Wrong Eye/Scope (1990...a) [Coil...7'']

01 Wrong Eye
02 Scope


Both tracks appear on The Portable Altamont compilation CD and the anthology release Unnatural History III along with "Meaning What Exactly?", another track recorded around the same time.


"Wrong Eye" is described by Coil as being a "rough sketch" of the track "Windowpane" (from Love's Secret Domain).
Coil has also stated that speculation about "Scope" being an early version of "Her Friends The Wolves" (from Stolen and Contaminated Songs) is false, and that the track was actually a "studio jam" fueled by "experimenting with MDMA".


white cover
yellow cover
green cover

Unnatural History (Compilation Tracks Compiled) (1990...b) [Coil...CD]

01 Various Hands
02 The Swelling of Leeches
03 The Pope Held Upside Down
04 His Body Was a Playground for the Nazi Elite
05 Homage to Sewage
06 Here to Here (Double Headed Secret)
07 S is for Sleep
08 Dream Photography
09 Comfortable
10 Never
11 Penetralia II
12 Sicktone
13 How to Destroy Angels


A collection of tracks that originally appeared on various compilations and limited edition releases along with some previously unreleased material.
"Penetralia II" is mistakenly listed as being taken from a limited 7" on the Shock label. This 7" was actually Wrong Eye / Scope, so "Penetralia II" is presumably unavailable elsewhere.
The version of "How To Destroy Angels" is in mono whereas the original 12" is in stereo.
Early pressings of this release are succeptable to the disc rot problem that has been striking many discs pressed by PDO in the early 1990s.


Subtitled "Compilation Tracks Compiled", this is the first of three UH volumes, this disc is made up of unreleased and otherwise unavailable tracks, including a pre-Christopherson Coil track. Early releases were susceptible to the infamous PDO Disc Rot, but this has been fixed with recent releases. UH also features four collaborations with Boyd Rice, three of which were originally released under the name A Sickness of Snakes as the split LP (with Current 93, with whom Coil have worked before), Nightmare Culture. Current 93’s half of the Nightmare Culture LP can be found on the CD edition of the C93 album In Menstural Night. - Dave Piniella

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Windowpane (1990...c) [Coil...CD EP]

01 Windowpane (Minimal)
02 Windowpane
03 Windowpane (Astral Paddington Mix)


The single of another of Coil's mid-tempo odes to LSD, "Windowpane" contains the original mix and a pair of instrumental remixes. Only one remix appears on the vinyl version. The LP version is the only vocal mix presented. Of the two remixes, the minimal mix is exactly what it claims to be -- a stripped-down version, utilizing an almost dub style in its reduction to drums and bassline. The Astral Paddington mix adds lots of swirly pads, but little else. Excellent music, but you're better off obtaining the Windowpane/The Snow re-release, which contains both the entirety of this single and the single for "The Snow. - Joshua Landau...From Allmusic


I have a mental picture that I get every time I listen to window pane and It's a ship moving over a turbulent sea----The backing vocals are the sky, the little percussion sounds and processing on J. Balances voice are the rigging creaking in the wind, and the bass line and bass drum & snare are the action of the ship moving over large rolling waves. - Arik Tillman


Love's Secret Domain [This Version Was Reissued In 2001] (1991...a) [Coil...CD]

01 Disco Hospital
02 Teenage Lightning 1
03 Things Happen
04 The Snow
05 Dark River
06 Where Even The Darkness Is Something To See
07 Teenage Lightning 2
08 Windowpane
09 Further Back And Faster
10 Titan Arch
11 Chaostrophy
12 Lorca Not Orca
13 Love's Secret Domain


Remastered by Thighpaulsandra in 2001.

Working titles for this release included:

* TO EAT HIS OWN (mentioned in a 1987 Coil newsletter)
* 120 DALMATIONS IN SODOM (from 1987 newsletter)
* THE DARK AGE OF LOVE (mentioned in the liner notes of GOLD IS THE METAL)
* THE SIDE EFFECTS OF LIFE (from notes on WRONG EYE single)
* STOLEN AND CONTAMINATED SONGS (from 1987 newsletter; later used for a "companion" release to this album)


1991's LSD is commonly referred to as Coil's House record. Other styles are featured, but the album as a whole leaves no doubt that Coil had left their industrial days a little further behind. LSD is consistently cited by fans as Coil's "best" album, and with good reason. It is very dancy with moments of trance, house, goth ("Titan Arch"), classical guitars, live drums, electronics and guest vocals by Marc Almond (ex-Soft Cell, on the aforementioned "Titan Arch"), and Annie Anxiety (the drunken "Things Happen"). Although it's a lighter effort than earlier albums, this is more a reflection of the previous albums' heavyness rather than LSD's character; it's still an amazingly heavy album. Regardless of personal opinions in the vinyl-vs.-CD debate, this is an album you'll want to own on CD, as it has four extra songs (including the magnificent digeridoo-drenched "Where Even Darkness Is Something To See") and longer versions of songs, shorter on the LP and cassette versions. This is a headphone record, and the one of the first to extensively feature "sidereal sound" (look up sidereal in a dictionary, for answers w/r/t sidereal objects.) The title track quotes from William Blake's "The Sick Rose"; Blake is another poet that Balance has made reference to in the past. At one point, LSD was released through Wax Trax! in the U.S., which may help explain it's popularity (compared to other Coil albums,) in the U.S. The cover features another fantastic Steven Stapleton painting. - Dave Piniella

"LSD" literally changed my life, I'd never heard anything quite like it prior and since. The diversity and care put into this album is remarkable. From the bizarre sample assault of "Disco Hospital" to the swirling sounds and vocoded vox of "Teenage Lightning" to the stream of conscious vocal of "Things Happen" to the gentle beat of "The Snow" to the beautiful ambience of "Dark River" and "Chaostrophy" to the driving bass line of "Windowpane" to the wonderful Marc Almond vocal of "Titan Arch" to the vocal groove of "Love's Secret Domain" ... you really must *hear* this album in order to understand, the sound just can't be put into words. Everything is perfect, the effects, the lyrics, the vocals, the programming, the instrumentation (includes orchestral arrangements, spanish guitars, live drums, etc). I consider this album an extension of Coil's previous albums ... sort of a "90's update" to the technique and sound, but quite unlike the recent "drone" work of "Time Machines" and "Moon's Milk". Also, the artwork (wood painting by Steven Stapleton) is brilliant ... a perfect compliment to the lyrics and music. Unfortunately, "Love's Secret Domain" is no longer in print and has become rather difficult to find ... but be sure to keep an eye out for it in the used bins (note - the cd has several bonus tracks that the cassette doesn't). It's a must have album. There were also 2 must have singles from the album, "The Snow" and "Windowpane" and the "Stolen & Contaminated Songs" compilation also has several alternate versions of songs found on "Love's Secret Domain". - Mark Weddle

You've either got it or you've heard about it. Maybe you downloaded all the tracks online, paid tons on an auction or found it kicking around used or some cut out bin. Any way you slice it, this album cannot be ignored. Now, ten years to the month after its original release, one of my favorite albums of all time is back in print. (With a few minor adjustments of course,...) The cover is the first difference I see: the front shows a little bit more of the legendary painting Steven Stapleton did on his outhouse, including his signature down at the bottom right corner, never before seen. The back is amazingly more legible than the original release - which simply blew up a bit of the cover and used gold text - black background, gold text and a previously unissued image. The back of the booklet is graced by the back photograph of the LP edition, but open the booklet up and sadly, there are no lyrics included this time around.
The most noticable musical difference is about four seconds missing from the opening chopped up sampling bit, but those sounds do get repeated over a few cycles however,... Enough of the nitpicking!
The recordings contained were completed in 1990, pulled from over two years of studio work, which is quite noticable. Back then, electronic musicians didn't have anywhere near as much software, Coil had to do much of this by hand. This is observed right from the opening seconds where a cut-up mishmosh of samples were tossed into a bucket and taped back together. Over the course of an hour, the group pummels the listener with whacked-out stereo separation, mind-bending low-end frequencies and ghostly voices which move in three dimensions around the room -without- the aid of a 5-point surround system! It's genre-defying, electronic based with dabbles of jazz, techno, with flamenco guitars and orchestral arrangements. Guests on this record include vocal contributions from Little Annie Anxiety Bandez, Marc Almond and Rose McDowell, as well as Charles Hayward on drums, and Mike McEvoy's trippy 'ecstatic keyboards' on "The Snow". While songs like "Windowpane" and "Love's Secret Domain" are instantaneously catchy favorites, tracks like "Further Back and Faster" are so amazingly ahead of their time in terms of sound and structure. The multiple layers, samples and sections must have taken many late nights in the studio, the result is a mindfuck which has taken many listens to truly get. People accuse this record of being a techno record, but in actuality, "The Snow" is really the only fast-paced techno dancefloor anthem, and not a bad one indeed with incredible playing, sampling and subliminal vocal manipulations. The record is multi-climactic, and builds a couple times before the end, with the calm and disturbing "Titan Arch" featuring Marc Almond's guest vocals over a chilly throb, "Chaostrophy" where an orchestra fights for center stage with a barrage of white noise, the explosive flamenco guitars of "Lorca Not Orca" into the finale, the title track, snaking lines from William Blake and Roy Orbison. - Jon Whitney


