Set List

1. I Am Angie Bowie (Sine Waves)
2. The Last Rites of Spring
3. Are You Shivering?
4. Amethyst Deceivers (Version 3)
5. A Warning from the Sun
6. Lake View
7. Ostia
8. I Don’t Want to Be the One
9. Bang Bang (Sonny Bono Cover)
10. An Unearthly Red

Soundcheck

1. Drip Drop (We Have Flowers Coming Out of Our Arses)

Feeling: Reflective

“Live Four” phase.

According to Peter on Colour Sound Oblivion DVD #9, this was the first time a Coil gig was recorded on 24tk. digital multitrack. Most Coil gigs henceforth, with the most famous exception being Dublin, would be recorded in this manner.

I Am Angie Bowie (Sine Waves)/The Last Rites of Spring

I am Angie Bowie, I know, no
I am Angie Bowie, no, no
I am Angie Bowie, no
I am Angie Bowie, no
I am Angie Bowie (Bowie), no (no)
I am Angie Bowie

I am Angie Bowie, no
I am Angie Bowie, no
I am Angie Bowie, no
I am Angie Bowie, no
I am Angie Bowie, no
I am Angie Bowie, no
I am Angie Bowie, no
I am Angie Bowie, no
I am Angie Bowie, no
I am Angie Bowie, no

I am Angie Bowie, no
No, no, no, no
That I am Angie Bowie, oh, no
I am Angie Bowie
I am Angie Bowie
I am Angie Bowie, no
I am Angie Bowie, I know
I am Angie Bowie, no

This is first performance with the titular lyrics. John begins a lengthy monologue as the song segways.

William Burroughs told me so. William Burroughs told me so. William Burroughs told me so. William Burroughs told me so. I met him at a party in SoHo. With the New York artists used to hang out. In the bowery, in the la, uh, Laurie Anderson tried out. Laurie Anderson used to try it out. She ended up with Lou Reed, ha. She ended up with Lou Reed, ha. She ended up with Lou Reed, ha. She ended up with Lou Reed, ha. She ended up with Lou Reed, ha. The thing is I’ve heard this story so many times now from the artistic communities in SoHo, oh no, not another fucking story from the artistic communities in SoHo. In SoHo. It’s time to stop repeating these stories. It’s time to stop repeating these stories. It’s time to stop repeating what Lou Reed said. It’s time to pop repeating what Lou Reed said about John Cale talking about Sterling Morrison. Oh European Son, your time is done. You killed your European son. Well, another one’s been born. Families are performed. Families have been malformed. But I am Angie Bowie, I am Angie Bowie, I am Angie Bowie, I am Angie Bowie, I have Angie Bowie’s story. I am Angie Bowie’s story. I have Angie Bowie’s story, ee ee ee ee…

SoHo is a neighborhood in Lower Manhattan, New York City, known for its growing artist population in the 70s. Laurie Anderson started dating Lou Reed in 1992 and married him in 2008, staying with him until his death from liver disease in 2013. Lou Reed, John Cale, and Sterling Morrison formed The Velvet Underground in 1964, along with drummer Angus Maclise, who heavily inspired Coil with his own avant garde music after he left the band. The Velvet Underground became known for their Exploding Plastic Inevitable shows with Nico and Andy Warhol, which were cited by John in the Transparent booklet as another major influence. “European Son” was the 11^th and last track off of the band’s debut The Velvet Underground and Nico from 1967 – John namechecks the line “You killed your European son” from the song.

And now, we’re children of the black sun
We’re waiting for the black Sunday to come
We are waiting for a black Sunday to come
We are born, we are born, we are born, we are born
We are hallucinating animals

(Space, space, space, space…)
Over there, over there, over there…
Ha, ha, ha, ha…
Yap, yap, yap, yap…!
Over there [repeated]

Say the animal saliva is alive
The animal saliva is alive
The animal saliva will survive
The animal saliva in his eyes
The animal saliva in his lies
I will survive
How can they survive?
How can they survive with animal saliva in their eyes?
With animal saliva in the eyes
The animal survivor in his eyes
The animal survivor will survive

In, in, in, in Madagascar when the sea, sea…
The animal saliva will survive
And slide, and hallucinate you into space
And hallucinate you into space, or mushroom’s place
In the mushed room place
In the mushroom place
You’ll slide into your little mental alcove
You’ll slide into your little Pagan grove
It’ll slide into the greater Pagan grove

John (after the song): “Dedicated to Williams S. Burroughs and Brion Gysin, who let the mice in.”

Are You Shivering?

John: “Lemur. Moon musick, moon musick.”

