In the late-1990s, Peter "Sleazy" Christopherson moved with Jhonn Balance - his partner in life and in Coil - from London to the rural Weston-super-Mare, creating an environment for all things "musick, musick, musick!" with a revolving door of new members, including Thighpaulsandra. Coil's discography nearly doubled, and in the midst of this fruitful period Thighpaulsandra asked the simple question: why doesn't Coil play live? After a 16-year wait, thanks to the rapid technological advancement in the form of MacBooks, DAWs, VSTs and plugins, Coil were able bring their music to the stage as always envisioned. With performance, they could embrace the risks and freedoms of real time sonic manipulation, as noted by Sleazy: "Reshap(ing) the show minute by minute... the direction is very spontaneous, not so much in the way of like jazz improvisation but in a kind stream of consciousness… Thighpaulsandra brought us his wisdom, and he was able to convince us we could do it." Playing live, Coil was "like a snake shedding its skin," transforming into something "completely different" every six months; in preparing for 2004’s "Even an Evil Fatigue" live series, Coil began work on their next period-defining masterpiece 'Black Antlers'.

The music became more rhythmic, with a greater emphasis on beats: "the songs we did tend to be more... not rock in any sense of a word, but you know, more conventional in terms of structure, but now what we're doing is sort of within an 'electronic' genre." Black Antlers's sound is an intoxicating energy, combining Thighpaulsandra's advanced synthesis, Balance's poetic lyricism and Christopherson's flirtations with jazz and Ableton-aided PowerBook maximalism. Rounding out the trio were renowned hurdy-gurdy player Cliff Stapleton on a "specifically commissioned" electric variant, to merge into the band’s "strange and other-worldly music"; Royal Academy of Music trained percussionist Tom Edwards (who also appeared with Thighpaulsandra in Spiritualized’s live band); and European and Near East winds specialist Mike York on pipes, bombarde, duduk and balalaika. Initially released as an "album- in-progress" in June 2004, a post on the Threshold House website noted, "Please remember that September will see Coil recording the album "Black Antlers (Proper)"." Jhonn Balance passed away that November; Christopherson reunited with Love's Secret Domain collaborator Danny Hyde to complete 'Black Antlers' by May 2006.

Revitalized energy marked Black Antlers's recording, paired with the group's signature wordplay and humor (the name came from a series of imagined adult film titles). At their "Evil Fatigue" tour opener in Paris, Jhonn Balance presented the revised "Teenage Lightning (10th Birthday Version)" as, "an updated version of one of our older-never 'hits.'" The song, about the energy generated by "two teenagers, or old age pensioners" rapidly pulses, with Edwards's marimbas electronically modified and arpeggiated by Christopherson. Album opener "The Gimp (Sometimes)" is hypnotic and hallucinatory, recalling Coil's 90s period, with a potentially uneasy air, filled with repetition, distorted vocals, and Thighpaulsandra's modulated drone. "Sex With Sun Ra (Part One)" reveals the potentials of the 2004 lineup, as it writhes and glides through an imagined conversation with the legendary composer, building into overdrive. On the complementary piece, Christopherson & Hyde's "Part Two - Sigillaricia", the song evolves into a throbbing ouroboros of glitches and free flowing energy. One highlight is "The Wraiths And Strays Of Paris", an expansion of the song's first release as "(From Montreal)". "Of Paris" takes Thighpaulsandra synthesized warmth and Christopherson's PowerBook manipulations & stylizations from the original, adding full band samples from live multi-tracks - including Balance's vocals from the Paris show - fully realizing Christopherson's desire of "taking the (electronic) genre to a place that people would find unexpected, and more challenging." Adding to the unexpected, and building upon their own uncompromising legacy, Coil delicately cover the traditional African American lullaby (and "friend's song") "All The Pretty Little Horses", with Balance's vocals soothing the listener in an almost hushed whisper.

TRACK LISTING

1. The Gimp (Sometimes)
2. Sex With Sun Ra (Part One – Saturnalia)
3. The Wraiths And Strays Of Paris
4. All The Pretty Little Horses
5. Teenage Lightening (10th Birthday Version)
6. Black Antlers (Where’s Your Child?)
7. Sex With Sun Ra (Part Two – Sigillaricia)
8. Departed
9. Things We Never Had

SoiSong is the bright, stunning, and short-lived project conceived in 2007 by Ivan Pavlov(CoH) and Peter "Sleazy" Christopherson (of Coil). The duo combined Pavlov’s uncompromisingly visceral digital aesthetics with Sleazy's decadent, dark and whimsical approach to creation. Primarily located on the Eastern Pacific Rim, the two named the project after the Thai word for ‘two’ (song), as well as the seedy red-light quarters ("gloomy Soi’s, or alley-ways") of Bangkok. Together, they developed a unique, elegant, yet rather cryptical musical language. SoiSong’s debut full-length 'xAj3z' is a digital reference to jazz: seemingly acoustic, effervescent, boundary-breaking, digital-era entertainment where light rays and tropical heat are backed up by zeroes and ones. The album is a defining statement, and an arbiter of the possibilities in the (then-)developing late-2000s music landscape. Without the desire to be commercial, or convenient, SoiSong was not beholden to the conventions of easily defined tagging, and, in their own, "new, as-yet-un-categorizable genre," with 'xAj3z' being its masterwork. 'xAj3z' freely mixes musical styles and combines various approaches to music making: artificial vocalists are accompanied by real drums, jazz-noir arrangements meet the delicate melodics of the South Seas, and computers are made to sound warm and organic.