Steven Stapleton was responsible for the cover painting. The alleged story is that it's painted directly onto an old wooden outhouse door Stephen somehow appropriated. He created the image by sanding down several layers of accumulated paint, painting the coat of arms, then sanding again. That he could achieve such a psychedelic effect from organic materials is to me a perfect compliment to the nature of the recordings it graced.
Something of a litmus test for the psyche, the cover imagery itself is multilayered in such a way that if you interpret the sheild as a broad, flat nose and the curling banners as lips and mouth, you realise that the entire coat of arms is also quite deliberately the head of a lion! - John G. Dennett

Whenever i listen to "Dark River", it reminds of this time my friends and i went out to this bridge over a river. the moon was out, and the sky was totally clear. we were all pretty high, and we put these candles on boats made of newspaper and set them adrift in the river. the "boats" all blew off to one bank of the river and sat there in the grass on the bank. it looked like the bridge was several hundred miles above the water, and the boats were little houses, with light coming from fires in their fireplaces. it was quite beautiful, but also very sad for some reason...that song is inexorably tied to that memory for me. - "The Black Sun"


Teenage Lightning

Don't be alarmed
It will not harm you
It's only lightning
Teenage lightning.

It's real
Unbelievably real
Teenage lightning
Don't be frightened.

This is the way we do it
This is the way we do it.

Don't be alarmed
It will not harm you
Its only me pursuing
Something I'm not sure of
It's only lightning
Teenage lightning
Don't be alarmed
You can't be harmed
Teenage lightning
It's real?
Can you steal
Teenage lightning?
It is the lightning's
Deep, dark love.

Things Happen
Lyrics by Annie Anxiety-Bandez.

Sssssst ! Ssssssst !
(Kill the creator.
I send them the bomb)

Daddie, do you have a
Cigarette for me, I think
Maybe is getting late
Maybe time is running out
You know, I knew somebody once
Rifled through his drawers
I wasn't that suspicious, but...
You know these things
They happen
But... munyeca
Do you have a towel?
See those people gather round
Baby, do you have a light?
What's it like in Ohio?

What d'you want to call me,
Honey, do you like my dress?
You know, I think the colour pink
Suits my complexion
Or is it a reflection
Of the sky outside, you know
Why those people
Crowding round?
You know I think your time
Is running out
What was your name anyway?

No lipstick on his collar but
Maybe it was blood
I don't know to this day, Dear
Do you have another, uh.
Did you light
That cigarette for me? Oh!
Did you leave that on the side?
Do you have another
Cigarette for me. You know?
Well I had somebody once
You know we used to cook a lot
It was a...
Do you like chillies in Ohio?

Munyeca. Yo te ciaro.
Yo te ciaro Ohio. Muy bonito.
Where did I leave my matches?
I thought they were on
The table there
By the way did you...?
Do you have some cash for me
Because you know I have to get a
Cab somewhere after here.
You know, I don't want to push you.
But.. uh
You know I've got to go somewhere
There's something burning
In the kitchen
Did I put the peppers in?
I don't... uh... uh... Oh dear...
Why are these people crowding
Round me in the street
You know you have to watch
Yourself, don't you?
Just a bit.
It's a bit of commotion
It must be like that for you
A little bit
Nice meeting you...
I have no regrets...but
I did feel a little bit bad
You know
It's kind of like.....
You know what it's like.

Titan Arch

Crown the dark animal
Black Jackal crawling
Eternal returning
An end to the waiting.

There are thrones underground
And monarchs upon them
They walk serene
In spaces between.

At the head of the storm
Darkness is rising
In the Garden Of Jaws
His wounds are shining.

Angels are poisons
In rotting pavilions
Under shivering stars
The sickness is gilding.

Love's Secret Domain

Oh rose, thou art sick
Seduce... let loose
The vision and the void
Blood sickle... honey suck

In little children's heavy heads
My dreams erupt while in my bed
Innocence is dripping red.

In dreams I walk with you
In dreams I talk with you
In dreams...
You're mine
All of the time.

Heads on fire and drunken lights
Days devoured by hungry nights
In love's secret domain
This is mad love
This is mad love
In love's secret domain.

Sweet tortures fly on mystery wings
Pure evil is when flowers sing
My heart,
My heart is a rose
This is mad love, Oh
This is mad love
In love's secret domain...

Give sanity a longer leash, but
Some of us have sharper teeth
In love's secret domain...

In dreams I walk with you...
In dreams I talk with you...
In dreams...
You're mine
All of the time.

Oh rose, Thou art sick
The invisible worm
The vision and the void
The blood sickle cuts.
And the honey sucks.

Oh rose, thou art sick !

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The Snow (1991...b) [Coil...CD EP]

01 Driftmix
02 Answers Come in Dreams I
03 Out in the Cold
04 As Pure As?
05 Answers Come in Dreams II
06 The Snow


Jack Dangers - Remixes named "Answers Come In Dreams"

Stolen And Contaminated Songs (1992...a) [Coil...CD]

01 Further
02 Original Chaostrophy
03 Who'll Tell?
04 Omlagus Garfungiloops
05 Inkling
06 Love's Secret Domain (original mix)
07 Nasa Arab
08 Who'll Fall?
09 The Original Wild Garlic Memory
10 Wrim Wram Wrom
11 Corybantic Ennui
12 Her Friends the Wolves...
13 Light Shining Darkly


This CD is a collection of outtakes and unreleased songs from the Love's Secret Domain sessions.
The original mail-order (1992) version was limited to 2000 numbered copies and came without any tracklist, only a slip of paper with the number and a Coil sticker.
The retail version of the 1992 edition came with a sticker on the back for song titles, originally name the first song "As It Really Is."
The 1993 edition had a back cover with song titles printed, track one being misspelled as "Futher," however.
The 1992 version has been known to rot.


Overall impression: excellent! This CD is essentially a compilation of "Love's Secret Domain" era outtakes and alternate versions. Bizarre, beautiful and experimental in nature, this cd is as varied as "LSD", if not more. From the cool jazz of "Omlagus .." to the bass and drum groove of "Nasa Arab" to the classy orchestral arrangements of "The Original ..", "Who'll Tell?" and "Corybantic .." to the drones of "Wrim .." to the slow sample buildup of "Her Friends .." ... you definitely know you're listening to Coil. "Who'll Fall?" may be one of the most beautifully sad pieces ever committed to tape. The track features the telephone recording of a friend of Coil's explaining that a mutual friend had recently committed suicide ... very eerie. Unfortunately, this cd is a pretty expensive import ... but well worth the cost. Another must have release from Coil. - Mark Weddle


The sample ("Now John! You must never, never tell / Who's to tell") is from "Night of the Hunter", but not the movie. Rather, its from an old album where Charles Laughton (who directed the movie) narrates the story, possibly reading passages right out of the Davis Grubb novel.
A different sample from the same source ("See his hands - look at the fingers / Tattooed fingers / The fingers of the left hand spell - love, those of the right spell - hate") is used on "Further Back and Faster".

