2002 – Teatro delle Celebrazioni

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At Teatro delle Celebrazioni

6th April 2002 – Teatro delle Celebrazioni, Bologna, IT

Set List

  1. Anarcadia: All Horned Animals
  2. Amethyst Deceivers (Version 2)
  3. Slur
  4. A Cold Cell
  5. Broccoli (Version 1)
  6. Paranoid Inlay
  7. Sick Mirrors
  8. A.Y.O.R.
  9. Backwards

Soundcheck:

  1. Sick Mirrors
  2. A.Y.O.R.
  3. Backwards
  4. Sick Mirrors

Background

Feeling: Reflective

“Backwards / The Remote Viewer” phase. Debut performance of “Sick Mirrors”.

“Sick Mirrors” and “A.Y.O.R.” transition very smoothly from the former to the latter. This is the only gig where this mix occurs.

Before “Amethyst Deceivers,” John says “Mr. [Aleister] Crowley and Mr. [John] Ausley welcome you to the spectral health spa. Broken auras, ectoplasmic disorders…celestial lubrication provided.” John Ausley was a member of the Sea Org. The song itself is edited on official releases but unedited on others.

Before “Slur,” John says, “This next song is dedicated to the Ape of Naples…it’s dedicated to the Mushroom Boys with their wicked little fungal strategies…and to our good friend Marc Almond, who I don’t see enough, these days, and I miss him and I love him.” The Ape of Naples, along with Black Antlers, were imaginary titles given to two homosexual male porno films by John and Simon back when they worked in a pornographic film store. The “Ape” in question is likely a reference to one of the actors in whatever film it was they were thinking of/imagining. Later on, of course, they became the titles to two of Coil’s best albums.

Before “A Cold Cell,” John says, “The miraculous image of sound washed ashore. The miraculous image of sound washed ashore. Beware, beware the black shadow of Cher. Beware, beware the black shadow of Cher. This is dedicated to all the people who are in prisons – physical prisons or prisons of their own making.” The audience applauds. John often repeated the ‘Cher Interlude’ at key points during subsequent gigs.

Before “Broccoli,” John says, “This next song is about decay, renewal, recycling…uh, you may know that the Queen mother in England died recently, and Prince Charles, uh, her grandson has a very good interest in organic gardening, so I hope they recycled her by putting her in the compost heap.” The audience applauds. “She’ll make very good mulch, it’s all blood, bone, and fish bone, or whatever. She swallowed a fish bone once and nearly died; it should have been the end then. But did you know that the Queen mother has hypodermic-needle teeth through which she sucks the bloods of, of London’s orphaned and lost children in the streets? She stalks the streets at night, she is still undead. Possibly.”

Before “Paranoid Inlay,” John says, “If the actor stops acting, does the film become real?”

Before “Sick Mirrors,” John says, “It’s the celestial turns bestial. It’s the shaggy God story. I glimpsed behind my shower curtain last night in my hotel and I saw a very, very heavy thing. I saw the hairy mother of God.” This particular version features exclusive lyrics that the later versions don’t even remotely resemble, is the shortest version at about 9 minutes, and is the only version to segway right into “A.Y.O.R.” Lyrics:

Remote viewing, remote viewing
Viewing from a distance
Eyes shut, eyes shut, eyes shut
Shutters in the way, shutters in the way
Visiting people far away

Something-ah, something-ah
Something-oh, something-oh
Something cold, something cold
Something old walks this way
Something cold, something old
Something cold walks this way

Something black cracks something’s back
And something’s black cracks the red things back
Is the red thing cracked?
Is the black thing back?
But something old meets something cold
Something walks to the waters
I walked down to the waters

With my dogs by the river
With my dogs by the sea
I would never walk this forest
With my dogs without me
Something cold, something old
Something cold walked to me

Something black broke the other thing’s back
And something red was left for dead
But was it dead?
Oh, was it dead or just looked dead?
Or was it red or black or red?
Or just looked red?

And it’s coming
Coming closer to eat me
Oh, something black broke red thing’s back
And something cold’s coming to meet me
It’s coming to meet me

The mirrors are sick
I can’t see anything coming from within it
My mirrors are diseased

Will someone mercurise them please?
Vaporise the mercury
Vaporise the mercury
Vapour, mercury, mercury
The blood’s the way of the images
I’m scrying in the mirror, mirror, mirror [repeated]
I’m scrying in this mirror, mirror, mirror

Angels walk with me
Angels talk with me
They say I’m diseased

With my mirror I’m diseased
With my mirror I’m displeased
With my mirror;
What it shows me
And what I don’t see

As I walk down to the sea
With my dogs with me
With my dogs with me
I wouldn’t walk this forest
Without my dogs with me

Walk me to the sea
Where the horses are
Where the horses are
Where they marry in the water
I must stay underwater
Can I stay in the water?