The album shows no apparent respect for genre-definition and aims at communicating with the listener at highest levels of emotional intensity, often lyrical, sometimes dark, on occasions amusing and even uplifting."Our songs, like Angels, are largely Mathematical." Within the album's clear emphasis on bass, a distinct element are also the artificial vocalists: beautiful, otherworldly, organic yet distinctly alien. Utilizing an image of a bespoke virtual singer created by the external members of the collective Han Li Chiou and Yuu Soijinsan Omiya, as Pavlov noted in 2025, "the voice nothing else but an instrument that operates with syllables, which is what makes the performance reminiscent of a language...Yet, regardless of how poetic it might sound to a human ear, that sequence of syllables remains completely meaningless. "In collaborating with Pavlov as SoiSong, Christopherson found the music's development natural: "I wouldn’t say thatSoiSong really resembles anything that’s come before, particularly. But if you know, and appreciate what we both did before, then that knowledge will bring more appreciation and understanding to what we do now. It’s a progression from the past to the future."On the original liner notes, Peter Christopherson provides "Melodic Primitives and vocalists" with Ivan Pavlov on "instruments and Pentium jazz processing."A standout ofxAj3z, "Dtorumi" is one of the most breathtaking songs in the catalogue raisonné of Christopherson & Pavlov’s combined output, dripping in pseudo jazz and trip hop atmospheres. With heavily gated drums, bass synthesizers and ghostly syllabic non-vocals, "Dtorumi" is a masterclass in post-90s Warp electronic music. The influence of the Eastern Pacific is a wash on "J3z", with digital bird chirps, harpsichords, upright bass stabs, and the sounds of sunlight shimmering on 3D rendered shores-reminiscent of the geographically adjacent Susumu Yokota. And new to the Dais reissue is "Lom Tum Lai Kwee", a new mix of what was originally a live track only."Lom Tum Lai Kwee" is an exercise in stereo separation, step sequencers and hallucinogenic grandeur, where the subs build into bells, twinkles, and horns, recalling the heights of Tangerine Dream’s imperial era. Album closer"Ti-Di-Ti Naoo", which in the SoiSong studios had a utopian provisional title "Thai Olympics Anthem", is reminiscent of the transformation of a concert hall from soundcheck to recital: a polite piano is carefully joined by live brass and strings, as the repeated non-lyric "ti diti naoo" echoes around the room.As 'xAj3z' ends, there’s warmth from the sun: a new dawn on the horizon line, where possibilities are endless.

TRACK LISTING

1. Amkhapaa
2. J3z
3. T-Hu Ri Toh
4. Mic Mo
5. Paer Tahm
6. Dtorumi
7. Lom Tum Lai Kwee
8. Ti-Di-Ti Naoo

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation.

"We were trying to find our own space," says Cinder of the formative period 'Camouflage Heart' emerged from, amidst a move from Edinburgh to London and Cinder's evolving exploration of gender identity, well before culture at large was equipped to understand. With contemporary discourse we see that the project manifested her transgender ideas as visceral music. The guttural, feral sound marked a notably darker turn from The Freeze's six- year run on the fringes of punk. Changing the project's name became vital, not just because they kept hearing the former was already taken, but the desire to embody the spiritual and sonic shift, "to uncover new pathways...to feminize it," she says. Cinder, with bandmates David Clancy and John Byrne, arrived at Cindytalk, a winking nod to Sindy, the British fashion doll rival to Barbie known then for its pull-string talking mechanism. "The goal was to have a more interesting narrative, more interesting dialogue. Music was ultimately my only way of talking to people. That was my conversation with the world, an abstracted conversation...an attempt to make some kind of tiny, tiny mark, if possible, you hope somebody will notice." Over the years, Cinder has heard from fans who did pick up on the signals and find refuge in 'Camouflage Heart'.

'Camouflage Heart' plays with tension and pace, from creeping to feverish to claustrophobic. The percussion moves between restless marches and barely-there pulses; for some parts, they scratched and hit a tin bath, among other objects. Guitar lines vibrate and stab as Cinder contorts her voice freely. She pulls poetry from a cerebral abyss, like "make the snake in your eye, pierce the camouflage heart" on the slow-droning centerpiece 'The Spirit Behind the Circus Dream'. In that register is raw power, both vulnerable and menacing, an ability to locate something deep and emotionally charged within. "I still remember that person who was way too intense for their own good," Cinder reflects. "I couldn't make a record like that now, certainly not vocally, while that anger hasn't dissipated; there's still a kind of warrior."

