Set List

1. White Rainbow
2. The Beginning is Always the End
3. Unhappy Rabbits
4. Stranded With Gifts
5. Tom’s Radio Weston
6. Going Up (Prelude)
7. Going Up

On September 13th 2004, Peter performed “The Art of Mirrors (Homage to Derek Jarman),” a score to the films of Derek Jarman live at L’Étrange Festival in the Forum des Halles, Paris, France. Little information is available, but much of his set is comprised of proto-Threshold HouseBoys Choir material and some remixed Coil samples. On either of the two AUDs of the show available (strangely, the poorer quality one was officially released), note the incorporation of the bird noises later used throughout the Dublin show, as well as performances of “Sex With Sun Ra (Part One – Saturnalia)” and a very early version of the soon-to-be-classic “Going Up.”

Alex Thompson kindly archived these relevant Hollyfield Coil Mailing List posts made by John and Peter for us:

Jhonn Balance john at loci.demon.co.uk
Fri Oct 8 10:59:53 EDT 2004

BTW

We don’t have any of these here that are even complete copies. so NO
there will be no deluxe emanations from us.
i spent a wonderful day yesterday in Somerton,somerset, the more
ancient Capitol of England, singing with no effects with Cliff
Stapleton playing sublime intense Hurdy Gurdy improvisations while Ian
sat drawing potatoes .Bliss in a new bucket. this was preparation for
the Dublin City hall performance/ piece. if anyone is wondering what
Cliffs project “The Dualists” album of Hurdy gurdy musick sounds
like.Its excellent but not like his work so far with Coil. We will be
making sound sample available as soon as time allows.Please give it a
go! We are planning at least 2 album length projects with Cliff fully
integrated and featured in stunning fulsome.

Happy Day today. I’m off to buy a fish.

Balance X

—

Jhonn Balance john at loci.demon.co.uk
Wed Oct 20 15:42:32 EDT 2004

Balance here.

From the suiciseaside mists of Avalon.
Arbos is my favourite Pärt quite often. Peter likes Summa. We like
nearly all of it. But find the broader deeper mid period works to be
the most rewarding.

Balancex

Marc Almond and his manager is still seriously ill. Marc has not yet
regained conciousness.We are dedicating the Dublin show to him and will
be utilising Energies and PRAYER to send a RAVEN with a healingspell to
his bedside.to pull him out of this GRIMM darkness and awful MESS of
accident.

—

Separate email sent on October 27, 2004:

We will make Dublin a downloadable dump IF and WHEN we get a good copy
of the concert. it was meant to be recorded by Northern Irish TV. im
going to make up a list of titles when `Ive listened through it all.
Apart from a sort of version of A White Rainbow it was ALL made uo on
the spot. all we had was a rough 5 section time devisions.

best when blessed

Jhonnnnn X

—

Jhonn Balance john at loci.demon.co.uk
Thu Oct 28 11:06:15 EDT 2004

Hi All

This is Sleazy – I’m hoping the recording of the Dublin show that the
video people got will be good but if anybody else has a live recoding:

a) we don’t mind, and
b) can we get a copy?

If so please write to me at

zoskia at mac.com

Whichever sounds best we will put on Downlaod site asa wecan.
We plan to put the Ocean Show up as well which was the culmination of
that particular series.

best2all
sleazy

Feeling: Final.

Final gig. Only performance of all songs.

The Dublin performance John titled “Stranded with Gifts” was to be recorded in the studio and released as The Telesmatic Tree in the King Scale, which sadly never came to be.

Gone are the costumes, the props, and the general theatrics Coil had become known for over the previous four years. A barefoot John wore a dress shirt and tie, Peter a fuzzy sweater, Thighpaulsandra a cloak, and Cliff ordinary clothes – a motley crew for the first time. The only visual staples are the fog machine and the video projections.

For the first time, John and Ian designed backing video projections, including “Unhappy Rabbits,” “Stranded with Gifts,” and “Tom’s Radio Weston.” The “rabbits” in “Unhappy Rabbits” were actually dogs owned by the two of them, possibly Pan and Moon.

