Moving Coil Stepup Transformer

Coil was initially established in London in 1983 as an experimental solo outlet for ex-Psychic TV member John Balance, and became a full-fledged experimental sonic manipulation unit a year later following the arrival of keyboardist / programmer Peter Christopherson (Sleazy), a founder of Psychic TV as well as a member of Throbbing Gristle. From a creative angle, the band has demonstrated and provided innovative schemas of composition and experimented various forms of ambient music, from industrial to ritual and droning, mainly based on tape machines, loops, sonic electronic machines and various instruments. The sound aesthetic is impregnated by very deep, richful, moving and disturbingly obsessive textures as in the now classic How to Destroy Angels (1992) and Musick To Play In The Dark (1999)…

Coil was initially established in London in 1983 as an experimental solo outlet for ex-Psychic TV member John Balance, and became a full-fledged experimental sonic manipulation unit a year later following the arrival of keyboardist / programmer Peter Christopherson (Sleazy), a founder of Psychic TV as well as a member of Throbbing Gristle. From a creative angle, the band has demonstrated and provided innovative schemas of composition and experimented various forms of ambient music, from industrial to ritual and droning, mainly based on tape machines, loops, sonic electronic machines and various instruments. The sound aesthetic is impregnated by very deep, richful, moving and disturbingly obsessive textures as in the now classic How to Destroy Angels (1992) and Musick To Play In The Dark (1999)…

Threshold Archives began as a project by Peter Christopherson in 2006. At the time, Peter was involved in many projects that consumed much of his time including Soisong, a re-launched Throbbing Gristle, and The Threshold HouseBoys Choir, in addition to assembling the final Coil album, The New Backwards, and the massive Colour Sound Oblivion box. With the passage of time, intercontinental moves, and record label bankruptcies, many master recordings and artworks were lost, damaged, or degrading.

Track 1 originally released on Nasa-Arab 12" (Eskaton, 1994). Track 2 is an extended version of the original released on Stolen And Contaminated Songs CD (Threshold House, 1992) and subsequently extended for Nasa-Arab 12" (Eskaton, 1994). Track 3 originally released on Macro Dub Infection Volume One comp. 2xCD (Virgin, 1995). Track 4 originally released on Chaos In Expansion comp. CD (Sub Rosa, 1993). Tracks 5-11 are demos, outtakes, and other era-appropriate ephemera.

With their new album Live From The Apocalypse, which is available June 25 via Century Media, Italy’s gothic metal torchbearers Lacuna Coil have captured an intriguing—and ultimately elevating—spotlight of life in the music community amid the COVID-19 pandemic…

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.
Unnatural History (1990). The tracks were recorded during the 1983-86 timeline and include not only the classic Balance / Christopherson mind bending electronic surreality as Coil but also include three tracks with Boyd Rice when they were known as Sickness of Snakes which released one EP titled "Nightmare Culture"…

Primarily consisting of vocalist/musician John Balance and programmer/visual artist Peter Christopherson, along with various other members and contributors, Coil were one of the most beloved, mythologized groups to emerge from the British post-industrial scene. Initially established as an offshoot of Throbbing Gristle and Psychic TV in 1982, the band spent more than two decades making uncompromising, often unspeakably beautiful music that explored themes related to alchemy, dreams, the occult, drugs, and sexuality. They have remained a longstanding influence on genres such as goth rock, dark ambient, neofolk, techno, and experimental music in general.
In 2000, Coil shocked their fans by announcing a live concert at the Royal Albert Hall. This was to be, essentially, their first live performance, having had some abortive live shows in the very early 1980s…

Originally released around the turn of the millennium, Musick to Play in the Dark featured a restarted Coil at bay, with original members John (later Jhonn) Balance (R.I.P.) and Peter Christopherson joined by synthesist/bassist Thighpaulsandra, and Drew McDowall (replaced by Rose McDowall on the second volume). These are long-form works, collections of mood pieces in several modes, and what’s interesting (and somewhat predictable) is that the patience displayed while shifting in between these modes creates a tension and space that feels… almost removed from music by a step, as if the performance decided to slowly back away from Coil at a respectful, totality-fearing distance (or maybe it was the psychic force of their music that pushed it all back)…

The first of 4AD owner Ivo Watts-Russell's multi-artist studio sessions under the This Mortal Coil name, 1984's It'll End in Tears was a surprisingly influential album in many circles, key in the reawakening of interest in artists like Alex Chilton and the late Tim Buckley by a younger generation of listeners…

The third and final album by This Mortal Coil, 1991's Blood is neither as unfocused as Filigree & Shadow or as conceptually pure as It'll End in Tears, but it's a solidly enjoyable set. Once again, nearly half the tracks are instrumentals (or tracks with minimal and often wordless female vocals) written by Ivo Watts-Russell and John Fryer, but this batch of tunes holds together much better than the much more amorphous originals on Filigree & Shadow; lengthy atmospheric explorations like "Dreams Are Like Water" sound composed and thoughtful rather than merely pretty…