For all the destruction and disintegration of 'Camouflage Heart', Cinder maintains the objective was never full-on fatalistic; these songs seek not to destroy but to poke and provoke, to transform and heal, to find cracks of light in a crumbling world. She points to the last lines of the opening track, 'It's Luxury': "Don't look down," the lyric pines through static and rhythm. Cinder extrapolates, "I'm essentially saying, just keep fucking going. As time went on, for me, that falling became flying. 'Camouflage Heart' is the beginning of believing in flight."

TRACK LISTING

1. It's Luxury
2. Instinct (Backtosense)
3. Under Glass
4. Memories Of Skin And Snow
5. The Spirit Behind The Circus Dream
6. The Ghost Never Smiles
7. A Second Breath
8. Everybody Is Christ
9. Disintegrate ...

Since first forming in 2016, London’s High Vis have steadily polished their palette of progressive hardcore with shades of post-punk, Brit pop, neo-psychedelia, and even Madchester groove, mapping a middle ground between hooks and fury, melodies and mosh pits. Singer Graham Sayle describes their third album 'Guided Tour' as an axis of competing forces: “It’s trying to be a hopeful record, while also being incensed.” Rounded out by drummer Edward 'Ski' Harper, bassist Jack Muncaster, and guitarists Martin MacNamara and Rob Hammaren, the band’s deep roots in the UK and Irish DIY hardcore scenes have kept them grounded but growing, inspired equally  by restlessness and righteous anger. As Sayle puts it, "Everyone’s scratching, everyone’s working all the time, and their idea of relaxing is just getting fucked and avoiding reality. This album is an escape from that."

From its opening seconds of a cab door slamming, a car revving away, and a baggy rhythm swinging to life, 'Guided Tour' sounds like a band reaching for new heights, bristling with energy. Recorded across a few weeks at Holy Mountain Studios in London with producer Jonah Falco and engineer Stanley Gravett, the results feel dynamic and dialed-in, like anthems burned into sense memory through sweat and repetition. Harper cuts to the chase: "We had a clear idea going in, every moment got used. Maybe when we’re 60 we can sit around and get a drum sound right, but for now it’s about getting things done."

The album’s 11 songs span the spectrum of contemporary guitar music, sharpened by experience, camaraderie, and societal frustrations. From swaggering street punk ('Drop Me Out', 'Mob DLA') to jangling indie sneer ('Worth The Wait', 'Deserve It') to heavy alt ('Feeling Bless', 'Fill The Gap') to shoegazey spoken word ('Untethered'), the group’s chemistry transmutes any style to their unique intensity. Sayle champions this evolving fusion: "For years coming from hardcore, we had pretty clear boundaries – other scenes were separate worlds. Now things are getting more blended, drawing from different places."

Nowhere is this sentiment flexed more boldly than on 'Mind’s A Lie', a dance-punk anthem inspired by Harper’s love of house, garage, and pirate radio. Stabs of sampled female vocals (by celebrated South London singer and DJ Ell Murphy) build into a razor wire rhythm of low-slung bass, tense drums, and sparkling guitar before Sayle’s staunch voice starts barking harsh truths ("Face to face with all I’ve known / I can’t call these thoughts my own"). After a sudden breakdown, the track regroups and takes off, cruising into the horizon in a haze of chiming guitars and Murphy’s ascendant voice, from the streets to somewhere beyond.

STAFF COMMENTS

Barry says: A skilful dance through psychedelic indie, shoegaze and garage rock that is as exciting as it is raucous. Brimming with moments of hands-in-the-air melodicism and unfathomably gigantic choruses, driven and most of all, a riveting listen.

TRACK LISTING

1. Guided Tour
2. Drop Me Out
3. Worth The Wait
4. Feeling Bless
5. Fill The Gap
6. Farringdon
7. Mob DLA
8. Untethered
9. Deserve It
10. Mind's A Lie
11. Gone Forever

First compiled as a double CD in 2002, Moon’s Milk (in Four Phases) is a suite of four EPs that Coil released seasonally via their in-house Eskaton imprint across 1998. The line-up for these sessions were John Balance, Peter "Sleazy" Christopherson, Drew McDowall, and William Breeze. Recorded primarily at their home studio in Chiswick, London on the eve of a permanent relocation to the small seaside town of Weston-Super-Mare, the collection has long loomed as a pivotal and pinnacle work in the group's discography, but has never been officially reissued, or repressed on vinyl. Time has only ripened its tapestry of regal strangeness.

Arranged sequentially in tribute to the equinoxes and solstices, Moon's Milk captures Coil at a revelatory crossroads, leaning deeper into improvisation, spontaneity, and sound design. "Moon's Milk or Under an Unquiet Skull" initiates the proceedings on Spring Equinox, a two-part netherworld organ séance woven from vocal drones, cathedral keys, seasick strings, and opiated undertow. From there, Summer Solstice skews lighter but no less incantational, with Balance embracing his voice-as-instrument across lucid dream torch songs ("Bee Stings"), purgatorial spoken word ("Glowworms/Waveforms"), sultry chamber pieces ("Summer Substructures"), and falsetto ravings ("A Warning From The Sun (For Fritz)").

