Black Antlers
In the late-1990s, Peter "Sleazy" Christopherson moved with Jhonn Balance - his partner in life and in Coil - from London to the rural Weston-super-Mare, creating an environment for all things musick, musick, musick! with a revolving door of new members, including Thighpaulsandra.
Coil's discography nearly doubled, and in the midst of this fruitful period Thighpaulsandra asked the simple question: why doesn't Coil play live? After a 16-year wait, thanks to the rapid technological advancement in the form of MacBooks, DAWs, VSTs, and plugins, Coil were able to bring their music to the stage as always envisioned. With performance, they could embrace the risks and freedoms of real-time sonic manipulation, as noted by Sleazy: "Reshape the show minute by minute... the direction is very spontaneous, not so much in the way of like jazz improvisation but in a kind stream of consciousness… Thighpaulsandra brought us his wisdom, and he was able to convince us we could do it."
Coil was "like a snake shedding its skin," transforming into something "completely different" every six months; in preparing for 2004’s Even an Evil Fatigue live series, Coil began work on their next period-defining masterpiece Black Antlers. Black Antlers showcases late-period Coil: stripped down, tighter, and leaner. The music became more rhythmic, with a greater emphasis on beats: "the songs we did tend to be more... not rock in any sense of a word, but you know, more conventional in terms of structure, but now what we're doing is sort of within an 'electronic' genre."
Black Antlers's sound is an intoxicating energy, combining Thighpaulsandra's advanced synthesis, Balance's poetic lyricism, and Christopherson's flirtations with jazz and Ableton-aided PowerBook maximalism. Rounding out the trio were renowned hurdy-gurdy player Cliff Stapleton on a "specifically commissioned" electric variant, to merge into the band’s "strange and other-worldly music"; Royal Academy of Music trained percussionist Tom Edwards (who also appeared with Thighpaulsandra in Spiritualized’s live band); and European and Near East winds specialist Mike York on pipes, bombarde, duduk, and balalaika.
Initially released as an "album-in-progress" in June 2004, a post on the Threshold House website noted, "Please remember that September will see Coil recording the album Black Antlers (Proper)." Jhonn Balance passed away that November; Christopherson reunited with Love's Secret Domain collaborator Danny Hyde to complete Black Antlers by May 2006. Revitalized energy marked Black Antlers's recording, paired with the group's signature wordplay and humour (the name came from a series of imagined adult film titles).
At their Evil Fatigue tour opener in Paris, Jhonn Balance presented the revised "Teenage Lightning (10th Birthday Version)" as, "an updated version of one of our older-never 'hits.'" The song, about the energy generated by "two teenagers, or old age pensioners" rapidly pulses, with Edwards's marimbas electronically modified and arpeggiated by Christopherson. Album opener "The Gimp (Sometimes)" is hypnotic and hallucinatory, recalling Coil's 90s period, with a potentially uneasy air, filled with repetition, distorted vocals, and Thighpaulsandra's modulated drone.
"Sex With Sun Ra (Part One)" reveals the potentials of the 2004 lineup, as it writhes and glides through an imagined conversation with the legendary composer, building into overdrive. On the complementary piece, Christopherson & Hyde's "Part Two - Sigillaricia", the song evolves into a throbbing ouroboros of glitches and free-flowing energy. One highlight is "The Wraiths And Strays Of Paris", an expansion of the song's first release as "(From Montreal)". "Of Paris" takes Thighpaulsandra synthesized warmth and Christopherson's PowerBook manipulations & stylizations from the original, adding full band samples from live multi-tracks - including Balance's vocals from the Paris show - fully realizing Christopherson's desire of "taking the (electronic) genre to a place that people would find unexpected, and more challenging."
Adding to the unexpected, and building upon their own uncompromising legacy, Coil delicately cover the traditional African American lullaby (and "friend's song") "All The Pretty Little Horses", with Jhonn Balance's vocals soothing the listener in an almost hushed whisper.