John’s vocals during “Going Up” were later used on the studio version of the song found on 2005’s posthumous The Ape of Naples.

Fans saw John drinking a bottle of vodka during the soundcheck, meaning he was drunk for this last show. Because of the domed roof, City Hall gave an ambient echo to Coil’s performance. By all accounts, it created a strange and unique live mix. John watched with hazed fascination the way his vocals bounced off of the ceiling back at him.

White Rainbow/The Beginning is Always the End

“The Beginning is Always the End” is the title given to the dancing leaves/ashes video projection on the Coil Reconstruction Kit and seems to be a distinct song from “White Rainbow,” as at this performance, the backing track doesn’t kick in until about three minutes before the end of the song where John starts singing new lyrics. However, the audio heard on CRK is more robust with instrumentation. It seems at some point, likely after John’s death, Peter had Cliff record some hurdy-gurdy exclusive to that song session.

Moon’s milk spills from my unquiet skull
And [it] becomes a white rainbow
A tremulous column of air
Hanging there
A psychosis, a psychosis

Feel the moon’s pull [repeated]

Every day I see you
Every day I see you
Every day I see you, I’m scared

And by the stroke of luck, dissolved in a fit
That’s the way it is, that’s the way it is, the way it is
I had a stroke of luck, dissolved in a fit
That is the way it is, the way it is, the way it is

It’s a psychosis

The way it is [repeated]

Who is John scared of? Could be Peter, could be something he only sees in visions, could be whatever his wide eyes see in the domed ceiling. It’s notable that he lucidly acknowledges his crazy behavior and defeatedly labels it inevitable.

Unhappy Rabbits

Unhappy rabbits [x15]

Yowwwwww [recut and edited throughout the song]
Unhappy rabbits
Yowwwwww
Yowwwwww

Unhappy rabbits [x20]
Unhappy bunnies [x3]
Unhappy rabbits [x3]
Unhappy bunnies [x6]

Unhappy rabbits, unhappy bunnies
Unhappy rabbits, unhappy bunnies
Unhappy rabbits, oh, unhappy bunnies
Unhappy rabbits, unhappy bunnies
Unhappy rabbits, oh, unhappy rabbits

I’m clean and I’m shining
And I’m happy and I’m dead
I’ve broken the code of youth in my head
I’m clean, I’m shining
I’m happy I’m dead
I’ve broken the cult of youth in my head
I’m clean and I’m shiny
I’m happy I’m dead
I’ve broken the oath of youth in my head
I’m clean and I’m shiny
I’m happy and I’m dead
I’ve broken the cult of youth in my head
I’m clean and I’m shiny
I’m happy and I’m dead
I’ve broken the cult of youth in my head

I’m happy I’m shining
I’m happy I’m dead
I’ve broken the cult of youth in my head
I’m happy I’m shining
I’m happy I’m dead
I’ve broken the cult of youth in my head
I’m clean and I’m shining
I’m happy and I’m dead
I’ve broken the cult of youth in my head
I’m happy, I’m shining
I’m happy I’m dead
I’ve broken the code of youth in my head
I’m clean and I’m shining
I’m happy and I’m dead
I’ve broken the cult of youth in my head

Hallelujah
Hallelujah
Hallelujah

I’m happy, I’m shiny
I’m happy I’m dead
I’ve broken the cult of youth in my head

It’s been debated whether John says “oath,” “cult,” or “code” on some of these lines, but we’re sure he says “cult.”

Traditionally, rabbits are symbols of fertility and renewing life (“fuck like rabbits,” eh?).

Stranded with Gifts

Stranded with gifts, I am stranded with gifts
I’m stranded with gifts, I’m stranded with gifts
All the others who landed, I am stranded with gifts
Stranded with gifts

Necessary tentacles, necessary tentacles, necessary tentacles
We vultures
We watchers

The Queen watches a scale model of the universe descend over Slough
The Queen watches a scale model of the universe descend over Slough
The Queen watches a scale model of the universe descend over Slough

The Queen watches a scale model of the universe descend over Slough
The Queen watches a scale model of the universe descend over Slough
The Queen watches a scale model of the universe descend over Slough
Slough
Oh, Queen [repeated]
Ah-ah-ah-ah-ah-ah-ah-ah-ah

The titular track for the performance, surprisingly low-key and ambient, compared to the rest of the set. Supposedly, the backing track to this song was not released on the Coil Reconstruction Kit because Peter felt it was too simple and monotonous without additional live instrumentation and vocals.

