2002 – Volksbühne

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At Volksbühne

12th April 2002 – Nachtrock Spezial, Volksbühne, Berlin, Germany

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

Background

Feeling: Reflective

“Backwards / The Remote Viewer” phase.

Supporting act(s): Tarwater

Amethyst Deceivers

John: “Mr. Crowley and Mr. Ausley welcome you to the spectral healthy spa, specializing in astral disasters. Broken auras, ectoplasmic disorders, with celestial lubrication. The strong smell of turpentine prevails throughout.”

Slur

John: “This next song is dedicated to the spirits of William Burroughs and Brion Gysin, and it’s about being sodomized in the ruins outside of war cities of Marrakesh, and it’s called ‘Slur.’”

Roman lands of Roman sands and Roman sons
Roman lands of Roman sands and Roman sons

As I watch
As I watch the sun sink down on the blood red edge of the blood red town
There are shadows for sale
At the edge of town
On the edge of the night
Is a darkness seen
From the side of the light

And the winds blow ’round this sleeping town, this sleeping town
Of Roman sons and Roman sands and Roman lands

And it seems to me that when I close my eyes
All the lights in the world
Go out
And the night passes by, and you whisper to me a thousand lies
I stare in surprise
Towards the desert’s warm black
And the desert stares
And the desert stares back
With a thousand eyes, piercing eyes, ancient eyes

Roman lands of Roman sands and Roman sons
And I ask my lovers, “Do you know where the desert roses bloom and grow?”
I ask my lovers, “Do you know where the desert roses bloom and grow?”
I ask my lovers, “Do you know where the desert roses bloom and grow?”
Bloom and grow
Bloom and grow
And I ask my lovers, “Do you know where the desert roses bloom and grow, whoo!”

A Cold Cell

Audience member: “Blah blah blah blah blah blah blah.”
John: “Oh yes, yes, yes, yes, yes, yes, yes. This is a [something in German I can’t make out]. This is copied from Stockhausen, of course. Who listens to Stockhausen, here?”
(Audience cheers)
John: “He’s a good man, he’s a good man. He’s an honorary member of Coil, by the way.”
(Audience laughter)
“No, he is, really. Uh, at Sonar Festival, two years ago, we asked him, and he agreed, so he should be here tonight, in spirit.”

Karlheinz Stockhausen was a German composer who broke ground in electronic music, and reports indicate indeed he was at Sonar and Coil were connected to him.

John: “This next song is ‘A Cold Cell,’ and it’s dedicated to all the prisoners of the world, especially prisoners of conscience.”

…Myself
(Shivers)
My life has been so simple
My life is really simple, now
In this cold cell
I’m crying in this cold cell
And I was cold, so I opened my heart [?]
Is as cold so I opened
And I hear the distant trains taking my soul away

Back to the place where no ice
And I have been there, and I’m in this cold place
Where the mirrors are ice
And in the reflection, I oversee the cold, cold, cold world
And in this mirror, there’s the trains in the distance
Taking my…away [?]
And the altar boys are pulling me under…
So I decided to cut myself with a knife
That I made from ice in my heart
And I’m cutting myself
And some of the other boys
Are injecting their legs with paraffin
So they can get a few days’ rest from this cold, cold place
This cold, cold cell

And I’m trying to think of other things outside
There’s the things outside me I’m pulling down in this cold
And my tears dried and I…
And isn’t there a way from me with its screams [?]
Screams of the metal which is colder than my heart
The stone is cold
And the metal is cold
And the moon is cold
And the sun is cold
And my heart is cold
And the moon is cold
And the metal is cold
In my cold cell
My cold cell

John (after the song): Thank you.

Broccoli

John: “It’s death’s fickle finger, or it’s death’s pickled sphincter. It’s death’s fickle finger, or it’s death’s pickled sphincter. This is about ancestor worship. What I do every day is I take aside a small piece of time and I pray and I ask for the strength of my ancestors to come up through me, down me, into me, through each of my imaginary astral antlers, which I wear on my head like a royal stag. All animals are created equal, but some are more equal than others. All horned animals, all horned animals, all horned animals, all horned animals, all horned animals.” The animal line is of course a reference to George Orwell’s 1945 book Animal Farm. It’s unknown whether or not the title of the song “Queer Wolf” had been changed to “Anarcadia: All Horned Animals” by this time.