The original idea was to do S&CS as a limited edition available by advance mail-order only. This turned into something of a fiasco, with John & Sleazy's inevitable delays in finishing the project, exacerbated by poor record keeping of orders. A lot of people didn't end up getting their copy (though it was usually cleared up if people got in touch directly and complained) and Coil ended up distributing it to stores in spite of their original intention not to. (Coil have since given up direct mail order, except for the occasional rare single that turns up behind a bookshelf.
The combination of Coil's doing some of their strongest work ever on a limited edition and the above fiasco made bootlegging almost inevitable. In response to this, they ended up doing a unlimited edition of S&CS with different cover art and actual song titles, etc.
The first edition was like what you described; I have no idea if the bootlegs were made to look like the original or if they had a different design. - Pete Werner

Some copies had stickers on the back with a tracklisting, others had a small numbered card in it with the title of the CD as well as some some stickers. Although the artwork & songtitles are different from the later (commercial) re-release, the music is identical (and as far as I can tell from the matrix numbers, they were pressed off the same master). There are bootlegs that look more or less identical, and the only way to identify an original copy is by checking the inner ring on the CD, which should read "LOCICD4 10204341 01 &" and "MADE IN THE U.K. BY PDO". - Maarten D. Schemer


Coil sticker

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How to Destroy Angels [Remixed and Re-Recordings] (1992...b) [Coil...CD]

01 The Sleeper
02 Remotely
03 The Sleeper II
04 Tectonic Plates
05 Dismal Orb
06 How to Destroy Angels II
07 Absolute Elsewhere


As on the original vinyl 12" singles release, the track "Absolute Elsewhere" is blank - in this case, it is a one second track of silence.
1,3 and 4 were mixed by John Balance
2 and 5 were mixed by Peter Christopherson
6 was mixed by Steven Stapleton and forms part of the soundtrack of the film "Lumb's Sister"


"Dismal Orb" reminds me of southwestern swamp, virginia in winter...dead trees standing in blackish cold water..." - The Black Sun

I was listening to the CD and relaxing while in bed. All I can remember then is a period of total blackness, and then suddenly coming to consciousness some time later, probably an hour or so, and listening to a steady soft scraping sound, very rhythmic, and far louder than anything my meagre computer speakers could have produced. It continued for about 10 or 20 seconds, and then ceased. I couldn't sleep the rest of the night. - Tzu-Jan Spontaneous

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Airborne Bells/Is Suicide A Solution? (1993...a) [Coil...7"]

01 Airborne Bells
02 Is Suicide a Solution?


Number 22 (Nov/93) in the "Clawfist Singles Club" series.
"Airborne Bells" is spelled "Airbourne Bells" on the label.
"Is Suicide A Solution?" is a reworking of "Who'll Fall" from Stolen and Contaminated Songs, but is slightly remixed and features an opening which speaks "I am the loneliest link in a very strange chain," and an ending which, when spun backwards plays "When the gods want to punish you, they answer your prayers..."


The Angelic Conversation (1994...a) [Coil...CD]

01 Ascension
02 Enochian Calling
03 Angelic Stations
04 Finite Bees
05 Cave of Roses
06 Sun Ascension
07 Madriiax
08 Escalation
09 Never
10 Enochian Calling II
11 Montecute


Music for the Derek Jarman film of the same name from 1985.
"Ascension / Enochian Calling" is another mix of How To Destroy Angels.
"Montecute" is a version of the track "At The Heart of it All" from Scatology.
First pressing has disc printed black with a clear blackground on gold CD, limited to 1000 copies. All subsequent discs are printed black with a white background.


This album is an extraordinary chapter in the Coil discography, a soundtrack to the 1985 film by Derek Jarman, The Angelic Conversation. Coil took the approach of remixing and reconfiguring orchestral samples; the sound of an orchestra tuning up is used frequently, expanding on the bleak and desolate sound as a perfect accompaniment to Jarman's film. Incidentally, Coil's Peter Christopherson worked as a leading sound designer in the film and created its incidental music -- much of which is included here to fill out the CD. Given that the film's sound was made with the Coil touch throughout, the album stands as an entirely cohesive work. The Angelic Conversation features the gorgeous Coil anthem "How to Destroy Angels," a song that becomes a central theme and diverts the largely ambient atmospheres. - Skip Jansen...From Allmusic


Dame Judith Olivia Dench reads Shakespeare's sonnets...

I. Ascension - (Sonnet LVII)
Being your slave, what should I do but tend
Upon the hours and times of your desire?
I have no precious time at all to spend,
Nor services to do, till you require.
Nor dare I chide the world-without-end hour
Whilst I, my sovereign, watch the clock for you,
Nor think the bitterness of absence sour
When you have bid your servant once adieu;
Nor dare I question with my jealous thought
Where you may be, or your affairs suppose,
But, like a sad slave, stay and think of nought
Save, where you are how happy you make those.
So true a fool is love that in your will,
Though you do any thing, he thinks no ill.

III. Instrumental

II. Enochian Calling - (Sonnet XC)
Then hate me when thou wilt; if ever, now;
Now, while the world is bent my deeds to cross,
Join with the spite of fortune, make me bow,
And do not drop in for an after-loss:
Ah, do not, when my heart hath 'scoped this sorrow,
Come in the rearward of a conquer'd woe;
Give not a windy night a rainy morrow,
To linger out a purposed overthrow.
If thou wilt leave me, do not leave me last,
When other petty griefs have done their spite
But in the onset come; so shall I taste
At first the very worst of fortune's might,
And other strains of woe, which now seem woe,
Compared with loss of thee will not seem so.

IV. Finite Bees - (Sonnet XLIII)
When most I wink, then do mine eyes best see,
For all the day they view things unrespected;
But when I sleep, in dreams they look on thee,
And darkly bright are bright in dark directed.
Then thou, whose shadow shadows doth make bright,
How would thy shadow's form form happy show
To the clear day with thy much clearer light,
When to unseeing eyes thy shade shines so!
How would, I say, mine eyes be blessed made
By looking on thee in the living day,
When in dead night thy fair imperfect shade
Through heavy sleep on sightless eyes doth stay!
All days are nights to see till I see thee,
And nights bright days when dreams do show thee me.

V. Cave of Roses - (Sonnet LIII)
What is your substance, whereof are you made,
That millions of strange shadows on you tend?
Since every one hath, every one, one shade,
And you, but one, can every shadow lend.
Describe Adonis, and the counterfeit
Is poorly imitated after you;
On Helen's cheek all art of beauty set,
And you in Grecian tires are painted new:
Speak of the spring and foison of the year;
The one doth shadow of your beauty show,
The other as your bounty doth appear;
And you in every blessed shape we know.
In all external grace you have some part,
But you like none, none you, for constant heart.

VI. Sun Ascension a - (Sonnet CXLVIII)
O me, what eyes hath Love put in my head,
Which have no correspondence with true sight!
Or, if they have, where is my judgment fled,
That censures falsely what they see aright?
If that be fair whereon my false eyes dote,
What means the world to say it is not so?
If it be not, then love doth well denote
Love's eye is not so true as all men's 'No.'
How can it? O, how can Love's eye be true,
That is so vex'd with watching and with tears?
No marvel then, though I mistake my view;
The sun itself sees not till heaven clears.
O cunning Love! with tears thou keep'st me blind,
Lest eyes well-seeing thy foul faults should find.

VI. Sun Ascension b - (Sonnet CXXVI)
O thou, my lovely boy, who in thy power
Dost hold Time's fickle glass, his sickle, hour;
Who hast by waning grown, and therein show'st
Thy lovers withering as thy sweet self grow'st;
If Nature, sovereign mistress over wrack,
As thou goest onwards, still will pluck thee back,
She keeps thee to this purpose, that her skill
May time disgrace and wretched minutes kill.
Yet fear her, O thou minion of her pleasure!
She may detain, but not still keep, her treasure:
Her audit, though delay'd, answer'd must be,
And her quietus is to render thee.

VII. Madriiax - a - (Sonnet XXIX)
When, in disgrace with fortune and men's eyes,
I all alone beweep my outcast state
And trouble deal heaven with my bootless cries
And look upon myself and curse my fate,
Wishing me like to one more rich in hope,
Featured like him, like him with friends possess'd,
Desiring this man's art and that man's scope,
With what I most enjoy contented least;
Yet in these thoughts myself almost despising,
Haply I think on thee, and then my state,
Like to the lark at break of day arising
From sullen earth, sings hymns at heaven's gate;
For thy sweet love remember'd such wealth brings
That then I scorn to change my state with kings.

