Posts Tagged ‘Coil’

Finnish noise rockers Throat who are set to release their highly anticipated and Aural Aggro approved second album, Bareback on August 31st via Svart Records have shared a second track. ‘Born Old’ is described by vocalist/guitarist Jukka Mattila as ’a deliberate effort to break some formulas we always fall into when writing music. To most people it might sound like the same drivel we always do and in spite of the fact that they’re probably right, we’re proud of our song. Lyrically, ‘Born Old’ is about feeling bad in every which way possible. Feeling good is overrated anyway. Plus there’s a Coil reference in the lyrics, see if you can spot that!’

Listen to ‘Born Old’ here:

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Cold Spring – CD 3rd August 2018 / LP 10th September 2018

Christopher Nosnibor

There are so many moments lost in the annals of history. This particular one has been languishing, unheard and unreleased for some 35 years. As collaborations go, this one is particularly special, and captures the spirit of the underground scene in the early 80s, with the original Coil lineup of John Balance and Peter Christopherson joined by John Gosling and Marc Almond. Although renowned as a pop singer, both solo and with Soft Cell, Almond has a raft of interesting collaborations to his credit: his work with JG Thirlwell as Flesh Volcano is a persona favourite, the pair amping up the sleaze and grime to deliver something quite dank and slimy. Better still, their live rendition of ‘Ghostrider’ for the BBC. And, lest we forget, undocumented save for some (painfully) ropey bootlegs, The Immaculate Consumptive, a short-lived live project (just three shows in three days in October / November ‘83) which featured Almond, Thirlwell, Nick Cave, and Lydia Lunch.

‘How to Destroy Angels’ was recorded shortly before The Immaculate Consumptive broke Brian Eno’s piano, on 24th August 1983, at the Air Gallery in London. And the recording has languished ever since, until now, emerging cleaned up and consumable. Although it’s still pretty raw, and if truth be told, sounds little better than some of the recordings of my own spoken word performances recorded on my phone. Of course, this has rather more cultural significance and wider interest.

As the liner notes observe, ‘the music bears only scant resemblance to the ‘How To Destroy Angels’ 12” that Coil would release as their debut vinyl the following year.’ And so the performance which would preface Coil’s studio debut was very much an experimental effort, a collaborative piece born of happenstance and a coalescence of creative fermentation that was bubbling around the time.

It’s Lunch’s influence that seems strongest on Almond’s contribution here: his narrative – a bitter tirade against an ex-lover – is full of bile and expletives as he spits the words quickly and abrasively against an eerie, unsettling dark ambient backdrop. Challenging is the word – but then, that’s entirely the point.

The Kos Kia remix of ‘How To Destroy Angels’, which whittles 23 minutes of audio to just over eight, feels a little redundant here. It’s not bad by any stretch: in fact, as weirdy ambient remixes go, it’s pretty good. It’s just a question of fit.

‘Baptism of Fire’ is an unreleased recording of Zos Kia and Coil at Recession Studios, London: dating from 12th October 1983, it’s contemporaneous with ‘How to Destroy Angels’. It’s the shortest piece here, and concludes the set with four and a half minutes of battering percussion, howling ululations and clanking, clattering noise that’s very Throbbing Gristle and very uncomfortable indeed.

While so many archival recordings and onus cuts on anniversary reissues – often of bands who were only of limited merit in the first place – feel like sloppy cash-ins, digging out second-rate demons , acoustic versions, remixes outtakes and live recordings of well-known studio tracks, this is a real rarity, which sheds new light on the origins of band whose effect has been significant and enduring. Moreover, it’s not only vastly illuminating in context of the nascent Coil sound, but a document which joints a number of dots in the wider context: and for that, this is an essential release.

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COIL ZOS KIA MARC ALMOND - Lo res album cover for web

Ici, D’ailleurs – 22nd June 2018

I find myself increasingly drawn to album covers that evoke a sense of desertion, emptiness, and which are oddly plain, bald. French avant-garde specialists Ici, D’ailleurs are particularly good in housing albums in covers of this type, with their ‘Mind Travels’ series, of which this is number eleven, being particularly noteworthy (and the tri-fold cover with a thick spine is especially nice). On the one hand, the cover art gives nothing away. On the other, it created a certain sense of emptiness and foreboding, which perfectly describes the music it houses.

Mysterium Coniunctionis – the product of a collaboration between Thighpaulsandra (who featured on many Coil albums) and Massimo Pupillo (who built his reputation as bassist with Zu, and has continued to expand it working with Eugene Robinson and as part of Triple Sun) – is dark and foreboding, and more.

The press blurb explains the album’s purpose neatly, so I shall quote: ‘Mysterium Coniunctionis makes direct reference to the eponymous and testamentary work of the psychiatrist Carl Jung, subtitled An Inquiry into the Separation and Synthesis of Psychiatric Opposites in Alchemy. It clearly reflect the duo’s intention to create particularly immersive and meaningful music from supposedly opposing materials’.