Slough is a large town in Berkshire, England, 20 miles (32 km) west of central London and 18 miles (29 km) north-east of Reading, in the Thames Valley at the intersection of the M4, M40 and M25 motorways.

Tom’s Radio Weston

People often mislabel this song as “I Want the Bells to Whistle” after John’s first lyric, while they name the next song “Tom’s Radio Weston.” Again, on the Coil Reconstruction Kit, the backing video track to the former song bears the name “Tom’s Radio Weston”, so that must be the title for it.

I want the bells to whistle, I want the bells to whistle
I want everything
I want the bells to whistle, I want the bells to sing
I want the bells to whistle, I want everything
I want the bells to whistle, I want the bells to sing
I want the bells to whistle, I want the bells to ring
I want the bells to whistle, I want everything
I want the bells to whistle, I want the bells to ring
I want the bells to whistle, I want everything
I want the bells to whistle, I want the bells to ring
I want the bells to whistle, I want everything
I want everything
I want everything

Yowwwwww

The golden age of bloodsports
I’m strip-searched at the airport
I was strip-searched at the airport
A Godly fabrication
A tissue of lies
Strip-searched at the airport
Broke, stripped to my thighs
It’s the golden age of bloodsports
It is the golden age of bloodsports
Strip-searched at the airport
I was strip-searched at the airport
The golden age of bloodsports
The broken age of bloodsports

Always someone’s someone doing something
Someone somewhere
There is always someone somewhere,
Doing something with someone somewhere
Always someone somewhere…
It’s the golden age of bloodsports

For the hunted, for the hunted
For the hunted, for the hunted
For the hunted, for the hunted
For the hunted, for the hunted
For the hunted, for the hunted
For the hunted
Here they come
It’s the golden age of bloodsports

The imagery here is reminiscent of “A Slip in the Marylebone Road” – it’s unknown if John had a traumatic event getting strip-searched at an airport.

Midway through the song, a presumably drunk random fan climbs onstage and starts dancing. He catches John’s attention before security takes him off.

Going Up (Prelude)

John: “We’d like to have an ice cream together. This is a bit of something. AH!”

[Summoning chants]

Clicking and hissing in the woods
Hissing and licking in the woods
Kicking and pissing in the woods
Crashing and foaming in the woods

It’s really hard to tell what he’s saying, here. Phil Barrington originally transcribed the lyrics as “The amethyst in the woods / It’s the amethyst in the woods / Pick the amethyst in the woods,” but 2020’s The Universe is a Haunted House book shows what John was actually singing. He sings these four lines in various arrangements.

Thighpaulsandra rewires his Fenix Synthesizer near the beginning of the song.

Going Up

As the song begins, the EDIT shows John rapidly blinking, perhaps holding back tears.

John:

Are you ready to go now? [x6]
Are you ready to go? [x2]
Are you ready?
Are you ready to go now? [x2]
Are you ready?
Are you ready to go now? [x4]
Are you ready?
Are you ready to go now? [x6]
Are you ready?

François Testory:

Ground Floor:
Perfumery
Stationery and leather goods
Wigs and haberdashery, Kitchenware and foods
Going up
Going up

First Floor:
Telephones
Gents’ ready-made suits
Shirts, socks, ties, hats
Underwear and shoes
Going up
Going up

Second Floor:
Carpets
Travel goods and beddings
Materials and soft furnishing
Restaurant and teas
Whooooaaaaah
Going up
Going up
Going up
Going up
Going up
Ooh…

John:

It just is [repeated]

François only comes onstage just before his vocal part.

John’s closing words: “Thank you very, very much. We hope to see you again soon. Thank you very much for coming and enjoy your evening. Night night.”