VII. Madriiax - b - (Sonnet XCIV)
They that have power to hurt and will do none,
That do not do the thing they most do show,
Who, moving others, are themselves as stone,
Unmoved, cold, and to temptation slow,
They rightly do inherit heaven's graces
And husband nature's riches from expense;
They are the lords and owners of their faces,
Others but stewards of their excellence.
The summer's flower is to the summer sweet,
Though to itself it only live and die,
But if that flower with base infection meet,
The basest weed outbraves his dignity:
For sweetest things turn sourest by their deeds;
Lilies that fester smell far worse than weeds.

VIII. Escalation - a - (Sonnet XXX)
When to the sessions of sweet silent thought
I summon up remembrance of things past,
I sigh the lack of many a thing I sought,
And with old woes new wail my dear time's waste:
Then can I drown an eye, unused to flow,
For precious friends hid in death's dateless night,
And weep afresh love's long since cancell'd woe,
And moan the expense of many a vanish'd sight:
Then can I grieve at grievances foregone,
And heavily from woe to woe tell o'er
The sad account of fore-bemoaned moan,
Which I new pay as if not paid before.
But if the while I think on thee, dear friend,
All losses are restored and sorrows end.

VIII. Escalation - b - (Sonnet LV)
Not marble, nor the gilded monuments
Of princes, shall outlive this powerful rhyme;
But you shall shine more bright in these contents
Than unswept stone besmear'd with sluttish time.
When wasteful war shall statues overturn,
And broils root out the work of masonry,
Nor Mars his sword nor war's quick fire shall burn
The living record of your memory.
'Gainst death and all-oblivious enmity
Shall you pace forth; your praise shall still find room
Even in the eyes of all posterity
That wear this world out to the ending doom.
So, till the judgment that yourself arise,
You live in this, and dwell in lover's eyes.

VIII. Escalation - c - (Sonnet XXVII)
Weary with toil, I haste me to my bed,
The dear repose for limbs with travel tired;
But then begins a journey in my head,
To work my mind, when body's work's expired:
For then my thoughts, from far where I abide,
Intend a zealous pilgrimage to thee,
And keep my drooping eyelids open wide,
Looking on darkness which the blind do see
Save that my soul's imaginary sight
Presents thy shadow to my sightless view,
Which, like a jewel hung in ghastly night,
Makes black night beauteous and her old face new.
Lo! thus, by day my limbs, by night my mind,
For thee and for myself no quiet find.

IX. Instrumental

X. Enochian Calling II - a (Sonnet LXI)
Is it thy will thy image should keep open
My heavy eyelids to the weary night?
Dost thou desire my slumbers should be broken,
While shadows like to thee do mock my sight?
Is it thy spirit that thou send'st from thee
So far from home into my deeds to pry,
To find out shames and idle hours in me,
The scope and tenor of thy jealousy?
O, no! thy love, though much, is not so great:
It is my love that keeps mine eye awake;
Mine own true love that doth my rest defeat,
To play the watchman ever for thy sake:
For thee watch I whilst thou dost wake elsewhere,
From me far off, with others all too near.

X. Enochian Calling II - b (Sonnet LVI)
Sweet love, renew thy force; be it not said
Thy edge should blunter be than appetite,
Which but to-day by feeding is allay'd,
To-morrow sharpen'd in his former might:
So, love, be thou; although to-day thou fill
Thy hungry eyes even till they wink with fullness,
To-morrow see again, and do not kill
The spirit of love with a perpetual dullness.
Let this sad interim like the ocean be
Which parts the shore, where two contracted new
Come daily to the banks, that, when they see
Return of love, more blest may be the view;
Else call it winter, which being full of care
Makes summer's welcome thrice more wish'd, more rare.

XI. Montecute (CIV)
To me, fair friend, you never can be old,
For as you were when first your eye I eyed,
Such seems your beauty still. Three winters cold
Have from the forests shook three summers' pride,
Three beauteous springs to yellow autumn turn'd
In process of the seasons have I seen,
Three April perfumes in three hot Junes burn'd,
Since first I saw you fresh, which yet are green.
Ah! yet doth beauty, like a dial-hand,
Steal from his figure and no pace perceived;
So your sweet hue, which methinks still doth stand,
Hath motion and mine eye may be deceived:
For fear of which, hear this, thou age unbred;
Ere you were born was beauty's summer dead.

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Nasa Arab/First Dark Ride (1994...b) [Coil vs. The Eskaton...12'']

01 Nasa Arab
02 First Dark Ride


Nasa-Arab is a slightly extended version of the track from Stolen and Contaminated Songs.


"For unfamiliar rhythms, my fave example is "Nasa Arab" -- just listen attentively to those rhythmic patterns; they're layered with an amazingly _alien_ sort of odd syncopation. Extra brain-pain points if you try and contrain it within some kind of time signature. A heavy 4/4ish drum beat does come in mid-song, but it is amidst other rhythim patterns all speaking thier own languages. Balkanized beats, if you will. That one always blows me away, in both visceral and intellectual ways..." - Thom S. Heileson


center label image


Born Again Pagans (1994...c) [Coil vs. ELpH...CD EP]

01 Protection
02 Glimpse
03 Crawling Spirit
04 pHILM #1


"Protection" is allegedly taken from the upcoming release The Sound of Music and is credited to Coil.
The other three tracks are credited to ELpH.


I do like Protection for what it's worth. The melody that opens up in the second half of the song is why i listen to it. I think there *is* indeed a lot going on in the percussion side of it, too, only i like the sequenced staticy sounds used as percussion better than any of the specific drum sounds they used. And that cascading bubbley water sound is nice too, gives you something to do you know? The three track *after* Protection are what really grab me, however. Very nice layers in those. Makes for a nice 15-20 minutes listening session in the vast bright deep. - Noah Jurcin

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pHILM #1 (1994...d) [ELpH...10'']

01 pHILM #1 (vox)
02 Static Electrician
03 Red Scratch


First pressing was limited to 2000 numbered copies which included a poster of the cover of Born Again Pagans with catalog number ESKATON 004.
Red Scratch" runs out into a locked groove.

Worship The Glitch (1995...a) [ELpH vs. Coil...CD]

01 Dark Start
02 Opium Hum
03 Caged Birds
04 The Halliwell Hammers
05 Clorax Hurd
06 The Halliwell Hammers (2)
07 We Have Always Been Here
08 Manunkind
09 Bism
10 Hydlepark
11 Hysteron Proteron Jewel
12 Decadent & Symmetrical
13 Mono
14 The Halliwell Hammers (3)
15 Anything That Flies
16 Ended


Initial pressing of CD limited to 500 "special edition" copies which included a reflective cover.


Overall impression: good. Coil confronts themselves once again, or rather the sometimes accidental results from their equipment (from Coil site at Brainwashed - "ELpH is the entity Coil use to describe what musical compositions come out of the equipment that are sometimes unrehearsed or consciously thought of." ) This album is essentially a collection of minimal instrumental sound pieces, not to say that the tracks are random noise, but rather snippets of "glitch" that Coil often use throughout their work. Bits and pieces of sound, some electronic/samples and some acoustic, but all often heavily effected and/or affected via computer. A few highlights: the 3 "Halliwell Hammers" tracks are the most structured and "song-like", with their beautiful echoing bell-like melodies and "Bism" is a minimal but roomy ambient track with a gentle white noise and a far away water and calling of birds. Subtle but relaxing, "Worship the Glitch" is not my favorite disc from Coil, but is a welcome addition to my Coil collection that will be listened to every now and then. Very cool mosaic artwork too. As always, this album is unique when compared to Coil's other work, but I'd say it's a first cousin of "Time Machines" and "Coil Presents Black Light District: A Thousand Lights in a Darkened Room", and is similar to various segments of "Unnatural History II" and "Unnatural History III". - Mark Weddle


"Halliwell" refers to the late English playwright Joe Orton's flatmate, [can't remember his first name] Halliwell, who murdered Orton in what one supposes was a fit of jealous rage. Orton and Halliwell were classmates at the Royal Academy of the Dramatic Arts, and after they left the Academy Orton's star began to rise rapidly while Halliwell failed to make much of a mark in the theatre world. One night, apparently, Halliwell took a hammer and bashed Orton's skull in; according to some sources, Halliwell and Orton had been lovers at one time but were no more, and H. was driven to the breaking point by Orton's promiscuous lifestyle (Orton was a toilet-trader) and professional success. Hence the name, "The Halliwell Hammers." - Matthew Weber