Wise words from the departing
The death of the mother and the death of the father
Is something you prepare for all their lives
Is something prepare for for all of your lives

Wise words from the departing
Eat your greens, especially broccoli
Wise words from the departing
Eat your greens, especially broccoli
And always wear sensible shoes
And remember to say “Please” and to say “Thank you”
Especially for the things you never had
You never had

Wise words from the departing
By working the soil, we cultivate the sky
By working the soil, we cultivate the sky
And enter a vegetable kingdom of our own making
By working the soil, we cultivate good manners
Which is to say “Please” and “Thank you”
Especially for the things you never had
You never had [repeated]

Wise words from the departing
Eat your greens, especially broccoli
Eat your greens, especially broccoli
And always say “Please” and “Thank you”
Especially for the things you never had
You never had [repeated]
I never had [repeated]

Death grows, death knows, death flows like a river
Death goes, death throes, death flows like a river
Death knows, death grows, death flows like a river
Death grows, death knows, death flows like a river
Death grows, death knows, death flows like a river
Death grows, death flows, death grows like a river

Paranoid Inlay

John: “Cherubim and seraphim are marching up the stairs. Cherubim and seraphim are marching up the stairs. Cherubim and seraphim are marching up the stairs. Cherubim and seraphim are marching up the stairs. Wounded galaxies tap at the window. Wounded galaxies tap at the window. And wounded galaxies tap at the window. Tch tch tch, tch tch tch, tch tch tch. Tch tch tch.”

Serenity is a problem when you’ve been this close to heaven
What you really wanted to see was the wonders of the underworld
I caught St. Peter’s disease as he rattled his keys
Now, serenity is a problem, serenity is a problem

Serenity is a problem when you’ve been this close to heaven
What you really wanted to see was the wonders of the underworld
I caught St. Peter’s disease as he rattled his keys

Such a paranoid inlay
It’s pain by numbers, just join the dots
Pain by numbers, just join the dots

Bloody British bulldozers
These vegetables are suicidal
Serenity is a problem, serenity is a problem
-Renity is a problem when you’ve been this close to heaven

Dear Diary, I must take risks
I must not be afraid of failure
These are the things I need to give up
Crystalline ladders, shiny things, mirrorballs
I used to believe in mirrorballs
Television
I must switch it off for good before it switches me off for good
I must not be afraid of meeting people for the first time
Or leading from behind
[?] from behind
Bleeding from behind, bleeding from behind
Now, serenity is a problem

Serenity is a problem when you’ve been this close to heaven
When you really wanted to see the wonders of the underworld
I caught St. Peter’s disease as he rattled his keys
Now, serenity is a problem, serenity is a problem
They said, “Seems concussion suits me”
They said, “Seems concussion suits me”
They said, “It seems concussion suits me”
It seems concussion suits me
But on a clear day, I can see forever
I can see forever
On a clear day, I can see forever
That the underworld is my oyster

John (after the song): “A little bit of, uh, moon musick from the back one, Musick to Play in the Dark.”

Sick Mirrors

John: “This next piece is, uh, something we’ve been making up on tour, so. On torso, on torso, on torso, on torso.”

All horned animals, all [repeated]
All sound is, all sound is, all sound is, all sound is (?)
The miraculous image of sound washed ashore
The miraculous image of sound
Miraculous image of sound washed ashore
Here they come (repeated)

Here they come (repeated)
Come, come, come…

Ah, ee, ooh!
Ee oh! (repeated)

Something black broke another thing’s back
And something red killed another thing dead
Oh, the sick mirrors
The sick mirrors, the sick mirrors, the sick, sick mirrors
Sick mirrors, the sick mirrors, the sick mirrors, the sick

Something red killed another thing dead
And something black broke another thing’s back
Oh, the sick mirrors, the sick mirrors, the sick mirrors, the sick mirrors
The sick mirrors, the sick mirrors, the sick mirrors, the sick mirrors, the sick

Something red made another thing dead
And something black killed another thing back
Oh, the sick mirrors, the sick mirrors, the sick mirrors, the sick mirrors
The sick mirrors, the sick
Mirrors, the sick (repeated)

Merits the sick
Mirrors the sick
Merits the sick
Marries the sick
Mirrors the sick (repeated)
Mirrors his back
Mirrors us back
Buries the mix
(unintelligible)
Denizen six
Denizen bricks
Bottles and bricks
Fuckers and pricks
Bottles and bricks
Guns and knives
Small call rives
Mirrors the sick
Mirrors the sick
Mirrors the sick

John (after the song): “Thank you very much.”