Autumn Equinox exudes more of a pensive and twilit mood, from the Rose McDowall-sung folk ballad "Rosa Decidua" ("I hear your voice sing near to me / I've put away the poisoned chalice (for now) / And lie down amongst the flowerbeds") to hall-of-lords hallucination "The Auto-Asphyxiating Hierophant” to the liminal string-plucked classic "Amethyst Deceivers," featuring excellent alien guitar by Breeze layered with Balance’s oft-quoted couplet: "Pay your respects to the vultures / For they are your future."

The album’s final chapter, Winter Solstice, is its most swooning, remote, and ceremonial. Opener "A White Rainbow" stirs strings, layered choral vocals, and shivering rhythm into an imploding burial hymn. "North" oscillates bleakly, a ghost in the machine murmuring opaque prophecy ("This black dog has no owner / This black dog has no odour"), while "Magnetic North" is its inverse, a guided meditation of gently flickering software and surreal chakra poetics ("Red rose filling the skull / Yellow cube in the lower pelvis / Silver moon crescent below the navel"). The suite fades to grey with a traditional English carol ("Christmas Is Now Drawing Near"), rendered like an executioner's song by Rose McDowall’s doomed, beautiful voice.

The Dais box set includes the entirety of the rare Moon's Milk Bonus Disc CD-R / 2019 Threshold Archives Copal CD, which includes three collaborations with Thighpaulsandra. This material is as rich and intoxicating as the previous four phases, ranging from electro-acoustic singing bowl rituals ("Copal") to dissonant electronic recitations of visionary Angus MacLise poetry ("The Coppice Meat") to ominous classical melancholia ("Bankside"). Once again, Coil confirm the vastness of their confounding, infinite alchemy, explored and refined across decades of experimentation – both sonic and bodily. From postindustrial to post-everything, theirs is an art untethered, in the wilds of its own design.

TRACK LISTING

LP 1 - SIDE A:
Moon's Milk Or Under An Unquiet
Skull (Part 1)
Moon's Milk Or Under An Unquiet
Skull (Part 2)
Bee Stings

LP 1 - SIDE B:
Glowworms / Waveforms
Summer Substructures
A Warning From The Sun (For Fritz)

LP 2 - SIDE C:
Regel
Rosa Decidua
Switches
The Auto-Asphyxiating Hierophant
Amethyst Deceivers

LP 2 - SIDE D:
A White Rainbow
North
Magnetic North
Christmas Is Now Drawing Near

LP 3 - SIDE E:
Copal
Bankside

LP 3 - SIDE F:
The Coppice Meat
Ü Pel (Incense Offering)

Since founding Swedish synthpop duo KITE in 2008, singer Nicklas Stenemo and keyboardist Christian Hutchinson Berg’s brooding fusion of cinematic electronics and anthemic pop has steadily elevated into a spectacle of passion, atmosphere, and communion. Their debut double-A vinyl single for Dais Records, Don't take the light away / Remember me captures KITE at their most urgent, thrilling and apocalyptic.

"Don't take the light away" is a song about “the war between energies, ”with singer Stenemo’s wounded croon leading a rising tide of stabbing strings, pulsing percussion, and looming bass orchestrated by keyboardist Hutchinson Berg, surging to a mass-chanted chorus both desperate and triumphant (“dance, let them dance into me / people versus people can’t see / hands should be holding hands”). "Remember me" was written following the band's 2017 US tour, capturing the intense feelings of burnout and exhaustion. "Remember me, Won't you remember me, Promise you'll remember me.

"Words only tell half of the story; smoke spills across the stage, and the melodies become a battle cry. Our worst fears eventually boil over, turning into hope and resilience. Like the best of KITE’s music, "Don't take the light away" and "Remember me" fuse theater and catharsis into anthems of universal yearning, born of “the struggle to keep a flickering candle lit in a very dark space.”

TRACK LISTING

1. Don't Take The Light Away
2. Remember Me

The latest EP from Drab Majesty marks the start of a stirring new chapter in the band’s majestic legacy. Written during a 2021 retreat to the remote coastal Oregon town of Yachats, Deb Demureleaned into the neo-psychedelic resonance of a uniquely bowl-shaped 12-string Ovation acoustic/electric guitar. After early morning hikes in the rain, Deb would record ambient guitar experiments the rest of the day, tapping into “flow states,” letting the sound lead the way. These sessions were then refined or recreated, and later elevated further with key collaborations by Rachel Goswell(Slowdive), Justin Meldal-Johnson(Beck, M83, Air), and Ben Greenberg (Uniform, Circular Ruin Studio). An Object In Motionis true to its title, capturing the chrysalis moment of an artist evolving, reborn and untethered, silhouetted against an open horizon.