"Headphonaut investigators may be interested in a few discoveries myself and a friend of mine have made in Worship the Glitch. Both dark start and ended are the same song. If you listen to the lady singing "...down this dusty road again..." over and over until you auditory memory bank is firmly established, then flip quickly to dark start and you will hear "down this dusty road again" and if you really know ended well, you can actually follow the lady's words through the song. Parts of ended are repeated through the swimming dark start effects. "...for all we know..."
...I once was playing Worship the Glitch on a fine, summer afternoon. It got to track 3 called "Caged Birds" and i walked out into our sunroom and there on the windowsill (read windowpane) was a small bird. I looked at the plump feathery creature and wondered when it was going to fly away. It didn't. It just looked at me curiously. I live in urban Chicago and it is *quite* rare for any bird to have any curiousity in us humans, whether it's a dirty ol' pigeon or not (this was not, it looked like a baby owl). I walked back into the kitchen, got some bread and came back to the sunroom windowsill, where the uncaged bird was still standing. Caged Birds still coming from my room down the hall, mind you. I opened the window, which took considerable strength and noise because they're kinda jammed. Any *normal* bird would definitely have flown away at this time, since my jerky movements would surely have scared it. But this bird just watched me the entire time. With the window open, i reached out and held the bread slice near his or her head and it didn't respond, it just kept looking at me with its large, dark, bulbous eyes. I even pushed the bread slice *against* its head and caused the birdy to move over one step...it *still* didn't fly away...! I had time to have a 10 minute telephone conversation and i came back and it was still there. I even took a photo. Shorty after that, it flew away. I haven't seen him since... perhaps he's seen me, though..." - Noah Jurcin



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Windowpane/The Snow (1995...b) [Coil...CD]

01 Windowpane (Minimal)
02 Windowpane
03 Windowpane (Astral Paddington Mix)
04 Driftmix
05 Answers Come in Dreams I
06 Out in the Cold
07 As Pure As?
08 Answers Come in Dreams II
09 The Snow


A Threshold House release of the Windowpane and Snow singles.


This legendary 12" was released and re-released many times, and remains a landmark in the Coil discography. With numerous variations on Coil's most distinctive club track, John Balance and Peter Christopherson cut the recording in 1990 and the work marks a period when the group had all but vanished from the eye of the industrial scene, but was resurfacing in the post-acid house nexus. Vocalist Rose McDowell and programmer Danny Hyde push the track to extraordinary blissful peaks. The original 12" Windowpane release was published in a limited-edition picture disc of 5,000 copies, of which -- according to possible Coil myth-making -- more than a third were destroyed deliberately as an act of performance art. The release was possibly the most mainstream work that the group produced, with the 12" released widely in the U.S. on Wax Trax. In addition to the regular mix of "Windowpane," this CD version features the track's "Minimal Mix," "Astral Paddington Mix," and "Driftmix." With the addition of the limited-edition EP The Snow, which features the club tracks "Answers Come in Dreams," "Out in the Cold" "As Pure As?" "Answers Come in Dreams II," and "The Snow," this CD is a great representation of the electro side of Coil. - Skip Jansen...From Allmusic

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Unnatural History II (Smiling In The Face Of Perversity) (1995...c) [Coil...CD]

01 Red Weather
02 Theme From "Blue" 1
03 Airborne Bells
04 Another Brown World
05 Contains a Disclaimer
06 The Hellraiser Theme
07 In Memory of the Truth
08 Unquiet Rest
09 Wait, Then Return
10 The Hellbound Heart
11 The Box Theme
12 No New World
13 Vanishing Point
14 The Main Title
15 Theme From "Blue" 2
## The Hills Are Alive


A collection of tracks that originally appeared on various compilations and limited edition releases along with three previously unreleased tracks ("In Memory of the Truth", "Unquiet Rest", "Wait, Then Return") recorded during the same sessions as the Hellraiser material.
"Vanishing Point" is a retitled version of "Attack of the Sennapods" from Hellraiser Themes.
"The Hills Are Alive" is not listed on the cover, and appears on the same CD track as "Theme From Blue II" following several moments of silence.


The Unnatural History series puts obscure, collectable, and out of print singles, compilation tracks, and soundtracks on CD, making those ultra-limited works available all in one place. On the stunning second edition of the series, three tracks are previously unreleased: "In Memory of the Truth," "Unquiet Rest," and "Wait, Then Return" are outstanding Coil rituals that were recorded during the same sessions as the Hellraiser soundtrack. "Vanishing Point" appears to be an unknown title, yet in fact it is a version of "Attack of the Sennapods" from Hellraiser Themes. To make things even more mysterious (in typically enigmatic Coil fashion), the last track, "The Hills Are Alive," is not listed on the cover, nor is it given a CD index. This track appears on the same index as "Theme From Blue II," following an extended silence. However, the highlights of the collection are the tracks "Another Brown World" and "Contains a Disclaimer," which are both recordings Coil made in Burma. Coil captured an extraordinary field recording of a monk singing chants, which they worked into the Coil miasma. Perhaps one of the single most influential voices in post-industrial music of the '80s and '90s, Coil seems to create sublime poetry in its music that is never short of brilliant, regardless of whatever diversions the group may take. - Skip Jansen...From Allmusic


Regarding Another Brown World and Contains a Disclaimer, according to Coil, the recordings werde made in Birma/Burma at a place called Pagan (believe it or not) which is basically a field of animistic cult sites and temples. There is one mountain/hill called Popo on whose top there is a temple and which has a spiralling pathway upwards to that temple which is spotted with sacrificial plattforms and cult places all of pre-buddhist origin. The temple has been taken over by buddhist but, the older religions are still held to be valid. On the day Coil were there an old monch was singing these animistic magical verses and they asked whether they could record his voices if they were to donate something to the temple. He agrees and so he appeared on Another Brown World.... This could be a rather rare recording being taken in 1987 before the stronger influence of the military forces in Birma molding buddhism into the state religion......



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A Thousand Lights In a Darkened Room (1996) [ Black Light District...CD]

01 Unprepared Piano
02 Red Skeletons
03 Die Wolfe Kommen Zuruck
04 Refusal Of Leave To Land
05 Stoned Circular I
06 Stoned Circular II
07 Green Water
08 Cold Dream of an Earth Star
09 Blue Rats
10 Scratches and Dust
11 Chalice


This is the first in a planned trilogy of Black Light District releases. A boxed set featuring reworked versions of all three releases was hinted at once the series is complete.
The text on the spine of the CD release was switched between yellow and white on different pressings.
The Russian edition on ArsNova is unofficial. A logo printed on the cover claims that it is limited to 500 copies.
The name Black Light District is taken from a track by Boyd Rice recorded for the Bethel cassette out by John Balance on his Hearsay And Heresy label in 1984.


The Coil project Black Light District debuted with an album of broad, minimalistic textures and beatless ambience. Though the vibes are similar to the duo's past work, there are no vocals and few beats; what remains is the restless exploration of sound which Coil have always made a prime concern. - John Bush...From Allmusic

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Unnatural History III (Joyful Participation In The Sorrows Of The World) (1997) [Coil...CD]

01 First Dark Ride
02 Baby Food
03 Music For Commercials:

1. Airline 1
2. Liqueur
3. Perfume
4. Video Recorder
5. Airline 2
6. Natural Gas
7. Cosmetic 1
8. Cosmetic 2
9. Analgesic
10. Road Surface
11. Accident Insurance

04 Panic [12" version]
05 Neither His Nor Yours
06 Feeder [With Chris & Cosey]
07 Wrong Eye
08 Meaning What Exactly?
09 Scope
10 Lost Rivers of London