A.Y.O.R.

John: “What one are we doing now, Sleazy?”
Peter: “Don’t know!”
John: “I think I should introduce our band. We have Simon Norris, also called Ossian, on keyboards, and we have Cliff Stapleton on hurdy-gurdy, and we also have Mike York, who plays the Breton bagpipes, amongst other things, and here, we have an original wrecker of society: Throbbing Gristle’s, Psychic Television’s, my boyfriend for 22 years, Sleazy Peter “Sleazy” Christopherson. And again, today, I am Angie Bowie. Let’s all worship at the church of the hairy mother of God, let’s all worship at the church of the hairy mother of God. An infector calls, an infector calls. I went to the doctor. I went to the doctor.”

John (after the song): “So everything you do, it’s at your own risk. It’s at your own risk.”

Backwards

John: “I need a drink of water.”

John’s closing words: “That’s it, thank you very much. Goodnight. We hope to see you sometime in the autumn, hopefully. Bye, thank you.”

Line-up

John Balance – vocals, sleigh bells on “Anarcadia: All Horned Animals”
Peter “Sleazy” Christopherson – Ableton sequence, video projections, Clavia Nord Modular Synthesizer
Simon Norris (Ossian Brown) – Clavia Nord Modular Lead Synthesizer, sleigh 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”

Andy Ray – live engineer

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Ticket Stubs

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

Venue

Nachtrock Spezial
Volksbühne
Linienstraße 227,
10178 Berlin,
Germany

Gallery

Gig Review(s)

The following is a review of the concert by Axel, translated from German into English by Google Translate (original article here):

Author: Axel

Exclusively the report of the unique performance of COIL, written by the immediate impressions, on Friday, the 12th of April 2002 in Berlin …

How to start a concert review when you are still in the birthing, of pictures and sounds Imbued with the danger of perpetually experiencing sprawling impressions and imaginary astral travels? For yesterday’s evening was a unique experience, which surpassed the anticipated expectations extraordinarily.

The co-tour, postponed in the run-up for a long time, due to various health problems, also provided for four German events, the second of which was to be held in Berlin yesterday. Thus they found themselves around 21: At 30 o’clock, the darker figures of the city gradually set in front of the powerful portals of the Berlin Volksbühne, in order to be able to experience the legend of COIL. … Interestingly, the old age and the visual appeal of the audience were overcharged by oldschool fans from SO 36 / atonal times Gothics, hardcore electronics and young, pretty (!) Students.

After a repeated, demanding ringing in the foyer (yes, that is in a real theater …), one went to Biergeuß, or the like, into the hall, remembering the written warning of COIL’s well-known stroboscope lights, Probably again today. The relatively punctual beginning, shortly after 22:00 clock, TARWATER, an electronic duo, to me so far, but only by name, which, In the background on giant screen slightly abstruse film showing, repetitive rhythms and partly similar sequences. Although this sounded quite catchy for this kind of evening event, but for my taste they could not really pull out something and on the stage seemed rather static. After about an hour, it was over and the stage was prepared for COIL with only a few electronic devices, the notorious headlights and two big boxes wrapped in metal foil on both sides.

Sleazy Peter Christopherson appeared, now slightly gray, in white hooded with mirror on the chest, already known from some COIL live reports, and started the intro of cracked voicesloops, and the two guest musicians, Michael York with Celtic Blashorn and Cliff Stapleton with a hurdy-gurdy. Between the clouds of mist, one could finally see two figures dressed in white, who approached with archaic dancing steps and gave the impression of two runaway Yetis, each wearing a longer white fur, hair or cotton wad, and opening the ritual with rattle.

