Coil (1982–2004) was initially established in London in 1983 as an experime… Read Full Bio ↴Coil (1982–2004) was initially established in London in 1983 as an experimental solo outlet for ex-Psychic TV member John Balance, and became a full-fledged experimental sonic manipulation unit a year later following the arrival of keyboardist / programmer Peter Christopherson (Sleazy), a founder of Psychic TV as well as a member of Throbbing Gristle. After debuting with the 17-minute ritual recording How to Destroy Angels, Balance and Sleazy recruited the aid of Possession’s Stephen Thrower, J.G. “Foetus” Thirlwell, and The Virgin Prunes’ Gavin Friday to record their full-length 1984 bow Scatology, an intense, primal work of sculpted industrial noise thematically devoted to the concepts of alchemy and transmutation.

Coil spent the next period of its existence exploring visual media. In late 1984 they recorded a rendition of Tainted Love (originally recorded by Gloria Jones, but made popular by Soft Cell in the 80s), producing a widely banned, hallucinogenic video clip featuring Marc Almond as the Angel of Death; despite considerable controversy at home, the video ultimately found its way to the archives of the Museum of Modern Art. After spending several years working with filmmaker Derek Jarman on the feature The Angelic Conversation, Coil issued a remixed edition of their soundtrack. Following 1986’s Nightmare Culture, a collaboration with Boyd Rice produced as split release with Current 93, Christopherson and Balance invited Stephen Thrower to join the group in a full-time capacity. As a trio, they recorded 1986’s LP Horse Rotorvator, introducing orchestral, jazz, and middle Eastern textures into the mix; this album included The Anal Staircase.

In 1987, Coil issued The Unreleased Themes for Hellraiser, a collection of atmospheric gothic instrumentals commissioned for but ultimately cut from the Clive Barker horror film, followed by compilation album Gold Is the Metal (With the Broadest Shoulders), a remixed history of the group’s first several years of work. Unnatural History, another career overview, effectively ended the first phase of the band’s career in 1990; when Coil resurfaced a year later with Love’s Secret Domain, their music reflected the strong influence of the acid house culture. Another long layoff brought on by financial difficulties ended in 1995, when the group - now consisting of Sleazy, Balance, and Drew McDowell - signed to Nine Inch Nails’ Trent Reznor’s Nothing Records to release Backwards, an album which was never officially released, although it is available in a number of bootleg versions. Additionally, they recorded the LP Worship the Glitch, issued under the name ELpH, and in 1996 cut A Thousand Lights in a Darkened Room as Black Light District.

1998 marked a significant stylistic shift for Coil, as the group moved away from the industrial dance sound they pioneered in the first half of their career towards what Balance referred to as "Moon Musick". This began with the release of four seasonal EPs throughout that year, coinciding with the equinoxes and solstices; this marked the group making further forays into ambient and neoclassical styles. Lyrically, there was a push towards naturalistic, pagan imagery, and an emphasis on free form, improvisatory chants. All four of these releases were later collected and released as Moons Milk (in Four Phases) in 2002. Coil also put out a purely drone based project, Time Machines, under that alias the same year.

In 1999 Coil started to work with Thighpaulsandra, and with him released the chilling Musick to Play in the Dark, a dark, meditative work featuring mostly intoned vocals from Balance, and exploring deeper electronic textures and pitches. A second volume followed in 2000. After years of refusal to do so, Coil started to perform live again in 1999. They released a number of albums containing the various shows they did in the period 2000 - 2004. Coil have released a lot of material in very limited editions, and have distributed certain records only at concerts. In 2003 they started a project to re-issue these tracks. Amidst their sporadic touring, and growing internal tensions within the group, Black Antlers was released in 2004, consisting of many of the songs played in concert at the time. This would prove to be the last studio recording put out in Balance's lifetime.

Jhonn Balance’s long-time struggle with alcoholism led to his death on 13th November, 2004. He fell from the second floor window at his home, while drunk, and died a short time after. Coil’s last live performance took place at Dublin’s City Hall on 23 October 2004 and is expected to appear on the forthcoming DVD box set “Colour Sound Oblivion”. A number of songs that were (as good as) ready were released in autumn 2005 as a last farewell to Jhonn.

Peter Christopherson passed away peacefully in his sleep on November 25, 2010. Instead of sending flowers in memory of Peter Christopherson, people were asked to donate money to help children affected by AIDS in Thailand, the country he loved and died in.

http://www.thresholdhouse.com
http://en.wikipedia.org/wiki/Coil_(band)

Blue Rats
Coil Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Blue rats, watch them patter
Blue rats, pitter-patter
Blue rats, watch them patter
Blue rats, pitter-patter

I'm waiting for the scratch
Of blue rats
Of blue rats

I'm waiting for the scratch

Scritch-scratch

I'm waiting for the scratch

I'm waiting for the scratch
Scritch-scratch

Overall Meaning

The song "Blue Rats" by Coil is a haunting and somewhat cryptic piece that seems to speak of waiting for something elusive, perhaps something that is associated with the blue rats mentioned in the lyrics. These rats are described as "pattering" and "scratching," and the singer seems almost entranced by their movements. The repeated phrase "I'm waiting for the scratch" suggests a sense of anticipation or desire, but it's unclear what the scratch represents.

One interpretation of the song might be that it speaks to the allure of the unknown or even the dangerous. The blue rats, with their eerie movements and unpredictable behavior, could represent some sort of thrill or excitement that the singer is drawn to. The scratch they are waiting for could represent a moment of contact or connection with this elusive attraction. Alternatively, the blue rats could symbolize something negative or sinister, and the singer's fascination with them could reflect a sense of being trapped or drawn in by destructive forces.

Overall, the lyrics of "Blue Rats" are open to interpretation, and the song's repetition and insistent rhythm only add to its enigmatic quality. It's a haunting and intriguing piece of music that encourages listeners to explore their own reactions and emotions in response to its mysterious imagery.

Line by Line Meaning

Blue rats, watch them patter
Observe the movement of the blue rats as they scurry around

Blue rats, pitter-patter
Listen to the sound their footsteps make as they move quickly

Blue rats, watch them patter
Continue observing the blue rats in motion

Blue rats, pitter-patter
Listen once again to the sound of their speedy footsteps

I'm waiting for the scratch
I am anticipating the scratch of the blue rats

Of blue rats
Specifically, the scratch of the blue rats

Of blue rats
Again, referring to the scratch made by the blue rats

I'm waiting for the scratch
Reiterating the anticipation of the blue rats' scratch

Scritch-scratch
Onomatopoeic representation of the sound of the rats' scratching

I'm waiting for the scratch
Once again, emphasizing the anticipation of the blue rats' scratch

I'm waiting for the scratch
Continued emphasis on the waiting for the blue rats' scratch