Overall impression: excellent. The 3rd installment of the Unnatural History series, this one covers compilation and outtake material from 1985 - 1996, 6/10ths from the 90's. The amazing diversity of this always intriguing band is again put on display here. The 80's material is similar to the 80's albums, such as "Horse Rotorvator" and the 90's material is much like the "Stolen & Contaminated Songs" cd. A little bit of every style Coil has touched on is represented on this cd; beats, ambience, vocals, noise, misc sounds, orchestral, etc, etc. "First Dark Ride" and "Baby Food" are amazing journeys in sound, "Music for Commercials" are short and interesting, "Panic" is crude, "Neither His Nor Yours" is quirky, "Feeder" is a beautifully stark and noise filled collaboration, "Wrong Eye" is an early sketch of "Windowpane", "Meaning What Exactly" is an extended intro for "Things Happen", "Scope" is noisy and "Lost Rivers of London" is an almost spoken piece by John with intriguing musical backing. I think I like this one better than the previous one, UH II, but both are very good. Really good artwork on this one by Nick Blinko and Coil. It's hard to say if this is a good place to start a Coil collection, due to the diversity of the back catalogue and this collection itself, but it's certainly a must for any devoted Coil fan. Plus, it's easily attainable (but rather price-y) unlike the out of print "Horse Rotorvator" and "Love's Secret Domain" albums. - Mark Weddle


Time Machines (1998...a) [Time Machines...CD]

01 7-Methoxy-ß-Carboline: (Telepathine)
02 2,5-Dimethoxy-4-Ethyl-Amphetamine: (DOET/Hecate)
03 5-Methoxy-N, N-Dimethyl: (5-Me0-DMT)
04 4-Indolol, 3-[2-(Dimethylamino)Ethyl]' Phosphate Ester: (psilocybin)


First 3000 came with stickers.
According to John Balance, the premise behind this release is that hallucinogens act as time machines - they can conjure up histories of yourself and/or act as predictors of the future. In any case, they can remove you from "temporal reality". These tracks on this disc are not only formulas for hallucinogens, but the tracks have been tested, retested, rejected, et cetera.
There are two links listed inside the disc: www.fungi.com and deoxy.org/deoxy.htm.


Overall impression: excellent. The line on the back of the cardboard two-fold sleeve probably says it best: "4 tones to facilitate travel through time." The four track names are all chemical names for hallucinogens. The music is drone-based, deep ... very deep ... sub-bass drones that somehow seem to entangle with your very thoughts and emotions as they carry you. I listened to this disc twice with headphones while at work earlier this evening, and although I didn't travel through time, feel like I was traveling through time or achieve an instantaneous erection ... it did give me a strange emotional sensation. I really can't explain it .. the drones maintain a similarity throughout each track, but they shift and become altered without you really realizing what's taking place. They remain what I would call "beautiful" drones, they never become too distorted or resonant ... very haunting yet affirming and all consuming. This disc is another welcome tool, alongside the likes of Aphex Twin's "Selected Ambient Works II", Dead Voices on Air, Propeller, and of course, many Brian Eno and Coil discs, in my collection of ambient and/or ambient/drone works. I sometimes think that JB and PC have come across some greater plane of knowledge that allows them to subliminally communicate with your psyche through sound. Their work is remarkable. Also, be sure to check out the latest single, "Spring Equinox: Moon's Milk or Under an Unquiet Skull". Note: I have not, nor do I intend to use the above disc in conjuction with hallucinogens. I'll leave that to you . - Mark Weddle


John Balance says "Telepathine is one of the constituent compounds of Yage, the complex hallucinogenic Shamans drink that can be brewed in as many ways as there are Shamans.I think Telepathine was on of the first to be identified as being present in the brew and as one of Yage's powers is to bestow telepathy on participants thats how it got its name."

Clay Pinn says, "I once blanked out for about 20 mins. while listening to time machines. when i came through, i was extremely disturbed, because, as far as i remember, before i blanked out, i was sitting on the floor in my room, but afterwards, i was standing in my closet, with the door open, and the television was on. one other time, i decided to remain awake throughout the night, and i was listening to moon's milk... it was on repeat. i started having very slight and suggestive hallucinations (this was about 2 in the morning, and, in case you ask, i was not sleepy at all.) soon, i had this very stimulating feeling. i was extremely happy, but totally fucking wierded out (i had to say that). i had these ideas streaming through my head, and i could have sworn that i heard rain falling in my room. it was beautiful... truley one of the best experiences (sans chemicals, as well) i have ever had."


telepathine sticker
hecate sticker
phosphate ester sticker
DMT sticker
persistence is all (with monad)
persistence is all (without monad)

Spring Equinox (Moon's Milk Or Under An Unquiet Skull) (1998...b) [Coil...CD EP]

01 Moon's Milk Or Under An Unquiet Skull (Part One)
02 Moon's Milk Or Under An Unquiet Skull (Part Two)


Collected on Moon's Milk (In Four Phases).


Overall impression: excellent. This is the first of a 4 part series to be released this year in conjuction with the 4 seasonal equinoxes. It will cease to be available on June 21, the Summer Solstice, at which time the new single "Bee Stings" will become available. This disc continues in the same vein musically as the preceeding Coil oriented release, "Time Machines". The music is essentially instrumental drone based pieces, Parts 1 and 2 being much alike, except that Part 2 has the wonderful addition of electric viola melodies. Very organic and relaxing in nature. My only complaint is how short the running time is. I understand that it's a single, but just when you're starting to really get into it, it's over. However, it's a wonderful companion to the "Time Machines" disc. I'm really looking forward to the next 3 (and anything else Coil decides to release during that time period). - Mark Weddle


MAY: the Planting Moon or Milk Moon. The full moon in May this year just happens to be on the 11th at 14:29GMT (and it's in Scorpio if you care). Also found was the following obsolete definition in the OED: Milk of the Moon: A white, porous, friable, insipid earth, frequently found in the form of white farinaceous powder, but sometimes concreted into a mass, not unlike agaric. (Chambers Cycl. 1727-52) And as if that wasn't enough, there was also the reference to Italo Calvino's story in Cosmicomics titled "The Distance of the Moon," in which two men periodically travel to the moon when it's orbit brings it close enough to the earth for them to climb on and gather Moon Milk. For those who are curious about the other names of the full moons they are listed below:

* JANUARY - the Old Moon, or Moon After Yule
* FEBRUARY - the Snow Moon, Hunger Moon or Wolf Moon
* MARCH - the Sap Moon, Crow Moon or Lenten Moon
* APRIL - the Grass Moon or Egg Moon
* MAY - the Planting Moon or Milk Moon
* JUNE - the Rose Moon or Flower Moon
* JULY - the Thunder Moon or Hay Moon
* AUGUST - the Green Corn Moon or Grain Moon
* SEPTEMBER - ..the full moon of September is called the Fruit Moon. Usually it is also the Harvest Moon..
* OCTOBER - As the full moon nearest to the autumn equinox [in 1982], this is called the Harvest Moon.. Other versions of the rule are that the Harvest Moon is the full moon at or after the equinox, or that it is always in October...Farmers at the climax of harvest can work late into the night by the light of the moon...
* NOVEMBER - the Frosty Moon or Beaver Moon. As the full moon after the Harvest Moon [in 1982] this is called the Hunter's Moon...Since the fields have been reaped, hunter can ride across the stubble, and can see the fox more easily; also other animals which have come out to glean and can be caught for a thanksgiving banquet after the harvest..
* DECEMBER - the Moon Before Yule, or Long Night Moon. In a December with two full moons, the second of these title should apply to the second of them.

- Tim J. DuFour


Summer Solstice (Bee Stings) (1998...c) [Coil...CD EP]

01 Bee Stings
02 Glowworms/Waveforms
03 Summer Substructures
04 A Warning from the Sun (for Fritz)


"A warning from the sun" is dedicated to a friend Fritz who commited suicide in May of 1998.
Collected on Moon's Milk (In Four Phases).