In the moon, in the moon
On the oceans of the moon

In the motion of the moon
There’s an ocean with the moon
Reflecting oceans of the moon
The mirror of the sea reflects the oceans in the moon
The mirror of the sea reflects the oceans of the moon
Reflects the oceans of the moon
For this is moon musick by the light of the moon

Sivylline [sic]
Sibylline
Serene and sibylline
Serene, serene
And submarine and sibylline and submarine

John periodically mimics shivering into the mic.

Amethyst Deceivers

John: “Thank you. Thank you. Are you still shivering?”
Audience member: “Yeah!”
John: “Are you still cold? Does your madness shine bright?”
Audience members: “Yes, yes. More.”
John: “You want more madness? You’ll get it, you’re gonna get it, but it’s up to you too. More madness. Lunacy, lunacy. You will see lunacy. You will see lunacy. But first, some mushrooms. Small. You don’t know what sort I’m talking about, do you?”
(Audience cheers)

Into your welcoming arms

Pay your respects to the vultures
And to the crows
And to the carrion crows
And to the ravens
Those graven ravens
And to the rooks
And to the vultures

Into the welcoming arms [repeated]
Into your welcoming arms

Little mushrooms
Little mushrooms
Welcoming arms
Of the amethyst [repeated]
Of the amethyst deceivers

This performance has the percussion track intro. John’s vocal stems from “Amethyst Deceivers” were later used on “The Last Amethyst Deceiver,” off of 2005’s The Ape of Naples.

A Warning from the Sun/Lake View

John: “A large bright knife. A large bright knife. A large bright knife. A large bright night. A large bright knife. I’m going to nail my fingers to my hands. But then, who was carry my arms? But then, who will carry my arms, if I nail my fingers to my hands? If I eat my teeth, what will I find beneath? I’m going to nail my fingers to my hands. If I nail my fingers to my hands, I will hear a warning. Warning. ‘A Warning from the Sun.’ If I nail my fingers to my hands. If I nail my fingers to my hands. If I nail my fingers to my head. If I leave my nails, to put nails in my head…in my head.”

The former song segways right into the latter.

Drown it…  

Never turn the lights on [repeated]
In a dark room [repeated]  

We, impossible
It all seems impossible
It seems so small
But it’s a long way down
If you’re going to fall  

It’s a long way down
When you’re deep within 

An accoision [sic];
Where disablement equals sin
We sent a floral tribute
It floated down the river
And into the sea  

It seems a long way down
When wrong a long time
Read your message a long time  

It seems a long way down
It seems a long way down
If you’re going to fall  

It seems a long way down
If you’re going to fall [repeated]  

If you’re going…
If you’re going to fall

John (after the song): “‘The Universe is a Haunted House,’ that was.” Due to the use of the video projection called “Lake View” on the Coil Reconstruction Kit and the fact that it’s a completely different song, to avoid confusion, the song is labeled “Lake View” here.

Ostia

Audience member: “‘Circles of Mania.'”
John: “What? What did you say? ‘Circus of Manias’? Not yet. Maybe one day soon, but it is something from Horse Rotorvator. ‘Ostia,’ yes.”

There’s honey in the hollows
And the contours of the body
A sticky golden river
A sluggish golden trickle

You can hear his bones humming
You can hear his bones humming
Singing like a puncture
Singing like a puncture

And the car reverses over
And the car reverses over
The body in the basin
The shallow seaplane basin

Lion lies down
Lion lies down
Lion lies down
Lion lies down

You can hear his bones humming
You can hear his bones humming

Throw his bones over
Throw his bones over
The white cliffs of Dover
Throw his bones over
The white cliffs of Dover

And into the sea, and into the sea
And into the sea, the sea of Rome
The sea of Rome, the sea of Rome
The sea of Rome, the sea of Rome
The sea of Rome

Lion lies down
Lion lies down
Lion lies, lies down
You can hear his bones humming
You can hear his bones humming
You can hear his bones humming
You can hear his bones humming

Throw his bones over
The white cliffs of Dover
And murder me, and murder me
And murder me, and murder me
And murder me
He said, “Murder me” [repeated]
He said, “Murder, murder me”
He said, “Murder me,” he [repeated]
He said, he said, “Murder me”

John (after the song): “Get my microphone stand back again. Dedicated, of course, to Pasolini. The lion who lies down in the sunshine. He took too many narcotics, you see, and then he couldn’t wake up in time.”

I Don’t Want to Be the One

Burn it while you see. Or do you see? Do you see what you want? Do you see? Do you want to see? Do you want? Do you want to see me? Do you want to see? What do you want to see? What do you want to see? Do you want? What do you want? ‘Cuz I don’t wanna do it. I don’t want to be. I don’t want to be seen that way by other people, you know, projecting stuff onto me, because that’s not who I am. That’s not what you know about me and I know about you, you know? It’s, it’s about being something else, you know, it’s a projection, it’s what you see in me. So, sometimes, I just say this thing I have it in my head that I don’t want. I don’t want it in my head. What you put in there, I can’t take out. I don’t want to be the one.

