At Wave Gotik Treffen, Leipzig, Germany
31st May 2004 – Wave Gotik Treffen (Day 4), Leipzig, Germany
- The Gimp (Sometimes)
- Sex With Sun Ra (Part One – Saturnalia)
- Broccoli (Version 2)
- All the Pretty Little Horses
- (I Can’t Get a Word in) Edgeways
- Tattooed Man (The Dark Age of Love)
- Teenage Lightning (10th Birthday Version)
- Wraiths and Strays
- Black Antlers (Where’s Your Child?) (Bam Bam Cover)
“Even an Evil Fatigue” tour, “Black Antlers” phase. The last “major” tour of Coil’s existence.
Debut performance of “Edgeways.” Thighpaulsandra said of the song, “[I]t was patch [sic] I made in one of the Nord Modular synthesizers for my group. Geff and Sleazy really liked it and asked to use it so it became part of the Coil set. There were quite a few songs I wrote for Coil some of which appeared on MTPITD and also some of the live material which we never finished recording properly in the studio like “What Kind Of Animal Are You?” Sleazy didn’t like programing synths much (he was more into computers) but we both had Nord Modulars but with duplicate patches that I had built.”
With Mike permanently gone and Cliff taking this gig and the next off, the sound of these songs changed dramatically. On “Tattooed Man,” Peter mixed pre-recorded hurdy-gurdy riffs Cliff had previously recorded into the backing track.
It wasn’t especially clear until AMT #2 surfaced that Peter dramatically mixed up the backing video/song combinations, more so than any other gig, as far as I can tell. He faltered a bit when during “Teenage Lightning,” he simply used the first still image from “The First Five Minutes After Death” video (though he played it normally during “Black Antlers”), but the most notable combo was the use of the video for “I Am Angie Bowie (Sine Waves)” during “Wraiths and Strays.” To my knowledge, this was the one and only time Peter revived an old backing video (specifically one set always set to a specific song) to another song, although it’s possible he did this at the 2004-07-25 Ocean gig as well.
After “The Gimp (Sometimes),” John says, “Thank you. Can I have more vocals in…in the monitors? Oh, woah, woah. Oh, woah, woah, woah. Oh woah, woah, woah.”
Before and as “Sex With Sun Ra” begins, John says, “Okay, we are Coil. Please switch off your mobile phones. This next song was written while we are, we’ve been away from home, so, which is why, which is why I have lyrics here, because I’ve always had to remember to jet (?).” After the song, John says, “Thank you, thank you. Oh, it’s hot, here, how hot it is.”
As “Broccoli” begins, John says, “Drink more water, drink more water. Drink more water. Which reminds me, I have to find my mother someday. I haven’t spoken to her for at least two years, perhaps three years, perhaps four years. She could have died, for all I know. My stepfather wouldn’t’ve been bothered to call me and tell me if it happened. That’s the thing with, uh, relations. It goes further back up your antlers, the male side and the female side of your black antlers to the ancestors and how you let them back in just as easily as wash them away, or turn off the telephone, and then you remember all your ancestors or relatives that you liked, like your grandfather, and how he taught you always to eat, always to eat your greens, and how a celebration [of] some sort of comfort can be found in a vegetable, especially broccoli.”
Before “All the Pretty Little Horses,” John says, “Some of you probably know this next one from somewhere else, but it’s originally from somewhere else again, so don’t jump to any conclusions.” John thanks the audience after the song.
As “(I Can’t Get a Word in) Edgeways” begins, John says, “Oh, oh, oh. Oh! Oh.” The song includes some exclusive lyrics which are hard to make out, but I think one of the repeated sections is, “With all these formalities, all the maladies, all these formalities, all the maladies…”
Before “Tattooed Man,” John says, “They’ll teach, they’ll teach somebody something soon. This is the dark age of love.” Someone in the audience shouts, “Yes, John!” He continues, “This is the dark age of love. This is all about relationships that sink, relationships that float on stormy seas.”
Before and as “Teenage Lightning” begins, John says, “All that messed up thing called love. One day, your eggs are gonna hatch, and some very strange birds are going to emerge. We worship at the shrine of the thylacine, we worship at the shrine of the thylacine, we worship at the shrine of the thylacine, we worship at the shrine of the thylacine.” The “eggs” line is the lyric from the song “Strange Birds,” the fifth track off of 1999’s Musick to Play in the Dark. After the song, John says, “That’s a very old song, a very old song redone.” Of “Wraiths and Strays,” John says, “This is a very new song, a very new song done. A silent night’s swimming inside silent you. Look at a backdoor and everything’s coming towards you, men at the door will have us.”
Before and as “Black Antlers” begins, John says, “Silent night, holy night. Feed the birds, tuppence a bag, tuppence, tuppence, tuppence a bag. Feed the birds. Tuppence a bag, tuppence, tuppence a bag. Feed the birds. Do you know how to feed the birds? Do you know how to feed the birds? Do you know how to feed the birds? Do you know, do you know where the trees are? Do you know where the disease is, trees is, do you know where the trees are? Do you feed the birds? Like Mary Poppins, do you feed the birds…or do you fear the birds?”