Overall impression: excellent. This is the second installment in the equinox/solstice series by Coil. Once again, this cd is limited, and is available only until the Autumnal Equinox, September 23rd. This disc continues in the minimal vein, like "Spring Equinox: Moon's Milk or Under an Unquiet Skull", but each of these tracks has vocals. "Bee Stings" begins with an electric viola melody (courtesy William Breeze), which continues throughout, as Balance's spoken vocal, more misc sounds and a subtle beat are added. "Glowworms/Waveforms" is comprised of various bizarre effected sounds, loops and drones as Balance asks various questions, such as "where's the bells?", "where's my corn field?", "where's my breeding ground?" and "where's my horse head?" "Summer Substructures" is a moody vocal, electric viola and keyboard piece. "A Warning .." begins with a noisy barrage of distorted/effected sounds that give way to one crunchy, distorted loop (reminiscent of Autechre) and what sounds like a slide guitar as Balance sings in a high-pitched, nasal, operatic voice. An odd, but very intriguing batch of new stuff from Coil. Two more singles to go. - Mark Weddle


Bees seem to have enjoyed a long tradition in history and mythology. The ancient Egyptians believed bees were born of the tears of the sun-god, Ra, dropping to earth. In Greece they were a symbol of the soul and Plato believed that the souls of the righteous are reincarnated as bees. Christians associated bees with resurrection and the three month winter season when bees seem to vanish into the hive was compared with the three days when Christ's body vanished after the crucifixion only to reappear at the resurrection. Bees produce their young from their lips just as Christ proceeded from the Father's mouth. The honey and the sting make bees an emblem of Christ, the former for his mildness and mercy, the latter for his role in the Last Judgment.

The Effects of Bee Stings on the Human Body:

Bee venom has many different effects on the human body. This is based on the total effect of the bee venom. The person who is not hypersensitive to bee stings can tolerate one to five stings at a time. This is followed by minimal local symptoms accompanied by swelling, redness and itchiness of the skin. Initially, the symptoms are little painful but later change to a pleasant and warm sensation. Fifty to one hundred stings can cause a cramp, temporary shortness of breath, the skin turns blue or rapid pulse and symptoms of temporary paralysis follow. Two hundred or more bee stings can cause paralysis of the respiratory system. Some people can tolerate more than 1,000 stings.

Product Selection for bee sting treatment listed in order of most effective:

Lobelia Cayenne Formula, Black cohosh, Oatstraw Shavegrass Formula Echinacea, Goldenseal Myrrh Formula, Plantain Wild Lettuce Scullcap Formula, Yellow dock

Curing Malaria With Bee Stings In Sudan:

KHARTOUM, Sudan (PANA) - A former employee of the Sudanese ministry of agriculture has gained fame here since he started treating patients with chloroquine-resistant malaria by using bees. For immunization against malaria, a patient takes eight stings every week for one month, if the patient happens to be coming from an area infested with anopheles, the mosquitoes causing malaria. Other diseases treated with bee stings include lymphatic gland inflammations, rheumatism and recurrent miscarriages.

Multiple Sclerosis pain alleviated with bee stings:

At first, one patient started with just a few stings a day. Now, she gets as many as 22 stings in one sitting and has been stung more than 1,000 times. The honeybees' stingers are kept inside the skin for up to 15 minutes. According to Downs, the venom inside the stinger enters the body, producing a chemical reaction. It's that reaction that helps MS patients move their muscles with less pain and discomfort, he said. - Tim J. DuFour

"In some traditional Catholic and Anglican Easter ceremonies (I don't know about Eastern Orthodoxy, although I could probably look it up), a blessing for bees remains in the Exsultet (i.e., the blessing of the candle). Part of the reason for this, as Tim said, is that bees were thought to procreate asexually and served therefore as a symbol for the Virgin Birth of Christ. Another reason is that they were responsible for the wax that made the Paschal Candle itself. The line -- which some churches delete in modern services, much to my chagrin -- goes something like this:

"In the grace of this night, then, O Father, receive for an evening sacrifice this burning light, which holy Church renders unto Thee at the hand of her ministers in the solemn offering of this candle of wax, wrought by bees. Though divided into parts, yet it suffers no loss from the light which it imparts. For it is fed from the melted wax which the mother bee wrought for the substance of this precious lamp." - Ayse

I just got Bee Stings yesterday and here's what happened last night: Last night, well actually this morning about 3:30 am, I was sitting in my den listening to Bee Stings on the headphones. I had a bunch of red candles lit and I was gently fading in and out, when all of the sudden, this black bird comes flying out of my chimney. It scared the shit out of me! I jumped up so quick I forgot to take off my headphones, which were jerked off of my head. I chased the creature around for almost half an hour before I caught him and sent him on his way out the window. The bird was chirping at me the entire time I was trying to rescue it. What made it all the more strange was that I could still hear Bee Stings playing quietly on the headphones, while the bird chirped along (seemingly to the music) in horror. I don't who was more scared, the bird or myself? And I'm not sure whether the bird was more frightened of Coil or me?? I felt sorry for the bird, but he also had me quite frightened. It was all very surreal. - Chad Price

I listen to talk radio and a guy named Ed Dames who does something called technical remote veiwing (a controled government devoloped psychic process) said that there would be a warning from the sun within a month from now that will be followed by a lethal kill-shot from the sun in '99. He also said, before science confirmed it, that the ozone depletion is changing the color of flowers and the bees can't find them anymore so they are starving to death. Only way to survive is to live underground and eat worms. I bought this guy's tape trust me he knows what he's talking about, maybe Coil knows something too...if interested go to: www.trv-psitech.com. - Arian Otto


Autumn Equinox (Amethyst Deceivers) (1998...d) [Coil...CD EP]

01 Regel
02 Rosa Decidua
03 Switches
04 The Auto-Asphyxiating Hierophant
05 Amethyst Deceivers


Rose McDowell - vocal on "Rosa Decidua"
Robert Lee - vocal on "Rosa Decidua"
Collected on Moon's Milk (In Four Phases).


Overall impression: good. Ahhh ... the warm, fuzzy feeling of knowing that a new twenty-ish minutes of Coil is forthcoming every 3 months! Coil aren't ones to repeat themselves, but I do hope they do something similar to this solstice/equinox singles series in 1999, or at least manage to put out as much material as they did this year in future years. "Amethyst.." is, naturally, the third in the 1998 single series (see also: "Spring Equinox: Moon's Milk or Under an Unquiet Skull" and "Summer Solstice: Bee Stings") and it is the most musically varied of the 3 so far. Track by track: "Regal" is a short Balance vocal mantra piece with a minimal background of animal-like howls and some sort of keyboard sound (difficult to explain ... the kind of sound you'd only hear on a Coil record). "Rosa.." is a spacy mixture of Balance's spoken words with the vocals of Rose McDowall and Robert Lee of Sorrow, synthesizer and William Breeze's heavenly electric viola. "Switches" is comprised of very minimal pressure changes as composed via a synthesizer, this one would fit right in on ELpH vs Coil "Worship the Glitch". "The Auto.." harkens back to mid-80's Coil due to it's distorted orchestral sound combined with whispered and effected male and female vocals. "Amethyst.." features utterly beautiful swirling sounds, plucked acoustic instrumentation, and synth bass accompanied by whispered and/or effected chants of "Amethyst Deceiver" throughout ... truly one of the finest tracks I've ever heard by Coil. Again, this single is very minimal and similar to the other two, but at the same time completely different. All the tracks have the "Coil sound" as I like to call it ... a comfortable, meaningful, warm and welcoming sound. A good single, but overall I prefer "Bee Stings" to "Amethyst..". Once again, very nice artwork ... this time warping an image similar of that of the previous singles. The 7" version of this single features slightly different versions of just "Amethyst Deceivers" and "Switches". I'm looking forward to the final chapter, the winter solstice single on Dec. 22. - Mark Weddle


The tracks are different in feel from the Summer Soltice EP. We started last year with a session of treated vocals and an ARP 2600 synthesiser. William Breeze came over and added mandolin and guitar and viola. There are Balance vocals and Louise Weasel vocals, and Galactic calls to Star Forms. Counter-point, Confessionals and Rose as an Elizabethan boy. - Coil

Winter Solstice (North) (1999...a) [Coil...CD EP]

01 A White Rainbow
02 North
03 Magnetic North
04 Christmas is Now Drawing Near


The CD has an extended version of "A White Rainbow"
"Christmas Is Now Drawing Near" is a traditional, performed here by Rosa Mundi.
Collected on Moon's Milk (In Four Phases).