“Cape Perpetua” kicks off the collection’s divergent palette: sparkling acoustic finger-picking refracted through delay, equal parts raga and reverie. Melodies and moods congeal and dissipate, at the threshold of rustic American primitivism, brooding neo-folk, and pastoral melancholia. “The Skin And The Glove” deploys jangle to different effect –baggy, soaring, grey-skied kaleidoscopic pop in the spirit of Stone Roses, Primal Scream, and The Glove. Rachel Goswell lends her iconic freefall voice to The Cure-esque ballad, “Vanity,” infusing poetic gravity to the doomed refrain: “If the valve breaks / then the earth quakes / and history finds a way / to put you in your place.”

“Yield To Force”, the closing track of the EP, may be the most anomalous offering of the set. A 15-minute instrumental odyssey of cyclical strings, ominous slide guitar, and simmering synthesizer, the piece sways and spirals like a long zoom into distant storm clouds. Demure finesses the guitar with a restless but regal grandeur, unfolding a panorama of peaks, shadows, and plateaus. It’s music both intuitive and prophetic, tracing the slow swing of pendulums across an endless plain. Taken as a whole, An Object In Motionpresents a showcase of potential futures from Drab’s evolving domain, their sound poised to bloom at the precipice of transformation.

TRACK LISTING

1. Vanity (feat. Rachel Goswell)
2. Cape Perpetua
3. The Skin And The Glove
4. Yield To Force 

Queens Of The Circulating Library stands alongside Time Machines and Nurse With Wound’s Soliloquy For Lilith as a post-industrial pinnacle of sensory-warping long-form drone. Crafted by the distilled duo of Thighpaulsandra and John Balance, the 49-minute piece unfurls in swirling, cyclical waves, tidal as much as textural, channeling the spirit of levitational minimalism pioneered by La Monte Young. Touted as the first part in "a continually mutating series of circulating musickal compositions” upon its initial release in 2000, the album remains a compelling case study in Coil’s exceptional capacity for mutation and extremes.

The theatrical introductory monologue delivered by Thighpaulsandra’s mother – a career opera singer, in her 80’s at the time of recording – sets the stage for a grandiose ascension. Written by Balance, the text is declamatory but dreamlike, refracted through megaphone echo: “Return the book of knowledge / Return the marble index / File under "Paradox" / The forest is a college, each tree a university.” As her voice fades, the lulling synthetic infinity deepens, congealing into transient crests of volume and haze, like slow-motion surf misting in moonlight. Thighpaulsandra describes their aesthetic intention as a “bliss out,” static but shape-shifting, an amniotic drift towards an eternal vanishing point. A supreme sonic embodiment of the slogan on the sleeve of Time Machines, two years prior: "Persistence is all."

TRACK LISTING

Side A
Queens Of The Circulating Library
Side B
Queens Of The Circulating Library

SoiSong is the stunning but short-lived partnership of Coil co-founder Peter “Sleazy” Christopherson and veteran Russian electronic experimentalist Ivan Pavlov. Though friends since 1997, the project birthed roughly a decade later in Bangkok, where Christopherson relocated following the death of his Coil collaborator John Balance in 2004. Named after the Thai word for ‘two’ along with a notorious red-light district street nearby, the duo dialed into a cryptic language of lurching synthetics, Eastern minimalism, and interdimensional glitch, oscillating between elegance and mayhem. qXn948s collects some of their earliest recordings, and remains as transgressive and transcendent a listen now as it was upon its release a decade and a half ago.

Pavlov characterizes SoiSong as less a musical group than a “utopian, semi-alien platform for collaboration, devoid of pronounced personality or centralized authority... more like a message from elsewhere that anyone is welcome to participate in and spread.” Every facet of the project was disruptive and oblique: self-released CDs packaged in elaborate origami that had to be destroyed to be accessed; a website with password protected sections, where different passwords were provided for different events, objects or releases; performance merchandise of headphones and a Walkman melted shut so the music can only be heard as long as the set of batteries last. Theirs was a muse as unprecedented as it was uncompromising, equal parts pranks and profundity.

qXn948s began with samples and software composed intuitively in tandem before a large monitor, then progressively processed and scrambled into bewildering arrangements of digital frequencies, alternately spartan and claustrophobic, uneasy and uncanny. Vignettes of small melody emerge and are obliterated; gamelan-esque tones spiral above cybernetic pulse programming and funereal didgeridoo; skeletal piano meanders in the distance while flickering circuitry pummels patterns of white noise. Pavlov describes his and Christopherson’s chemistry as “unspoken and sincere, and very efficient.” That music this aggressively disorienting and complex congealed in a smoothly organic fashion is testament to the rare vision of its creators.

TRACK LISTING

Side A:
Kabuki-Chop
Soijin No Hi

Side B:
Koi Ru
Jam Talay Sai

The turn of the millennium ushered in an apex visionary phase for English esoteric duo Coil. Relocating from the city to the coastal quiet of Westonsuper-Mare freed them to follow even more fringe obsessions, fully untethered from peer influence. During a single six-month stretch in 2000 they released the devious underworld sequel to Music To Play In The Dark, arcane drone summit Queens Of The Circulating Library, and a malevolent hour-long synthesizer exorcism prophetically titled Constant Shallowness Leads To Evil. This latter work remains one of the group’s most miasmic and mind-expanding creations, on par with Time Machines – a sustained divination of shuddering, psychoactive noise, rippling with the motion sickness of an all-seeing eye.