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Black Antlers
In the late-1990s, Peter "Sleazy" Christopherson moved with Jhonn Balance - his partner in life and in Coil - from London to the rural Weston-super-Mare, creating an environment for all things musick, musick, musick! with a revolving door of new members, including Thighpaulsandra.
Coil's discography nearly doubled, and in the midst of this fruitful period Thighpaulsandra asked the simple question: why doesn't Coil play live? After a 16-year wait, thanks to the rapid technological advancement in the form of MacBooks, DAWs, VSTs, and plugins, Coil were able to bring their music to the stage as always envisioned. With performance, they could embrace the risks and freedoms of real-time sonic manipulation, as noted by Sleazy: "Reshape the show minute by minute... the direction is very spontaneous, not so much in the way of like jazz improvisation but in a kind stream of consciousness… Thighpaulsandra brought us his wisdom, and he was able to convince us we could do it."
Coil was "like a snake shedding its skin," transforming into something "completely different" every six months; in preparing for 2004’s Even an Evil Fatigue live series, Coil began work on their next period-defining masterpiece Black Antlers. Black Antlers showcases late-period Coil: stripped down, tighter, and leaner. The music became more rhythmic, with a greater emphasis on beats: "the songs we did tend to be more... not rock in any sense of a word, but you know, more conventional in terms of structure, but now what we're doing is sort of within an 'electronic' genre."
Black Antlers's sound is an intoxicating energy, combining Thighpaulsandra's advanced synthesis, Balance's poetic lyricism, and Christopherson's flirtations with jazz and Ableton-aided PowerBook maximalism. Rounding out the trio were renowned hurdy-gurdy player Cliff Stapleton on a "specifically commissioned" electric variant, to merge into the band’s "strange and other-worldly music"; Royal Academy of Music trained percussionist Tom Edwards (who also appeared with Thighpaulsandra in Spiritualized’s live band); and European and Near East winds specialist Mike York on pipes, bombarde, duduk, and balalaika.
Initially released as an "album-in-progress" in June 2004, a post on the Threshold House website noted, "Please remember that September will see Coil recording the album Black Antlers (Proper)." Jhonn Balance passed away that November; Christopherson reunited with Love's Secret Domain collaborator Danny Hyde to complete Black Antlers by May 2006. Revitalized energy marked Black Antlers's recording, paired with the group's signature wordplay and humour (the name came from a series of imagined adult film titles).
At their Evil Fatigue tour opener in Paris, Jhonn Balance presented the revised "Teenage Lightning (10th Birthday Version)" as, "an updated version of one of our older-never 'hits.'" The song, about the energy generated by "two teenagers, or old age pensioners" rapidly pulses, with Edwards's marimbas electronically modified and arpeggiated by Christopherson. Album opener "The Gimp (Sometimes)" is hypnotic and hallucinatory, recalling Coil's 90s period, with a potentially uneasy air, filled with repetition, distorted vocals, and Thighpaulsandra's modulated drone.
"Sex With Sun Ra (Part One)" reveals the potentials of the 2004 lineup, as it writhes and glides through an imagined conversation with the legendary composer, building into overdrive. On the complementary piece, Christopherson & Hyde's "Part Two - Sigillaricia", the song evolves into a throbbing ouroboros of glitches and free-flowing energy. One highlight is "The Wraiths And Strays Of Paris", an expansion of the song's first release as "(From Montreal)". "Of Paris" takes Thighpaulsandra synthesized warmth and Christopherson's PowerBook manipulations & stylizations from the original, adding full band samples from live multi-tracks - including Balance's vocals from the Paris show - fully realizing Christopherson's desire of "taking the (electronic) genre to a place that people would find unexpected, and more challenging."
Adding to the unexpected, and building upon their own uncompromising legacy, Coil delicately cover the traditional African American lullaby (and "friend's song") "All The Pretty Little Horses", with Jhonn Balance's vocals soothing the listener in an almost hushed whisper.