The gig concludes with no closing words from the band.
John Balance – mini-harp (egg cutter) on “The Gimp (Sometimes)”.
Peter “Sleazy” Christopherson.
Tom Edwards – marimba.
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Wave Gotik Treffen Festival
Leipzig De, SN
AMT #1 + AMT #2 + AUD #1 Matrix Mix
The following is a short review of the concert translated from German to English using Google Translate, the original article which you can find here:
After the end of the Forsetti set a loud addition was needed. After a brief time the [Forsetti] musicians entered the stage again, to be called back by the stagecrew, as “Coil” was to play next and the event had to remain on schedule – which gave the audience some misunderstandings, expressed by whistles. Coil knew that they had to convince the remaining guests with their usual “crazy” show. Thus, the singer is quickly put into a sort of “straightjacket” and packed the keyboardists into a white and a black oversized mosquito net each.
The following is a review from Autarkeia, the original of which you can find here:
Just after the show of FORSETI, I reserved a place right by the stage in the very middle in order to see the psychedelic theater of COIL well enough. COIL’s preparations were twice as long as of any other project. There was awfully hot in the hall and I experienced great discomfort feeling sweat flowing down my body. Only guys from COIL’s filming group made my waiting seem shorter. Their exotic clothing, tattoos, paunee combs on their heads left no doubts about their sexual orientation. The third member of the COIL’s crew, preparing the stage for the concert, reinforced the impression. The hands blue with tattoos, a cap that was popular among gangsters in fifties on a bald head, a white scarf waving from a pocket almost to the ground – everything pointed that they are PEDERASTS. Pederasts with the first capital letter, that are naturally as they are, that belong to that specific subculture and boldly demonstrate attributes of that different culture. An acquaitance of mine standing by me gave a very accurate notice that they are the heroes of J.Genet and it is impossible to confuse their dependence. Those creatures deserve respect for being real. They are not bisexuals inspired by fashion of the times, career, disappointment in female sex, and other reasons. They are another kind of people, marked with another kind of nature. After a long break, having brought mountains of electronic equipment, powerful “Apple” notebooks, and other exotic instruments, COIL started with the themes from the album “Music to Play in the Dark”. A video installation was showed using three projectors, two of them imitated snow on the side walls of the hall, and the third one demonstrated kaleidoscopic ornaments, that are characteristic only to the aesthetics of COIL, obviously symbolizing reality distorted by LSD. Both P.Cristopherson and a member of THIGPAULSANDRA, whose name I don’t remember, perfectly accompanied each other with various effects, and a guy in the middle of the hall was playing perhaps the most exotic instrument at the festival – a huge electronic xylophone. COIL’s vocalist J.Balance came up the stage the last. Dressed in a very strange suit, with long hair and mustache (I couldn’t identify, if their were affixed or his own), dancing without coordination as a mad king, J.Balance started singing. Madman John’s dances followed every song. Sometimes they were like of a ballet dancer, and sometimes like of a mental patient, whose limbs suddenly refuse to obey him. He was drawing threads out of his worn-out white suit, reminding of a straitjacket, and playing with them. Sometimes J.Balance fell on the ground and was convulsing and panting unintelligible words. But the truth was coming from the lips of a madman. One of the tracks, that made some “neo-folk” fans dressed in military uniforms evacuate from the hall, sounded something like: “I am a pederastic boy”. J.Balance accompanied himself with miniature stringed instrument, the sound of which suited insanity emanating from his eyes very well. A burst of applause followed the track from the repertoire of the well known CURRENT 93 called “All the Pretty Horses”. Astonishing psychedelic videos supplemented cold electronic compositions. In Leipzig, as well as in Köningsberg, COIL placed the main stress in the last track of the show. The last track was the longest, the most aggressive, expressing insane and merciless truth of “ignorance”. J.Balance was screaming to the audience about children. The text was something like: “Do you know what is your children??? Do you know what do they need???” I don’t remember the text in detail, but the track was laced with crushing spirit of agnosticism, and when it was finished, the audience showered COIL with applause not for their professionalism, that was beyond doubt whether or no, but for the end of the attack of existential horror. “Neo-folk” concert finished with gloomy psychedelic visions. The audience invited COIL for a bis, but they didn’t show up the stage.
Lloyd James attended this gig and remembers: “I had the good fortune to play at the same concert as Coil in 2004, at the WGT. I remember we were jealous of Coil’s backstage spread compared to our (relatively) meagre provision. Spoke very briefly with John Balance. He spent a bit of time catching up with John Murphy (who was a member of my band at the time) and was very happy to see him.”
Marcel de Cocq attended this gig and remembers: “Leipzig was nice. In and old theatre, having nice snow projections all over the place. That was with the teenage lightening etc.. shows. Was very gripping.”
AMT #2 – Massimo Villani.
AMT #3 – Pierce Wyss.