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.
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The Snow
Coil Lyrics
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Man has given a false importance to death. Every animal, plant, or man that dies adds to nature's compost heap.
The lyrics of Coil’s song “The Snow” seem to focus on the themes of death, transformation, and the cyclical nature of life. At the beginning of the song, the singer urges us to “get ready to be delivered,” suggesting that some kind of journey or transformation is imminent. This is followed by the line “and delivered in a hurry,” which seems to reinforce the idea that this transformation will be sudden and perhaps surprising.
The second verse of the song offers a perspective on death that is quite different from the way death is usually viewed in our society. The singer argues that humans have given death a “false importance,” implying that we attach too much significance to something that is just a natural part of the cycle of life. The singer goes on to suggest that when something dies, it simply becomes part of “nature’s compost heap,” highlighting the idea that death and decay are necessary processes that allow life to continue.
Overall, the lyrics of “The Snow” seem to be encouraging us to embrace change, even if it comes in the form of death or decay. The song reminds us that these processes are natural and necessary, and that they ultimately contribute to the larger cycles of life and nature.
Line by Line Meaning
Get ready to be delivered, and delivered in a hurry!
Prepare yourself for death, because it will come unexpectedly and swiftly.
Man has given a false importance to death.
Humans have imposed a significance on death that is not warranted by its natural process.
Every animal, plant, or man that dies adds to nature's compost heap.
Death is a natural and necessary part of the cycle of life, and the decomposing of bodies contributes to the nourishment of new life.
Contributed by Madelyn O. Suggest a correction in the comments below.