The arrival of John Balance, in a visibly good mood (impatient hop-hitting, sportive punching) and Simon Norris (also a little bit older?), Both now without artificial hair, the actual concert sounded, or should I say performance or finished ritual or, Or

Who in Leipzig at the WGT had the opportunity to experience COIL live, This will be reminiscent of the peculiarly remote mood, which is characterized not least by John Balance’s uniquely vergeere stage presence.

With John’s dedication to A. Crowley now the wonderful “Amethyst Deceivers” developed with strange spectral patterns and colors on the canvas.

Sleazy The brilliant sound each even the minimum fineness in frequency and in the panorama was very good to hear. At Apple , Simon Norris at the synthesizer and incense-burner (!), And John, bellowing again and again in spite of considerable physical fills, suddenly twirling, fiddling, praying, twisting, mysterious signs into superhuman directions (sometimes I was faced with the weighing steps -, step-back actions the quiet,

Very quiet impression of a “hospitalized polar bear”), fused with the entire scenery , and the live “slower” of the “Horse Rotorvator” accompanied by Celtic bagpipes and lyre discreetly from the background Would miss a tribute to William Burroughs and his reminiscence of Morocco, and at the very last was captured by the terrestrial world that COIL had always been able to create …

“This song is dedicated to all the prisoners in the world World, especially to prisoners in conscience … “.

With “A Cold Cell” and never seen shots from Russian prison camps, the performance had already reached an intensity that I personally hardly ever experienced. The connection of almost elegiac, endlessly repeating melody abysses, in contrast to those ABSOLUTE pictures in Slow Motion and John’s almost fragile-looking vocals, was, in my opinion, the first highlight of the evening when one can define anything at all.

In addition to “Broccoli” and “In Emergency”, the “Music To Play In The Dark II” and “… I” were also presented with a never-ending, almost meditative, oriental touch. The hidden occult-ritual bonds (Chaos, Zos Kia, etc.) were not necessarily understandable. John Balance, however, was able to use his mixture of subtle, often imaginative, drawing motifs and word games such as “… Death grows … Death flows … Horned Animals …” In connection with archaic, earth-bound, phallic penetration stances, to produce unclear premonitions. Pulsating, blood-donating, jelly-like structures on the screen, bathed in lilac light, did her the rest.

Suddenly the scene changed and a more brutal, fast-rhythmic piece (title I missed) tore me out of the still resonant atmosphere. Simon Norris and Sleazy continuing to screw statically at the devices, John Balance, sweating with wild expression running in the face, screaming, qietschend, exhausted, declining; Unbelievable what the man is able to do for energy …

With “Backwards”, unambiguous gestures, strobolights and sawing analogue sequences, COIL finally said goodbye, stringing music from the Renaissance from the box left no doubt, That this performance was inevitably finished without addition.

While I realized, perhaps somewhat sadly, that everything was already over, the realization that COIL was one of the greats of the genre and the facets of such a concert is actually indescribable, certainly not Imitating and exhausted myself, then walking home at 1:00 am, somehow a bit altered …

Axel

Archivar for nonpop.de

Attendee Recollections

According to Bob Hoskins who attended this show and the following: “One of the weaker gigs of that tour, the one the day after in [G]lauchau was so much better.” When I asked him if he had any memories of either show, he stated, “[N]ot really. [I]t just was much more intense, and [the] audience consisted of a hardcore [C]oil/post-industrial following rather than the hipster crowd that had gathered at [V]olksbühne in [B]erlin.”

Charles Minnick attended this gig and remembers: “I was at this concert at Volksbuehne. I don’t think anything has suspended my sense of reality as much, either before or since. So glad I got to see them before Sleazy’s and Balance’s passing.”

Known Recordings

Tapes owners/taper:

AMT – “Maarten” (as labeled on the old Coil Hollyfield Mailing List)

Please let us know if you know “Maarten”! We have been trying to get into contact with him for years, in an effort to surface a master-quality copy of his video. AMT #1a is zoomed in, obscuring much of the gig throughout, while AMT #1b is horrible quality!

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