And why they left, and left a sense of shame in me
Why they left a sense of shame in me
Why they left a sense of shame in me
I DON’T WANT, AND WHAT I WANT, I USUALLY GET
CAN YOU FUCKING LISTEN?!
DON’T YOU FUCKING LISTEN TO ME!
ARE YOU LISTENING?
I don’t want, usually get

I don’t want to be the one [repeated]

John continues to sing long after the rest of the band has stopped.

John (after the song): “I am the one sometimes, but sometimes I have to be anyway, so.”

Bang Bang

John (after the song): “How come a Sonny Bono song gets the most applause in a Coil set? I guess everyone’s got a little Nancy Sinatra in them everywhere.”
Audience member: “Yeah, boy!”

An Unearthly Red

John: “Are we going to fly? Yes, we are. We’ve been flying all evening. Captain Clark welcomes you aboard as you enter the door.”

The president of the Americas woke up
And he had something dripping from his fingers
Dripping red
Dripping something wet and stripping
Stripping every asset that he had from the debt
And he woke up dripping red
He droke [sic] up an unearthly red
He woke up
And he thought he was dreaming, but then he wasn’t
He was dreaming, and then he was screaming
He was streaming, then he was screaming
He was dreaming, then screaming [repeated]
He wasn’t dreaming [repeated]

He said, “Let it come down!”
He said, “Bring it all down!”
Well, your mother must be Satan
If your father is God
Oh God, his father is God

And the president of the Americas woke up
And his hand is wet, and is in bed
It was dripping, and it was tripping
And was he tripping, or was he dripping
And was he dripping or was he tripping?
Was he dripping or was he tripping?
Tripping, dripping, ripping [repeated variously]
Tripping, tripping, tripping an unearthly red cup
It’s an unearthly red!
An unearthly red (repeated)

He said, “God…”
He said, “My mother…”
He said something about my mother
He said “Your mother is a whore!”
Mother of all wars [manipulated]

It wasn’t me
My…listen…
He said “Your mother is a whore!”
She is da mother of all wars
She is the mother of all wars
Mother of all wars

Not too special now, are you?!
Not so special now, are you?!

Bleh bleh bleh bleh! [repeated]
She is an animal!
She, oh, wow!
Shut up, shut the fuck up!
What are you talking about, anyway?!

She is the mother of all whores
She is the mother of all wars
“Father is God”
“As God is my father”
It’s gonna be the mother of all wars

John’s closing words: “Thank you very much. We really appreciate you coming tonight because we’ve been waiting to come to this place for ages and all people have come from Athens especially, and however far you’ve come, even if you just live here around the corner, thank you so much for coming. We really enjoyed being here. We hope to come again soon. Thank you very much, goodnight.”

According to Phil Barrington in his book The Golden Age of Bloodsports: The Collected Words, Lyrics, and Performed Songs of Jhonn Balance, the day after this gig, “Jhonn disappear[ed] from his hotel room the next morning, missing the band’s flight home (the band being forced to leave without him). His whereabouts [were] not known for days, his low-key return to Oak Bank looking “very spaced out” before his unhinged performance at Megalithomania sealed the lid on his long-term relationship with Peter.”

While I have always assumed John and Peter broke up due to John’s erratic behavior the day after this show, Fred Mann, John’s then-boyfriend, has helped set the record straight. Here are some of his recollections kindly shared with Live Coil Archive, which we’ve edited for clarity: “That’s not entirely accurate. He and Sleazy had already broken up before the Greek Tour and he was living with me in London. We only used to go to Weston so he could work. On the Greek tour, it was hard to stop the Greek fans giving him drugs. We were fighting to keep him clean, which was very hard. Mute had to cancel the rest of the tour and Sleazy, Simon, and Thighpaulsandra came home early. Geff was in a house on an island writing poetry on all the mirrors with lipstick and taking DMT, and I paid for him to get him home. He didn’t hitch.”

John Balance – vocals
Peter “Sleazy” Christopherson – Ableton sequence, video projections, Clavia Nord Modular Synthesizer
Thighpaulsandra – Clavia Nord Modular Synthesizer, Kurzweil Synthesizer, Electro-Harmonix on John’s vocals (with 16-second delay, modified by Kanwal Dulay)
Simon Norris (Ossian Brown) – Clavia Nord Modular Lead Synthesizer, Kurzweil Synthesizer on “Are You Shivering?”
Massimo Villani – Pasolini poem reading on “Ostia,” Black Sun Productions’ “Ghost Boy” performance art
Pierce Wyss – Black Sun Productions’ “Ghost Boy” performance art

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

Ydrogeios Club
54628
Thessaloníki
Greece

According to Ben S., this version is possibly an NTSC DVD bootleg rip, explaining the 30 fps and desync.