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In the late-1990s, Peter "Sleazy" Christopherson moved with Jhonn Balance - his partner in life and in Coil - from London to the rural Weston-super-Mare, creating an environment for all things musick, musick, musick! with a revolving door of new members, including Thighpaulsandra.
Coil's discography nearly doubled, and in the midst of this fruitful period Thighpaulsandra asked the simple question: why doesn't Coil play live? After a 16-year wait, thanks to the rapid technological advancement in the form of MacBooks, DAWs, VSTs, and plugins, Coil were able to bring their music to the stage as always envisioned. With performance, they could embrace the risks and freedoms of real-time sonic manipulation, as noted by Sleazy: "Reshape the show minute by minute... the direction is very spontaneous, not so much in the way of like jazz improvisation but in a kind stream of consciousness… Thighpaulsandra brought us his wisdom, and he was able to convince us we could do it."
Coil was "like a snake shedding its skin," transforming into something "completely different" every six months; in preparing for 2004’s Even an Evil Fatigue live series, Coil began work on their next period-defining masterpiece Black Antlers. Black Antlers showcases late-period Coil: stripped down, tighter, and leaner. The music became more rhythmic, with a greater emphasis on beats: "the songs we did tend to be more... not rock in any sense of a word, but you know, more conventional in terms of structure, but now what we're doing is sort of within an 'electronic' genre."
Black Antlers's sound is an intoxicating energy, combining Thighpaulsandra's advanced synthesis, Balance's poetic lyricism, and Christopherson's flirtations with jazz and Ableton-aided PowerBook maximalism. Rounding out the trio were renowned hurdy-gurdy player Cliff Stapleton on a "specifically commissioned" electric variant, to merge into the band’s "strange and other-worldly music"; Royal Academy of Music trained percussionist Tom Edwards (who also appeared with Thighpaulsandra in Spiritualized’s live band); and European and Near East winds specialist Mike York on pipes, bombarde, duduk, and balalaika.
Initially released as an "album-in-progress" in June 2004, a post on the Threshold House website noted, "Please remember that September will see Coil recording the album Black Antlers (Proper)." Jhonn Balance passed away that November; Christopherson reunited with Love's Secret Domain collaborator Danny Hyde to complete Black Antlers by May 2006. Revitalized energy marked Black Antlers's recording, paired with the group's signature wordplay and humour (the name came from a series of imagined adult film titles).
At their Evil Fatigue tour opener in Paris, Jhonn Balance presented the revised "Teenage Lightning (10th Birthday Version)" as, "an updated version of one of our older-never 'hits.'" The song, about the energy generated by "two teenagers, or old age pensioners" rapidly pulses, with Edwards's marimbas electronically modified and arpeggiated by Christopherson. Album opener "The Gimp (Sometimes)" is hypnotic and hallucinatory, recalling Coil's 90s period, with a potentially uneasy air, filled with repetition, distorted vocals, and Thighpaulsandra's modulated drone.
"Sex With Sun Ra (Part One)" reveals the potentials of the 2004 lineup, as it writhes and glides through an imagined conversation with the legendary composer, building into overdrive. On the complementary piece, Christopherson & Hyde's "Part Two - Sigillaricia", the song evolves into a throbbing ouroboros of glitches and free-flowing energy. One highlight is "The Wraiths And Strays Of Paris", an expansion of the song's first release as "(From Montreal)". "Of Paris" takes Thighpaulsandra synthesized warmth and Christopherson's PowerBook manipulations & stylizations from the original, adding full band samples from live multi-tracks - including Balance's vocals from the Paris show - fully realizing Christopherson's desire of "taking the (electronic) genre to a place that people would find unexpected, and more challenging."
Adding to the unexpected, and building upon their own uncompromising legacy, Coil delicately cover the traditional African American lullaby (and "friend's song") "All The Pretty Little Horses", with Jhonn Balance's vocals soothing the listener in an almost hushed whisper.