Mysterium Coniunctionis contains two tracks, each around the twenty-minute mark in terms of running time, and corresponding with one side of an album apiece. Halfway through the first, ‘Sagyria’, my wife wandered into my office and said she was worried there was something up with the motor on the dehumidifier before realising the uncomfortable humming was emanating from my speakers. Humming, throbbing, deep and resonant tones dominate both compositions.

There’s minimal movement across the album as a whole, and listening digitally the tracks bleed together to form an extended, expansive soundscape that pushes discomfort, a sense of disquiet and tension. Always tension. Some fourteen minutes into the second track, ‘Solve et Coagula’, the sounds reaches a shivering, spine-tingling level of intensity and density. It’s all in the frequencies, as the midrange and treble loom to the fore and get uncomfortable – really uncomfortable.

The ‘opposing materials’ which form the fabric of Mysterium Coniunctionis are the digital and analogue: in combination, they forge a dense and unsettling sound that eddies and whirls and tunnels into the inner regions by stealth.

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Hallowground – HG1607 – 28th October 2016

Christopher Nosnibor

Danny Hyde is probably best known for his work producing and remixing Nine Inch Nails and Coil, Depeche Mode and Psychic TV, amongst others, although he also remixed Adamski’s ‘Killer’ and has co-produced Pop Will Eat Itself. A varied career, and no mistake, but one which has always leaned toward the darker side of the musical spectrum. He’s also operated a handful of his own musical projects, and Electric Sewer Age is his outlet for creating ‘contemplative mood inducing’ music, as he phrases it on his website. Bad White Corpuscle is the second album under the Electric Sewer Age banner, and is being re-released on vinyl and as a download (with different cover art) after being discreetly released by Italian label Old Europa Café on CD only in 2014. Its predecessor, Moon’s Milk in Finale Phase featured the late Peter Christopherson of Coil, and perhaps not entirely surprisingly, it’s being hailed as a continuation of his work with Coil or even as evoking the spirit of a ‘lost Coil album’. But regardless of associations, Bad White Corpuscle is a strong – and extremely dark – album which stands on its own merit.

The cover art is, however you look at it, pretty grim, in a ‘what the hell is that?’ sort of a way, and the music it houses is equally sinister and inhuman. Chthonic voices whisper and growl blindly in the darkness. Occasionally spiralling out into gravity-free galactic drift, with twinkling synths providing minuscule points of light on ‘Corpuscular Corpuscles’. The ‘Amber Corpuscle’ turns slowly in suspension, insect flickers echo before the ‘Rising Corpuscle’ brings forth booming bass frequencies and nagging, rippling. I find I’m beginning to feel quite spaced out and nauseous: no, I’m not hungover: the frequencies are low, and the sound possesses an uncomfortable, gut-rumbling density which resonates mentally and physically. The experience is sinister and vaguely terrifying.

There’s no escaping the album’s theme as rendered explicit through the track titles. What is Hyde’s obsession with blood? Specifically, the notion of a ‘bad white corpuscle’? The white blood cell is the cell of the immune system: what can be bad about a blood cell which defends the body from invaders? I’m drawn to the idea of the mutant and he virus, perhaps the deficient white corpuscle which fails to fulfil its duty as sentry, or otherwise the virus in disguise, the bad guy dressed as a good guy or the mutating virus which sustains itself while sapping the host undetected. I’m speculating, of course, while the dark sounds drag me down… down.

The soundscapes are simultaneously vast and microcosmic, evoking cellular shapes from a microscopic perspective; traversing the corpuscles, the listener becomes the cosmonaut of inner space. The mangled digital vocals on the alien synthpop incantations of the title track float, disembodied through an analogue circuitscape of liquid metal.

The vinyl-only track, ‘Redocine (Death of the Corpuscle)’ does mark something of a departure with the introduction of more readily identifiable moments of melody – countered by extraneous noise and echoed, distorted robotix voices – propelled by some powerful, stop/start beats and building a deep, dislocated groove. Beneath the shine, the synaptic explosions and dark rumbling vibrations are symptomatic of cellular collapse.

Bad White Corpuscle mines a deep, dark sonic seam, and does so with a real feeling for unsettling sonic terrains. There’s certainly no inoculation against the effects of this album.

 

Electric Sewer Age

House Of Mythology – 26th August 2016

Christopher Nosnibor

So, House of Mythology released two albums simultaneously in August, and having exhausted myself dissecting the David Tibet / Youth collaboration, Create Christ, Sailor Boy under the Hypnopazūzu moniker, it’s taken me a while to steel myself for this.

It’s important to be clear that this is a very different kind of album, the three (or four*) long-form tracks manifesting as darkly ambient instrumental works, which build layers of dissonance and feedback over textured drones and rumbling lower frequencies. While flickers of pan-cultural influence emerge from the thrumming layers of sound, Remoteness Of Light is entirely devoid of any of the trappings of pseudomystical bullshit.

And while ‘Agents of Altitude builds layers of sound which unsettle and unnerve, ‘World of Amphibia’ which follows, is altogether more sparse and delicate, and corresponds more obviously with the nots which accompany the album and situate it in the deep submarine world, which remain every bit as intriguing and unknown as outer space.