Thighpaulsandra characterizes the album as “an exercise in brutality,” born from a thorny patch of his Serge modular unit that Peter “Sleazy” Christopherson found entrancing. Processing this sliver of electronics into a ravaged labyrinth was a trial and error process, aided by Christopherson’s visual sense of sound, stretching and manipulating it for maximum spatial disorientating. Frequencies nauseously crawl across the stereo field, burrowing into the ear like a sinister brainwashing experiment. An outlier / centerpiece is the 13-minute alien tribalist sea shanty, “I Am The Green Child,” guided by John Balance’s sung-spoken free verse concerning vengeance, oblivion, and insanity, culminating in the memorable refrain, “We're swimming in a sea of occidental vomit.” But the rest of the record seethes in unhinged instrumental chaos, divided into 18 micro-movements of a composition called “Tunnel Of Goats.” Intended to scramble the functionality of a CD player’s shuffle mode, the piece throbs, thrashes, and flatlines in compressed frenzies of twisted synthesis, at the threshold of some bottomless purgatory, forbidding and unknown.

TRACK LISTING

SIDE A:
Higher Beings Command
I Am The Green Child
SIDE B:
Beige
Lowest Common Abominator
Free Base Chakra
SIDE C:
Tunnel Of Goats
SIDE D:
Tunnel Of Goats

After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter “Sleazy” Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group’s heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one.

Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed “moon music” – post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group’s limitless insular synergy.

Opener “Something” is stark and incantational, a spoken word experiment for windswept voids. “Tiny Golden Books” unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. “Ether” is an exercise in funeral procession piano and intoxicated wordplay (“It's either ether or the other”), while “Where Are You?” and “Batwings – A Liminal Hymn” lurk like liturgical murmurings heard on one’s death bed, framed in granular FX and flickering candlelight.

As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination “Paranoid Inlay” captures the group’s oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. “It seems concussion suits you,” he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: “On a clear day I can see forever / that the underworld is my oyster.”

TRACK LISTING

A1. Something
A2. Tiny Golden Books
B1. Ether
B2. Paranoid Inlay
C1. An Emergency
C2. Where Are You?
C3. Batwings (A Limnal Hymn)

The latest by Andrew Clinco’s acid punk alias VR SEX takes its title from an architectural phrase but more importantly refers to the warped, wicked underworld the songs both chronicle and condemn. Donning the moniker Noel Skum – an acerbic anagram of Elon Musk – Clinco vents his scorn for and fascination with the seedy, surreal margins of low-life Los Angeles, doomed to dead ends of vanity, lust, and technology. Although initially launched as an outlet for “heavier sounds” beyond Clinco’s duties in new wave fantasists Drab Majesty, the project has ripened into a compelling exercise in world building, weaving themes of gritty city neofuturist sleaze within a framework of driving, distorted guitars and cathode-blasted synths. Echoes of Chrome, Wire, Minimal Man, and Sisters Of Mercy ripple through the collection but ultimately Rough Dimension charts its own twisted vision of “our unforgiving reality.”

Written and demoed across two weeks alone in a Marseille flat using his prized 1980’s Gibson “Invader” and a laptop, Clinco then took the tracks to Strange Weather studios in Brooklyn to record with Ben Greenberg (Uniform, The Men) who helmed 2019’s debut, Human Traffic Jam. The results are notably ripping, refined, and riveting. Riffs in alternate tunings chug and churn over mid-tempo drums punctuated by spikes of sci-fi electronics while the vocals swagger and spit venom (“where we walk is also where we shit / but if we bark at our reflections are we hypocrites? / impulses bleed right into our seed / where hate culminates the apple rotted on the tree”). It’s a bristling mix of the melodic and the macabre, absurdist observations of fast living and desperate measures, the clock of youth ticking towards midnight as dreams unravel in Babylon.

VR SEX’s specialty is making these cautionary tales of psychic decay and tainted love a thrill rather than a drag. There’s a sunglasses at night glamor to Clinco’s choruses and solos, a wit to his black leather judgements (“what is the answer / to cancerous people / walking in my line of sight?”). The music’s milieu tends towards parasites and predators but its mood skews refreshingly accelerated and amused, cruising the strip with a cigarette, watching goths and limousines crawl in gridlock beneath digital billboards. The Rough Dimension may be a cesspool, but it’s home. 

TRACK LISTING

SIDE A:
Victim Or Vixen
Glutton For Love
Cyber Crimes Live (In A Dream)
SIDE B:
The Walk Of Shame
Crisis Stage
Taste Of Hate
Snake Water
End Vision 

After a quarter century of nearly nonstop activity, dystopian Detroit synth-punk institution ADULT. have perfected a strain of stylistic cohesion in the album format, “but for this we wanted something that’s falling apart.”