Overall impression: excellent. The fourth and final of the 1998 seasonal singles, "North" continues in the same vein as the previous three: "Amethyst Deceivers", "Bee Stings" and "Moon's Milk". Once again Coil create a minimal yet deep, emotive aural environment for Balance's interesting words. "A White Rainbow" is centered around John's double tracked sprawling vocals and William Breeze's electric viola. Balance's lyrics on this song seem to tie the whole equinox/solstice singles series together. The last 3 minutes or so are essentially instrumental and the song ends in a chaotic jumble of sounds (similar to "A Warning From the Sun" from "Bee Stings"). "North" is comprised of washes of sound, a hushed spoken 2 line vocal from Balance and a heavily chorused, subtle beat. "Magnetic North" is more drone-y ... flowing synth lines form the background for Balance's quietly spoken words. "Christmas.." is sung by Rose McDowall with a glorious backing of disorted snyths and viola ... only Coil can transform a traditional Catholic song into something so achingly beautiful. The artwork is similar to the previous singles, except that this time it appears energy is exploding outwards from the oval. "North" evokes the same sort of feelings in me as most other music by Coil ... a sense of otherworldliness and unsettling familiarity, and an impression of a great importance that is beyond my ability to fully comprehend. This is emotion drenched music. All good things must come to an end though, so I eagerly await the next project by Coil. - Mark Weddle

Astral Disaster (1999...b) [This Version Was Reissued, Touched Up & Revisited In 2.000, With Bonus Track] [Coil...CD]

01 The Avatars
02 I Don't Want To Be The One
03 2nd Sun Syndrome
04 The Sea Priestess
05 The Mothership And The Fatherland
06 MÜ-ÜR [Bonus Track]


The songs "The Sea Priestess," "I Don't Want to be the One," and "2nd. Sun Syndrome" have been remixed or extended.
"MU-UR" is a remix of "The Mothership and the Fatherland."


Some tones, some drones, beautiful soundscapes and even a guitar bit on here. Most unmistakably Coil, however, this is the CD release of an LP originally recorded back around Halloween 1998. The recordings took place outside Coil's studio however, and were produced in part by Gary Ramon of the Prescription label. The LPs were made in a quantity of 99 and only given to those who had subscribed to this series released on Prescription. The original recordings seemed rather different from Coil's work, almost without the absolute quality control work that Coil put into everything. Coil have rearranged the running order, reworked most of the songs, added one song, and left a couple untouched on this release - stretching the 45 minute-long LP into a 72 minute-long CD. The electro-glitchy looped bits "The Avatars" and "2nd Sun Syndrome" along with the haunting epic, "The Mothership and the Fatherland" remain almost completely untouched, while in "I Don't Want to Be The One," the song gets extended about 3 minutes, Peter's voice gets added subtly and an unrecognizable voice (could it be Thighpaulsandra?) appears in a brand new part tagged on at the end. The new track "MU-UR" sounds like altered takes from "The Mothership & the Fatherland" with the pulsing tympani, mesmerising scapes and Maggot Brain-era Funkadelic organ. Also added is a vocal whose effects echo those of "Amethyst Deceiver." Perhaps the most drastically changed tune is "The Sea Priestess," where a droney sitar has been completely removed. Beautiful choral voices are added along with brilliant droning Tibetan vocal samples. Pretty chimes paint an aural picture of the water glistening in the moonlight and the vocals are mixed much better and prominent sounding. - Jon Whitney

"Astral Disaster" was originally released in 1999 as part of a subscription only series in a ridiculously limited edition of 99 vinyl copies (I was not one of the chosen few). Now it has been re-released on CD via Threshold House with a few tracks re-done/extended/re-mixed, 1 extra track and fantastic digipack artwork by Steven Stapleton (Nurse With Wound) and photos by Coil. Unfortunately, this album still sounds unfinished to me and is no where near as enthralling as the album recorded after this one, "Music to Play in the Dark Vol. 1". "Astral.." is composed of 3 lengthy minimal pieces, 2 short synth pieces and 1 short song which further explore lunar magick. "The Avatars" and "2nd Sun Syndrome" are little more than aimless synth noodlings that aren't all that interesting in comparison to similar work from the recent past. "The Mothership & the Fatherland" is tediously long with a plodding beat, minimal synth pads, effected sounds here and there, some drifting female backing vocals and Balance quietly speaking in tongues near the end. "The Sea Priestess" features Balance's forthright spoken words over and through synths and effects with the most intriguing lyric: "if it goes any faster there will be an astral disaster." "I Don't Want to be the One" is a poorly recorded 'song' with Balance's vocals, guitar pluckings and swirling synth atmospheres ... not bad until Balance begins wailing in the final few minutes. "MU-UR" is similar to "The Mothership & the Fatherland" with the same sort of synth pads, drones and effected sounds floating about for 20+ minutes and a brief passage of Balance's vocals transformed into a female tone. All in all, this is the first time I can honestly say that I've been disappointed by a new Coil (or related) release. "The Sea Priestess" and "MU-UR" are my favorites and are really the only two that bear repeated listening. The rest of the album contains fragments of great ideas and sounds but fails to expand upon them properly to capture the 'magick' ... it simply doesn't meet Coil's usually high quality control standard. I'm surprised they bothered to re-release it on CD, especially after the release of Music to Play in the Dark Vol. 1. - Mark Weddle


Musick To Play In The Dark, Vol. 1 (1999...c) [Coil...CD]

01 Are You Shivering?
02 Red Birds Will Fly Out of the East and Destroy Paris in a Night
03 Red Queen
04 Broccoli
05 Strange Birds
06 The Dreamer is Still Asleep


This album was originally supposed to be available only via personal mail order from Coil or World Serpent, but it was later given a more general release.

First CD edition is limited to 2000 copies. Those ordered directly from Coil (around 1000 copies) include certificate of provenance, numbered and signed by Peter and John.

Second CD edition is unlimited and features slightly different artwork. The catalog number GRAALCD2 appears on the back cover of this edition by mistake.


Coil return with exactly sixty minutes of new music. Moon Musick that is. As of January 26th of this year Coil are 5 with the addition of classically trained musician Thighpaulsandra (aka Tim Lewis). This is his first appearance on a recording, whereas electric violist William Breeze is not present due to geography and work commitments. "Musick.." began as a subscription release (direct from Coil with signed certificate of provenance) but small quantities will also be made available through World Serpent. With "Musick.." Coil continue to move forward with new ideas and new sounds. Most of the tracks feature vocals to some extent, usually spoken by Balance. "Are You Shivering?" utilizes drone-y organ chords, vocoded vocal snippets, static-y pops and crackles, watery thumps, a slow, steady beat, angelic backing vocals, drippings of sound and Balance's spoken words. A very haunting, liquidy (musically and lyrically) introduction to moon musick. "Red Birds.." is an instrumental track, mostly the work of Thighpaulsandra, comprised of a long series of flowing arpeggio patterns. This track has a constant sense of motion as the notes gain density and speed, interplaying and morphing their tones. It gets rather abrasive in the final minutes as swirling effects go into overdrive. "Red Queen" has a slow, jazzy feel to it: beautiful piano playing (courtesy of Thighpaulsandra), brushed snare, a swooping drone-y background and Balance's spoken words about the lies of media. This is a side of Coil I'd love to hear more of. "Broccoli" is pretty minimal: watery drips, static-y clickings and pops, deep bass notes and vocals by both Balance and Christophersen. The lyrics seem to suggest preparing oneself for the death of one's parents and to take heed of their words of advice. "Strange Birds" is also fairly minimal. It's primarily instrumental save for 1 quiet, spoken line from Balance. Again, static-y pops and crackles are used along with bird sounds, dogs barking and various natural environment sounds. It gives me the sensation of standing on a rocky coastline as hundreds of birds are about on the shore and in the air. "The Dreamer.." is like "Red Queen" in that it has a strong "song"-based format. A throbbing bass rhythm is the heartbeat of the song as a gentle keyboard melody, a subtle percussion loop and Balance's spoken and sung vocals express the lament of the lucid dreamer. Wow! All in all, this is yet another fantastic piece of work from Coil. The sound is nice and varied and Thighpaulsandra has proven to be an excellent addition to the lineup. The cd (with moon graphic) comes in a digipack which has a fractal, nightime winter/forest/mountain-horizon graphic. Inside, opposite the cd, is a rainbow circle with the four band members names around it. Very sharp. "Musick.." deserved an unlimited, domestic distribution via Nothing Records, but ... what are you gonna do? Get this while you can. It was well worth the $20 and the wait. This is going to get a lot of spins in my players in light *and* dark times and will definitely be in my top ten for 1999. I patiently await Volume 2 due in January of 2000. Thanks guys. - Mark Weddle

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