Coil’s notes on the Dublin performance were published in 2020’s The Universe is a Haunted House book. They give historical insight into the creative process of how they shaped this performance:

Dublin

Pt 1 Intro
sleazy – subtle complex loops of sound
textural noises, little random words or rept phrases
one candle on stage
one candle on video screen

Pt 2 Story and text
urban sophisticate – sense of place
Prepared text – Spoken w reverb but basically audible
sleazy 5/4 rhythm pizz slow build
into:
doorslam rhythm avalanche

Pt 3 Plateaus of Cliff (in C)
long slow quiet HG harmonics whalesong
long sence [sic] of timelessness
sleazy moth lutters, thighps synth buzzes purrs and
crinkles
16 sec delay vox
expanding throbbing purple cloud

Pt 4 Dublin 3 (3/4) poss with exploding flange DUBlin
effect
Disjointed edgy
clicking clogs, whirrs
little breathy loops
thighps subsonic whale swoops

John’s written comments on the sheet, which likely mostly refer to the video projections for each track:
Paperthin
Video
Candle(s)
flames
moths
burned bungalows
vary among blur trees
[?] overlay
[?]
Embers
Shadow branches on [?] interior

“Pt 5” was likely cut off in the book, as John said the performance was intended to have five loose time divisions.

Portions of John’s typed lyrics on the day were saved, scanned, and published in 2020’s The Universe is a Haunted House book. They reveal that some lyrics and lyrical alterations on the sheets went unused on the day:

Unhappy rabbits
A day of complaints
The unhappy rabbits-day of complaints

When sycophancy was in its infancy
The siphyphlis lolly was inscribed Exeter 1805
And a deserters spoon dated…

Sheared a wa…
O we do like to be
Beside the suicide
O we do like to be
Beside the sea
Beside the sea
Beside the sea

Knots and seeds
The Grimm details
Please build me a cup
And put me in that cupboard
A cupboard under under the stars

…Rough dialling
Telepathic
Hallucin[ogen]
New view

…In the air——-port
…To her thighs

The golden age of blood sports
Stripped searched at the airport
Julie Andrews stripped bare
Stripsearched in the air——–port

The sidereal messenger

Stranded with gifts

…-ther Christmas
After a night on the
Piss(oirs)
…-matorium open up
…the stove

…Luck Thatswhat
Happens
Dissolved in a fit Thatswhat
Happens

I’ll see you all of a sudden
I’ll see you all of a sudden

…-gh Bedsprings
…(Bi)rdsong away

…Spectres
…Light
…
It Just Is

I’ve come here to meet the man I came to meet

I didn’t want to
Tell you this
But no-one else is here

Lets all partake of the gases
(The)…

“when sycophancy was in its infancy” is the title of one of the 23 Beast Boxes. “Lets all partake of the gases” is likely a reference to “Ether” on Musick to Play in the Dark Vol. 2 (2000).

John Balance – vocals
Peter “Sleazy” Christopherson – Ableton sequence, video projections, Clavia Nord Modular Synthesizer
Thighpaulsandra – Fenix Synthesizer, Clavia Nord Modular Synthesizer, Electro-Harmonix on John’s vocals (with 16-second delay, modified by Kanwal Dulay)
Cliff Stapleton – hurdy-gurdy
François Testory – countertenor on “Going Up”

This was the only time that François Testory played with Coil live.

Dublin City Hall
Dame Street
Dublin 2
D02

A Hotpress piece on the Dublin gig, sourced from the original Coil mailing list archives (and written on October 26th 2004), reads as follows:

“The decision by the DEAF organisers to take electronic music out of the clubs and into more unorthodox venues is increasingly looking like a masterstroke. It’s difficult to conceive of a more suitable environment for Decal’s moody electronica or Coil’s foreboding ambient compositions than the baroque surroundings of City Hall; as the evening progresses, the novel mixture of historical artefacts (paintings, sculptures etc) and cutting-edge sonic experimentation becomes more and more captivating.