Becoming Undone, the 9th official full-length by co-founders Nicola Kuperus and Adam Lee Miller, explicitly succeeds in this aim, simultaneously rejecting and reflecting the planetary discord that inspired it. Begun in the latter half of 2020 against a backdrop of unprecedented flux and seismic isolation, the duo kickstarted their muse by sourcing fresh additions to the rig: a vocal loop pedal for Kuperus and Roland percussion pads for Miller. Reconnecting with legacy influences like the politicized industrial percussion of Test Department and the queasy miscreant synthetics of TG’s 20 Jazz Funk Greats sparked a series of fruitfully frenetic sessions, centered on themes of impermanence and dissonance. Miller’s rationale is blunt: “We weren’t interested in melody or harmony since we didn’t see the world having that.”

From the tense technoid blitz of “Undoing / Undone” to the twitchy EBM of “Fools (We Are…)” and “I Am Nothing,” the sides bristle with strident acidic revolt and black leather sequential circuits, unhinged and unforgiving. Elsewhere, slower tempos of purgatorial unravelling (“Normative Sludge,” “She’s Nice Looking”) showcase a breadth of vocal FX, Kuperus sounding alternately indignant and possessed, decrying the crimes, fears, and failings of a deluded world. Throughout, the band’s chemistry crackles with revulsion and strobe-lit dissent, equal parts exorcism and denunciation. “Humans have always been pretty terrible,” Kuperus explains. “But every year the compromises of culture just accelerate.”

Becoming Undone is also freighted with a more personal pain, as Kuperus’ father passed away during the height of the pandemic, just before the album took root. As his hospice caretakers, she and Miller faced the banality of finality, surrounded by objects drained of meaning, “the joy of having a body, but also the drudgery of having one.” The record’s bewitching closing track, “Teeth Out Pt. II” – which happens to be the first ADULT. song in the group’s history without drums – speaks to this sense of doomed corporeal mass and the looming, lightless unknown that binds us all. A seasick haze swells and subsides in slow, low waves, flickering with ring modulation, above which Kuperus sings in a dazed, brooding, transcendent state, as if having finally glimpsed beyond the pale: “Some day / some day I will be silent and free / of this relentless gravity.”

TRACK LISTING

SIDE A:
A1. Undoing / Undone
A2. Our Bodies Weren’t Wrong
A3. Fools (We Are…)
A4. Normative Sludge

SIDE B:
B1. I Am Nothing
B2. She’s Nice Looking
B3. I, Obedient
B4. Teeth Out Pt. II

Few groups in recent history forged as confounding and alchemical a body of work as Coil, the partnership of Peter 'Sleazy' Christopherson and John Balance. From album to album and phase to phase their recordings spelunk perplexing depths of esoteric industrial, occult electronics, and drugged poetry, both embodying and alienating parallel currents of their peers. The late 1990's in particular were a fertile era for the duo, embracing chance, chaos, and collaboration, enhanced by recent advancements in synthesis and sampling. Fittingly, at the summit of the decade's long, intoxicated arc, their divergent strains of interstitial ritual congealed into one of Coil's most celebrated and hallucinatory creations: Musick To Play In The Dark.

Convening at Balance and Christopherson's vast Victorian house / studio in the coastal town of Weston-super-Mare, they began a series of ambitious sessions aided by inner circle associates Thighpaulsandra and Drew McDowall. Although the creative process was admittedly “iterative” and “a bit of a drug blur,” the results are astoundingly inventive and well realized, winding through shades of divination dirge, wormhole kosmische, noir lounge, ominous humor, and black mass downtempo, guided by Balance's cryptic lunar muse, which he announces on the opening track: “This is moon musick / in the light of the moon.”

What's most remarkable about the album 20 years after its release is how brazen, insular, and unpredictable it still feels. The songs follow an allusive, altered state logic all their own, warping from microscopic ripples of glitch and breath to widescreen warlock psychedelia and back again, as much hyper-sensory as interdimensional. Even within a catalog as eclectic as Coil's, Musick is a mystifying collection, oneiric evocations of desire, decadence, dinner jazz, and dietary advice, far beyond the pale of whatever gothic industrial ambiguity birthed such a journey. The record closes with a slow, starlit shuffle, bathed in seething sweeps of spectral texture and high cathedral keys, like approaching the altar of some arcane temple. As the trance thickens Balance's voice rises, processed into an increasingly eerie, gaseous haze, but he resists these unseen forces, intent on delivering a final sermon: “Through hissy mists of history / the dreamer is still dreaming / the dreamer is still dreaming.”

TRACK LISTING

1. Are You Shivering?
2. Red Birds Will Fly Out Of The
3. And Destroy Paris In A
4. Night
5. Red Queen
6. Broccoli
7. Strange Birds The
8. Dreamer Is Still Asleep

Stephen Mallinder, co founder and frontman of the iconic Cabaret Voltaire, has returned with his first solo album in over 35 years: Um Dada. Laced with leftfield house and cut up sound collages, Um Dada is a melding of energies that are an exercise in simplicity and motion. Sincere, playful realism that beckons your body to move, always reminding you to never take yourself too seriously without forfeiting your agency.