In describing the journey of a deep-sea dive (‘Dive a kilometre into the ocean and you leave all surface illumination behind… Descend another ten and luminous forms flicker and burst through the endless black’), The Stargazer’s Assistant contextualise Remoteness Of Light. Of course, the tribal drumming and whining pipes aren’t a literal representation of the underwater experience, but they convey the strangeness of the deep-sea world and the excitement of the decent.

Moreover, there are essentially three areas which offer endless fascination, but have been wholly inadequately explored: space, the oceans, and the human mind. Remoteness Of Light delves into, and connects with, all of these:

The droning, sonorous and subtly rhythmic sonic turnings of the title track are, at times, so quiet and careful as to be barely present, but as ever, dark and unexpected, and it builds o a wheezing, whining, moaning undulation of sound, with a long, slow playout of heavy, echo-drenched percussion and a log-tapering drone. Credit where it’s due: this s sonically and texturally interesting. With a lot going on, it conforms to no specific gene, but engages the listener in unexpected ways, and the varied textures and shades of light and dark unquestionably have the capacity to tweak at the psyche.

* Track 4, ‘Birth of Decay’, is a live recording only available on the double vinyl edition, or as a download for people ordering directly from the House of Mythology web site. It wasn’t included in the digital review copy we received, so it might be awesome or utterly shit, but if it’s on a par with the rest of the album, it should be pretty good.

 

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Black Sun Productions – Toilet Chant / Dies Juvenalis

Christopher Nosnibor

Self-styled ‘artivists’ Black Sun Productions had already established a reputation for themselves in Switzerland and Italy, but found a much wider audience after they were discovered by Coil in the early noughties. Touring their performance piece ‘Plastic Spider Thing’ on tour with Coil, they also engaged in collaboration with the seminal industrialists and were signed to their label, Ekstaton.

These two releases – reissues of albums dating back to the mid-2000s and previously released on CD-R on their own Anarcocks label, are interesting for a number of reasons, with the fact that they are Black Sun Productions albums being an obvious starting point. That they’re receiving their first vinyl and digital releases means this rather clandestine work may begin to filter through to a wider audience and be accessible to fans who’ve simply been unable to track down the originals. The choice of these two albums is a shade curious, in that they represent the first and last of the Anarcocks releases, with four other releases separating them.

Given the range of media they’ve worked in and pushed the parameters of, it shouldn’t come as too much of a shock to learn that they’re fairly challenging. That said, these are not brutal or ugly albums. Musically, they’re certainly interesting, and will hold inevitable appeal for fans of dark ambient, avant-garde and music from the more experimental end of the industrial spectrum. I’d argue that true industrial is experimental by its very nature, in the tradition of Throbbing Gristle, and, continuing that trajectory through Peter Christopherson, Coil. And fans of coil will be keen to note that ‘E2 = Tree3’ on the Toilet Chant album features the vocals of ‘Jhonn Balance’ which will make the first of these two albums of particular interest.

Toilet Chant (2004) may sound as though it should have humorous connotations, but the title track which opens the album, but its haunting whale song echoes are far from ribald. Distant, rumbling percussion lumbers in the murky background. ‘Anarcocks Rising’ works on the interplay between unstructured rhythmic pulsations, heaving groans and rolling, bass-orientated, notes. Synths flicker and scrawl, their sparking electronics bringing a starkly manufactured aspect to the more natural sounding sonic body over which they expand. It’s alien and other-wordly, as is the aforementioned ‘E2 = Tree 3’, as thunderous roaring solar winds blast over exotic, eastern-influenced instrumentation and shards of pulsing analogue fizz. The album builds tension across the six tracks, via the Curesque ‘Yesterday’s Dream’ and the spaced-out wibblesome tones of ‘Glüewürmilitanz, culminating in the thirteen-minute ‘Spermatic Cord’. An extended exercise in creating dark, weighty atmospherics, it’s an uncomfortable, queasy listen. Grating bass drones croak and funnel. It’s a dark, insular experience.

 

 

Black Sun Productions - Toilet Chant

2007’s Dies Juvenalis contains just three tacks, and immediately a different tone is apparent. A swelling organ sound screeds and undulates against pulsating beats on ‘Percettive Riflessioni’. The experimental leanings of Toilet Chant are still in evidence, but the focus here is on dynamics, with dramatic changes in volume and the tonal contrasts adding depth and texture. The presence of definite, regular rhythms also marks a significant change, with elements of Krautrock and psychedelia informing the sound. This was 2007, remember: no-one was digging Krautrock or doing synth-based psychedelia in 2007. Busy xylophones weave the fabric of the title track, while a deliberate, slow, dubby bass beat leads ‘Veneration XXX’ into glitchy, stuttering drum ‘n’ bass territory, while disembodied voices bend and melt over the stammering fills.

Black Sun Prooductions - Dies Juvenalis

 

 

I would lean towards Toilet Chant as being my preferred album for listening purposes, Dies Juvenalis offers a greater push on innovation and musical progression. In tandem, they provide an intriguing documentation of the workings of a unique act.