Alan O’Boyle gets proceedings underway with a masterful forty minutes of atmospheric, down-tempo grooves, which once again demonstrates that the Decal spin on the ambient style is as inventive and inspired as any of the genre’s more exalted international practitioners. O’Boyle’s braiding of various disparate strands is subtle and compelling; a touch of Aphex/Polygon Window analogue-bubblebath here, a smattering of Eno-esque urban melancholy there, all topped off with the producer’s own winningly idiosyncratic stylistic flourishes. His set-closing mix of Pan Sonic-style sinister bass pulse and Fennesz-like buzzing static sets the scene perfectly for Coil, never a group to shirk a challenge when it comes to musical innovation. However, even before they play a note, they make an impact. John Balance, though as soft-spoken and gentlemanly a character as one could hope to meet, nonetheless has a disconcerting stage presence; with his druidic beard, unnerving stare and consummately oddball sartorial choices (tonight modelling a dark work-shirt and archaic tie that give him the appearance of a 19th century undertaker), he makes a unique and compelling performer.

Accompanied by Julian Cope collaborator Thighpaulsandra and folk maestro Cliff Stapleton (“the Jimi Hendrix of the hurdy-gurdy,” as John describes him), Balance and Peter Chrisopherson navigate their way brilliantly through singularly imaginative ambient terrain; comparisons are very hard to come by, unless one invokes similarly reclusive and iconoclastic experimentalists like The Residents and Boards Of Canada (there is confirmed mutual admiration between BOC and Coil). Their real secret weapons, though, are Christopherson’s visuals; as anyone who has seen his awesome videos for Nine Inch Nails can attest, he has a powerful and distinctive directorial style. At times tonight, such as when one gorgeously dark, pastoral composition is accompanied by shots of autumnal branches swaying gently in the breeze, followed swiftly by a strangely ominous, 360 slo-mo pan of a forest at dusk, the interplay between image and soundtrack is absolutely breathtaking. The concluding film is a treated montage of psychedelic flames, over which the group strike up a gorgeous hypnotic rhythm, Balance chants, “This is just the way it is” over and over, and a guest vocalist chips in with some eerie, ghostly wails.

The previous eighty minutes has charted its way through territory generally referred to as “abstract”; this ventures off out into some place they haven’t got around to mapping yet. More gigs of this vintage, and DEAF is well on its way to becoming one of the highlights of the musical year. Tonight, though, belonged to Coil, who showed that 20 years of pioneering experimentation still hansn’t dulled their appetite for deconstruction. Shine on you crazy diamonds.”

As quoted from the liner notes to 2010’s Colour Sound Oblivion (misspellings and grammar mistakes quoted directly).

On Geff’s demeanor throughout the show: “With hindsight its easy to ‘spot’ Geff’s precognition of what was about to happen – He died just two weeks after the Dublin show, though off-stage he never mentioned it. In Dublin, he seems transfixed by Visions of Death, though he was never suicidal, or even threatened to kill himself with any seriousness.”

On the video projections and the future of Coil’s sound: “The Coil Reconstruction Kit contains nearly all the projections plus the backing track I liked best with those pictures. (There are a couple of projections on the Dublin CD that I missed, since I put off editing Dublin till last, that being the most painful for me to work on…)…I can’t say if the largely abstract form of the music that day [in Dublin] would have continued to develop into some new form, or whether something had already ‘worn out.’ As you can hear on the Reconstruction Kit I had new Backing Tracks for 4 or 5 new songs but ended up only using a couple of them [on the night]. At the time it just didn’t seem right.” Peter would include the video projections on the alternate camera angle switchable on your remote when watching the Dublin DVD.

On the recording of the show: “I’m sorry the quality of that video is not as great as some of the others, but you will see why it had to be included, for historical and ‘closure’ reasons if no other. Circular marble Mausoleums do not have the best acoustic, and there would be no record of the show at all, were it not for two intrepid recordists from the local arts cable station with their own dv cameras, who shot the show so they could have a 5 minute clip for the next night’s arts program, and a third brave soul who was just filming for themselves, I think, but got in touch. My thanks are due to all three. None unfortunately shot the show in full, so this disc is my best effort at patching a complete record of the show together, not only pictures, but sound as well, as for the first time in a long time, Coil did not make our own audio recording, in some form.”