If the water comes over me, over me?
The water is flowing over me, on me
On me
I may as well drown
In this beautiful sea
This beautiful sea

What was seen what was following
What was seen and what was following
What was seen and what was following me
What I saw on the seashore I will never say
What I saw there on the seashore I will never say
What is there on the seashore I will never say
What was there to say for me and it will never stay

It will never stay
It will never stain me
It will sustain me [repeated]
It will never stain me
It will never pain me
It will never claim me

Like the sea, like the sea
Like the sea, like the sea
Like the sea

I like to see, like to see
I let it claim me
I let it claim me

See me in the flames of the sea

As “A.Y.O.R.” begins, John says, “These are the lyrics I stole from the book. I took from the Pope’s I secret library. He’s got a lot of good lyrics in there. He’s got a lot of good lyrics in there.”

Before “Backwards” begins, John says, “Thank you.” The backing audio track begins about one second late during the performance.

John’s closing words: “Ahem. We were Coil. Thank you for coming. And I hope – we hope, really, really hope – to come to Italy as soon as we can again and do this because we have a really good time. Thank you. It was Cliff Stapleton and Michael York playing behind us with Simon Norris, Peter “Sleazy” Christopherson, myself, Camela Colanarcock (?) [Pierce], and Massimo. Thank you, we were Coil.”

Line-up

John Balance – bells on “Anarcadia: All Horned Animals”.
Peter “Sleazy” Christopherson.
Simon Norris (Ossian Brown) – bells on “Anarcadia: All Horned Animals”.
Cliff Stapleton – hurdy-gurdy.
Mike York – Breton bagpipes, bombarde on “Anarcadia: All Horned Animals,” balalaika on “Broccoli” and “Paranoid Inlay”.
Massimo Villani – performer.
Pierce Wyss – performer.

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Ticket Stubs

Please contact us if you have any ticket stubs from this event: info@live-coil-archive.com

Venue

Teatro delle Celebrazioni
Via Saragozza
234 – Bologna
Italy

Gallery

EDIT

Gig Review(s)

The following is a review of the concert (with some awesome pictures in it – the original of which you can find here):

COIL
Teatro delle Celebrazioni Bologna
6th April 2002

The first-ever Coil European Tour saw finally the (moon)light, and brought their first performance in Italy as well. There was good advertising and interesting comments from the press, signs that Balance and Christopherson’s seminal role in the development and evolution of electronic music is finally being recognized by a larger audience. Not less than 1000 people had a seat in the Teatro delle Celebrazioni, an exclusive and elegant theatre in the northern part of Bologna, which has always been one of Italy’s most culturally active and attentive cities.

Coil started their performance at 23.00 and immediately took the audience into a state of trance: heavy, beating ritualistic music blew from the speakers as two young boys came on stage completely naked, moving like dummies without expressions. While everybody’s attention was stolen and confused by their disturbing presence, as well as by the flashing lights and deep smoke, John Balance and Simon Norris came in from the theatre entrance, wrapped in blood-stained bride veils and carrying red flowers. This introduction left us breathless and astonished, but we soon recovered as the first song began: “Amethyst Deceivers” from the seasonal solstices singles series. Peter Christopherson provides sublime digital sound quality, while John Balance is free to unleash his wild performing talent. When “Slur” arrived, claps and screams flew high in the theatre hall: “Horse Rotorvator” remains as a milestone in history, and the 1000 people there were perfectly aware of that. “Glowworms/Waveforms”, “Paranoid Inlay” and other beautiful, hypnotic songs followed for one hour and a half, till the final moment which saw Christopherson and Norris waving and then breaking small neon lights, while the scene completely sank into a deep fog and blinding strobe lights. Before leaving the stage, John Balance introduced the band members and then told they had a great time in Italy and very much enjoyed to come and bring their performance to our country, hoping to come soon again. As if it was necessary, Coil showed which kind of artists they are, artists who play for the pleasure of their audience, artists who, after 20 years of seminal works, still remain accessible and humble people, unlikely many of the arrogant kids who have lately raised the head to show us what “industrial” is about. The night was intense and simply unforgettable, at last good and challenging music for the poor numbed ears of the Italian lands!

