listening environment are an intrinsic part of the experience.” The reissued double vinyl LP features deluxe double pocket gatefold, printed matte with gloss overlay with printed eurosleeves inserts.

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Coil “Another Brown World/Baby Food” (Sub Rosa)

2017-10-17T00:28:15+00:00October 15th, 2017|

Two rare tracks by Coil, never before released on vinyl and commissioned by Sub Rosa. These two pieces were commissioned by Sub Rosa for these two specific projects: Myths 4 – Sinople Twilight In Çatal Hüyük (1989) and Chaos In Expansion (1993). “Another Brown World” was written by John Balance and Peter Christopherson, produced and mixed by Coil, and recorded by Danny Hyde at Threshold House, London in the Summer of 1989. The vocals were recorded at the Animist Monastery situated at the Summit of Mount Popa in Pagan, Burma. “Baby Food” was written and performed by Coil: Danny Hyde (essentials) Peter Christopherson (fundamentals), and John Balance (vibrant rays of spiritual psychosis). This track is the first to utilize the recording process known as “Sidereal Sound”, a continuation and advancement of the deep listening theories as demonstrated on the album Love’s Secret Domain (1991). Recorded in a storm in London in the summer of 1993.

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Electric Sewer Age “Moon’s Milk In Final Phase” (Soleilmoon)

2020-03-07T07:30:44+00:00May 20th, 2017|

ELECTRIC SEWER AGE was conceived in 2006, a glowing spark in the imagination of JOHN DEEK of Divine Frequency. A brief, cryptic announcement in 2009, followed by a few rough tracks released online, heralded its birth. Announced with nothing more than the tagline “an Infinity of Sewers thrown open beneath the Threshold House”, little was known about this upcoming project other than it likely featured some involvement of former COIL legends PETER “SLEAZY” CHRISTOPHERSON and DANNY HYDE, and perhaps, it was rumored, with the posthumous contributions of JHONN BALANCE. Because Electric Sewer Age was intended to be an anonymous aural experiment meant to free the listeners mind of any preconceptions about who or what created it, little more was ever planned to be publicly revealed about the project, even after the first release. However, following the unexpected and untimely passing in 2010 of Christopherson, the first Electric Sewer Age EP became an epitaph to the loss of this peerless musician, for these were the last tracks he and his decades long collaborator and friend Danny Hyde ever completed together. The music, originally intended to conclude Coil’s Moon’s Milk series, was released on CD by Divine Frequency in 2012, and then on vinyl the next year by Danny Hyde. Both editions sold out quckly and have been unavailable until now. Moon’s Milk In Final Phase consists of four ambient-electronic instrumentals, reissued by Soleilmoon Recordings on CD and deluxe gatefold 12-inch, the latter in two colors—250 copies on moon green and 250 on celestial black vinyl. A download code is included with each LP.

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Zos Kia/Coil “Transparent” (Cold Spring)

2017-03-02T02:32:51+00:00March 2nd, 2017|

Double LP version. Comes in a gatefold sleeve with a 12″ booklet of unseen images and includes a download card. The entire Transparent recordings released for the first time, completely remastered from the unedited tapes. Zos Kia was formed by John Gosling (Mekon), John Balance (Coil) and Min – with guest Peter ‘Sleazy’ Christopherson (Throbbing Gristle). Their one and only album, Transparent, was released on August 23rd, 1983 in a cassette only edition on the now defunct Austria label Nekrophile. They were the first released recordings of both Coil and Zos Kia. It was reissued years later by Coil (Threshold House/Eskaton). Includes two previously unreleased bonus tracks by Ake (pre-Zos Kia). The music on Transparent is genuinely unsettling and disturbing, with a more primal Industrial feel than the Coil album which followed; Scatology (1984). An essential insight into the very early work of these extraordinary artists and an undeniable link between Coil and Throbbing Gristle.

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Coil “London Convay Hall, October 12, 2002” (East West)

2017-10-01T20:17:19+00:00December 28th, 2016|

Live recording of Coil’s performance at the Megalithomania festival at October 12th, 2002 Conway Hall in London, England. According to the credits, “Coil were: John Balance, Peter Christopherson, Thighpaulsandra, & Ossian Brown with Pierce and Massimo. Sound By Danny Hyde.” This performance consists of an extended performance of only one song, “The Universe Is A Haunted House”, which has never been released as a studio version.

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Coil “Backwards” (Cold Spring Records)

2016-04-08T00:11:01+00:00April 8th, 2016|

After the ground-breaking release of 1990′s “Love’s Secret Domain” album, Coil were not dormant; the main project was “Backwards”, which was started in 1992, updated considerably between 1993 and 1995, and transferred in 1996 to New Orleans, where it was finished in the magic of the Nothing studios of Trent Reznor (Nine Inch Nails). The album saw the fruition of Jhonn Balance‘s recent vocal coaching, producing haunting, passionate vocals, while reaching new heights.
23 years after its initiation, these tracks have been beautifully preserved by Danny Hyde and are finally available in highest quality audio. Differing substantially from the later, remixed incarnation, “The New Backwards” (2008), “Backwards” contains the original versions of Coil’s much-loved tracks; ‘A Cold Cell’ and ‘Fire Of The Mind’, which have appeared on various compilations over the years, and are now presented as originally intended.
This album is the essential bridge between “LSD” and the later “Musik To Play In The Dark” series. It is an essential conduit, to understand the journey that was taken. It was to be released… it should have been released… but because of issues with grey men it wasn’t. It is now, so enjoy. (Danny Hyde).

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