On “Going Up”: ”Some observers may realize that Coil’s final ever song is a version of the theme tune of “Are You Being Served” a TV comedy of the 1970’s…I don’t know why Geff suggested we try it, nor can I remember how we came to be in touch with amazing counter-tenor Francois, who I only ever met twice (I think) – once when he came to the house in Weston to record the ‘official’ vocal – I remember Geff sobered up sufficiently for the morning to act as quite a tough producer, demanding many retakes and alterations of nuance from Francois’ performance before retreating to his room (and the bottle) afterwards, and the second time in Dublin to feature in Coil’s Last Five Minutes…Both times Francois was brilliant of course – The Perfect Last Word!” For the studio session, Peter remarked how John seemed “nonplussed” by what he heard from Testory before leaving.

Here is a brief interview I conducted with François Testory over Facebook Messenger (edited for clarity):

Kiefer Gorena: How and when did you meet Coil? Before the Dublin live show?
François Testory: Yes, before. Can’t remember dates but not long before the making of “Going Up.” I was a very good friend of Ian Johnstone, a very talented artist, the one who made the cover for Apes of Naples. Ian was involved with John Balance.
K.G.: Yeah, they had started dating in early 2003, I believe. Just after John broke up with Peter around October 2002.
F.T.: Well, you know more than I do. I can’t remember how it all went but the recording of the the singing didn’t take long. I went to Weston-Supermare – stayed there a 2, 3 days. There might have been some preparation the day before, but the actual recording didn’t last more than a couple of hours.
K.G.: I heard John acted as a “tough producer.” Peter recalled he seemed “nonplussed” by your vocals before retreating back into his room and booze.
F.T.: Well you [definitely] know more than I do. One great pity for me is that John ended up proposing [to] me the work on a few tracks, like a mini-CD. Never happened.
K.G.: That does suck. Would’ve been great to hear more collabs with you and Coil.
F.T.: Yep. Well, I quite like the track I did [with] Dan O’Sullivan. There is a link with Coil – he is a fan and also was a friend of Ian J. “Calicite” is the track, I think.
K.G.: I have not heard that one. Will check it out! So what do you remember about Dublin? Was it a good show?
F.T.: Well, I just went in for my bit and out again, but yes, it seemed to be OK. Coil concerts did tend to send the crowd into a frenzy. There was quite a crowd.
K.G.: Oh yes, haha. I have heard some stories about the live shows – some dirty. Had you attended any previously?
F.T.: Yes, in London, the year before, maybe. [Probably 2004-07-25 Ocean]
K.G.: Nice! Last question – you attended John’s funeral, right? Did you sing “Going Up” there, too?
F.T.: Yes, I did. It was quite strange, as the casket was opened and I was just beside it singing.
K.G.: I have only seen two images of the funeral, both of them John in his casket. He looked like an angel. Thank you very much for taking the time to answer my questions!
F.T.: My pleasure.

“The last Coil performance was at the Dublin City Hall on October 23rd, exactly three weeks before he died. Watching the video (which will be the last in the DVD Boxset) is extraordinary in the light of subsequent events – Everything Jhonn said and did that day seems to refer or resonate with what happened, though I remain certain that he was as consciously unaware of forthcoming events as the rest of us. The last song of that show ‘Going Up’ is a reworking of the theme to the 70s TV show ‘Are You Being Served?’ but through the eyes of Coil and Jhonn Balance it clearly is just about ‘Going Up’ himself – Over and over he sings “Are you ready to go now?” and in the end, his Last Live Words:…It Just Is.’

Peter Christopherson”

Youtube user schreineinAV attended this gig and had this to say:

“Btw, I was at this show… Stands head and shoulders above anything I saw before or since! It was physically loud and very intense… Hard to believe 2 weeks after it Balance would be dead! The Dublin show was simply incredible! The choice of venue… Everything… Mind blowing!
Believe it or not.. There can’t be much missing from ‘A White Rainbow’… It started off very slow and ritualistic… the talk was, it was intended as part of a healing ritual for Marc Almond, a very close friend of Balance and Sleazy, who was in a coma at the time from a near fatal motorcycle accident! Anyway, Balance started off the show with his screams, yelps, howls and groans…