Simone Valcauda
April 2002

The following is a review of the concert, translated into English from Italian via Google Translate which also contains a small photo gallery of the concert. You can find the original here:

Almost twenty years ago, the England of Psychic TV and Throbbing Gristle invaded by that experimental provocation that bore the name of “industrial music” almost casually dropped on the ground, unexpectedly fertile, a bad seed that soon it would become a tree of evil. Nearly twenty years ago, Peter Christopherson and John Balance gave life to that hostile sound show bearing the name Coil. Almost twenty years later, that show was repeated.

At the end of the concert, I thought that all the preamble to the show was nothing but a strategy to destabilize the public even before the theater was opened. Hours of exhausting waiting huddled on the steps in front of the doors, in a foggy fog of smoke, suffocating of heated and nervous bodies … “They broke down …” We do not talk about the Maginot Line, it is the girl’s complaint to the ticket control in the same instant in which the doors open and the crowd literally rushes to the assault of the best places to enjoy the long-awaited and long-awaited concert … which will not start before 11.00 pm, in a crescendo of collective exasperation … Peter ignites the engine of this infernal machine and, as guarding the stage on the sides, in front of false mirrors, two human statues in adamitic costume take their places. But the real surprise catches us when, from behind, announced by aromas of incense and buns of bells arrive John and Drew, dressed in white (a strange cross between a space suit and a nurse uniform, of those who take you away with a straitjacket …) hidden by indefinable white hoods (angels or demons?) And a distorted pipe , between electronic noises and exasperating tints, it clashes in our ears while Balance “baptizes” the first row with water that winks to the sulfur and a sort of grail burns the incense of this church desecrated … Start the show and that of the Coil is a show without mercy. What awaits us is a taste of how they can stimulate the senses through a sound that is anything but catchy. Do not expect anything of the sick esotericism of the first productions (of “Horse Rotorvator there is only the memory in the execution of” Slur “), do not expect requie for the eardrums, no sympathy for the eyes, no peace for the minds. at any moment, it will monopolize your attention: an image, an imperceptible movement of the mimes, a distorted sound, an unlikely bagpipe.You will not take your eyes off for a moment. While from the stage industrial and technological litanies dilate and restrict the senses, on the screen flow geometric kaleidoscopes, psychedelic constructions, tunnels of liquid flames, eddies that suck an audience that seems (or maybe it is?) Hypnotized or involved in a mental “journey” … Images that become torment and horror in movies of “prisons for men built by men” as Balance himself tells us, modern forgotten gulags and hidden receptacles of endless suffering. “Serenity is a problem” especially if shouted by a cacophony of lights and sounds …I was expecting a Balance that was very well understood in its role as a frontman, that of a character who was able to bring together people from all over the country in the Italian capital city, par excellence. But the Coil, gentlemen, are not at all happy and John is now a skilled histrion, now a kind of delirious crazy splinter. Sound manipulations are like running trains that travel to the rhythm of a cacophonic dance and materialize with images in ultra-fast editing of faces and deformed bodies (like the “Gisela” by Pankow-iana memoria) stained with viscous blood … The sound terrorism of this evening has its peak in the growing epileptic of the grand finale.  Neon spirals, lights and vapors that know of hell … a cold, icy hell takes hold of the room, it seems to be in a trench, an antitheater of lights and deafening noises in an apocalyptic acme that leaves you breathless … every fiber we are bombed, pierced and harassed by sonic and visual bullets that leave no way out … Approximately 400 people, for an hour and twenty minutes, have been literally catapulted into a deviated space-time and have survived … the Coil have drifted away declining any responsibility for the moral damages caused to those present … The expectations of the eve have been satisfied by a superb performance, the result of both the experience that distinguishes those groups that in experimentation are always a step further, both in the not indifferent availability of very sophisticated means (even though I personally have not seen any trace of those superspecial effects “promised” perhaps to encourage a greater turnout of the public in spite of the not very easily affordable cost of the ticket …).

And I must also admit that my heart, incurably sick with nostalgia, tried with trepidation to recall the never forgotten past of “Ostia”, “Aqua Regis”, “Panic” … maybe next time … See the Black Sun rise … in the Solar lodge …

Review by Monica Nuancenoire for Erbadellastrega.it

Attendee Recollections

Francesco Battisti attended this gig and remembers: “I was there and in that occasion I Knew Enrico Croci the Italian tour manager of Coil. He called Peter and John for playing in July 2002 for playing at the festival Il Violino e la Selce in Fano, and then he called again them for playing in Jesi, in July 2004 always in the context of the same festival we knew…I worked for the organization of the festival and I had the opportunity to know well Peter and John and also Antony Hegarty and Julia Kent that played together before the Coil’s concert in Jesi.”

Known Recordings

Tapes owners/taper:

AMT #1 – Ango Visone.
AMT #2 – Massimo Villani.

Concert Recording Downloads