While steering Cabaret Voltaire through the 1980’s, Mallinder was already busy piecing together his first solo album entitled “Pow Wow”, which would help define Mallinder’s interest in the more leftfield electro sounds shaping England at the time. It was this diverse and abstract hybrid that helped inspire generations of artists and musicians through steeping raw machine funk within the whimsical and absurdist ideology.

Since the release of “Pow Wow” in 1982, Mallinder continued his pioneering work with Cabaret Voltaire, as well as recording and touring with his electro projects Wrangler, Creep Show, Hey Rube, Kula, and Cobby & Mallinder. In addition to his non stop schedule in electronic music, his professional life as a journalist, broadcaster, producer and now a professor of Digital Music & Sound Art at the University of Brighton, has lead Mallinder to a unique point in his career. Most in his position would be caught up in rosy retrospection, but Mallinder himself says, “There’s too much digital finger licking right now; every thought and desire at the turn of a dial... well a click of the mouse. And there’s a giddy, false nostalgia about the analogue past. Sorry to burst your bubble but the truth of history is more mundane: practical, pragmatic...Um Dada is about ‘play’ cut and paste, lost words, twisted presets, voice collage, simple sounds things that have been lost to technology’s current determinism. Let the machines talk to each other, let them dance .. they lead, we follow.”

Um Dada opens up with the exact machine led surrealism that Mallinder recommends in “Working (You Are)”. A thick, stripped back dance floor groove provides the ideal foundation for Mallinder’s eccentric vocal cuts. The frisky chops present an almost twisted irony, subtly bringing to mind the role we’re all forced to play as just another cog in the ever grinding capitalist machine of life. Yet, somehow, the listener is left feeling optimistic. A prime example of simplicity at work. Tracks such as “Satellite” give a skillful illustration of Mallinder’s adeptness with his musical expertise while preserving his core historical context as only simple reference. The underlying bassline and percussion, coupled with the floating melodies and airy vocal refrain disclose the vulnerabilities of love and loss without a hint of irony or nostalgia.

Um Dada is mischievously idealist, however never loses touch with reality. Offering structure while simultaneously dismantling any and all preconceptions. The spirit of sincerity that sustained Cabaret Voltaire’s lengthy career is abundantly present within founder Stephen Mallinder’s journey through his own whimsical utopian consciousness and staking claim to an identity that is solely his own.

STAFF COMMENTS

Barry says: One of the most singular voices in English electronica returns for his first solo album in over 30 years. 'Um Dada' encompasses everything we love about Mallinder and while his most recent collabs (Creep Show with shop favourite John Grant was a particular highlight) clearly showed his influence, it's great to hear his own sound, undiluted and unadorned, and switching effortlessly between a huge range of influences and sounds.

TRACK LISTING

CD
1. Working (You Are)
2. Prefix Repeat Rewind
3. It’s Not Me
4. Um Dada
5. Satellite
6. Colour
7. Flashback
8. Robber*
9. Hollow*

*Bonus Tracks

LP
A1. Working (You Are)
A2. Prefix Repeat Rewind
A3. It’s Not Me
A4. Um Dada
B1. Satellite
B2. Colour
B3. Flashback

Birthed from Arizona’s regaled Ascetic House collective, Body of Light is a dark synth-pop outfit comprised of young brothers Andrew and Alexander Jarson. What began as a vehicle for their exploration of noise and sound during their early teens has evolved into an established production over the last decade, as Body of Light continues to carve out their own style of complex, structured, and moving dancefloor electronics. Their music is not only individually personal, but drawn from experiences shared between the two brothers – and calls on elements of new wave, freestyle, goth, and techno to create timeless and singular tracks without fear of trend or passing fashion.

On their third album Time to Kill, Body of Light refines their brand of cold and driving synth pop with a bold pallet of sounds and a focus on uncharted technique and purpose. Like the pale digital stare of the modern devices surrounding our daily lives, the album weaves stories of love and obsession in an era of technical bondage and fleeting exhilaration. Written over a period of intense and profound change, Time to Kill stands as a startling reminder of how important our existence truly is. Haunting keys, swelling pads, and punching rhythms score their work as Alex Jarson presents an alluring and romantic dialogue with confident projection. The title single “Time to Kill” kicks off the album with a merciless signature beat, complimented by distorted sample patterns against an infectious, moving bass groove that invites you to “let the memories fade.” The follow up single “Don’t Pretend” invokes sparkling nostalgia and innocence over a dark and driving beat paired with vintage electronic movements. The haunting “Dangerous”, slows the pace with its pendulum-like rhythm and ominous intonation, falling between a hopeful synth pop ballad and shadowy dirge – a slow dance for the sunrise set.

Produced by Matia Simovich at Infinite Power Studios in Los Angeles and mastered by Josh Bonati, Time to Kill shines with new direction and new intention through lustrous production and innovative songwriting. 

TRACK LISTING

SIDE A
1. Time To Kill
2. Heart Of Shame
3. Don’t Pretend
4. Fever Freak
SIDE B
1. Fear
2. Dangerous
3. Violent Days
4. Stormy
5. Under The Dome