The raw material sampled and used throughout the show! It’s a pity this wasn’t properly recorded, as CSO couldn’t capture the magick! Balance’s sampled screams and howls were sent around the hall in what was like a quadraphonic PA system… They seemed to be flying in all directions… With Balance tracking them all around the hall as if he was watching ghosts! The bass was very heavy and very loud… I remember feeling the soles of my feet vibrating! It was very disorientating… The dome under which they played was the most trippiest thing ever, especially with the ‘amethyst’ and magenta spotlights flashing over the mosaic… You can see Balance staring at it (there was talk in the hall he had taken some psilocybin mushrooms, don’t know if that’s true! He was drinking a pint of lager during sound check… We collected our tickets at the venue… Big regret not saying hello to the boys)!

Anyway… The most surreal moment of the night, aside from the spaced-out stage invader during the ‘Golden Age of Blood Sports’ was when François Testory came out painted silver and sparkling and started singing during ‘Going Up’… Only a couple of people recognised it on the night as the thene tube of ‘are you being served?’… Most thought it was ‘Rosa Decudia’ from the ‘Autumn Equinox‘ EP… On the CSO video of this show, about 6mins into ‘A White Rainbow’, you can see me centre screen, staring at the ceiling… The camera slowly tracks in…”

Regarding the audience recording, he said, “The original poster, who I unfortunately can’t remember, promised to post track 1 (‘A White Rainbow’) and track 5 (Are You Ready To Go/ Going Up)… But they never materialised!
John Kealy and Brian Conliffe were at the show too… Maybe they have the full recording from this person… I do have the original files of what you posted, but I think someone has done a bit of tidying up…. What you posted sounds 100 times better than what I have… Sounds like it’s been compressed and EQ’d… And given a little sympathetic stereo treatment! Mine sounds like it was recorded on a cassette Walkman, lol! When this surfaced, people near list their minds… As they thought the gig was lost forever!”

Regarding the three-camera CSO video edit, he said, “As far as I remember, the art station owned all 3 static cameras on tripods… There was an unidentified man with a handheld video camera in the hall too… Not sure whatever became of that… Not to mention quite a few mobile phones recording… Potentially there could still be loads out there for this show…
Still, folk like myself are thankful this surfaced at all! Thankfully, someone acquired the videos from the local art station in Dublin and sent them to Sleazy… See, Coil encouraged us fans to bootleg their shows, as long as we gave them copies of what was recorded! Saying that, it’s a mystery why they didn’t take a soundboard recording of Dublin, given it was billed as an improvised set for hurdy gurdy and “prepared voice”…”

Brian Conniffe attended this gig and remembers: “Dublin, IE: Dublin City Hall, 2004.10.23, Dublin Electronic Arts Festival. Last Coil concert. Being a set of pretty much entirely new material it was very interesting and felt like the beginning of a new phase of Coil work, little did I – or anyone else there (with the possible exception of Balance, whose lyrics for the gig were eerily prescient in retrospect) – know that it would be the end of it all. The venue was cool and unusual, but its grandeur was distracting and the sound was slightly lost there. At the time in Ireland, psilocybin mushrooms were legal and being openly sold in shops in the city, so more than a few people in the audience were clearly affected by them (most obviously the guy – visible in the video – who jumped on stage to do some spontaneous interpretive dance). Myself, my girlfriend at the time, and a couple of other friends of mine were on the guest list, and I spent quite a bit of time with the band afterward, especially Balance who seemed lucid and collected despite the constant drinking he was doing. We mainly talked about Austin Spare collections, he kindly gave me a stack of ANS box sets and Black Antlers cdrs, and I recall he mentioned that the next Coil album would be called Ape of Naples and would feature all the new songs that they had been performing live since 2000. He was very chatty, in contrast with Sleazy who exuded a very warm energy but was much quieter, more economical with language.”

Jeff Watkins attended this gig and remembers: “I was lucky enough to be at the Ocean gig in Hackney and the final Dublin gig. At the former, somebody heckled “just die” or something at Jhonn and he replied “If I died now, I’d have to live forever”. I bumped into Jhonn at the Dublin gig in the gents. We ended up having an email conversation and one day he stopped responding. I thought he’d just gotten bored, but no, he’d died.”