Tuesday, 30 April 2013
Sunday, 14 April 2013
And a song dedicated to people who live...
...in prisons.
Physical prisons or prisons of their own making
Physical prisons or prisons of their own making
Saturday, 13 April 2013
Coil - Horse Rotorvator, Force and Form/K.422, 1986
Horse Rotorvator is the 2nd full length album of Coil and the release that showed that Scatology was not a coincidental album. Coil were indeed reforming the "standard" image of industrial, and the very essence of the word music into a more spiritual and esoteric manifestation, along with the other two "pillars" of UK occult movement of this age: David Tibet and Steven Stapleton (and Genesis P-Orridge). Music in their hands has already started to transform in a way equally pioneering to the great fathers of contemporary electronic music such as Karlheinz Stockhausen, Pierre Schaeffer, Iannis Xenakis, and the rest. The tools back then, were the non-pythagorean mathematical interpretation of music and the post-WWII collapse of ideas and revisionism about man. The tools now were the newborn industrial movement established by Throbbing Gristle (the "Wreckers of Civilisation" as characterised by the politician Nicholas Fairburn in the House of Commons in 1976) and the strong belief that modern man, with all his ideologies and social systems has failed dramatically, suggesting that the solution is the change of man himself through the dissolution of the current moral systems, esoteric studies and hallucinogens.
Horse Rotorvator is the result of one of Johnn Banace's dreams in the period and its concept can be found on the album cover, the text of which I cite here
'On the Eve of the Apocalypse - (The Air choked with Horsehair) - The Four Horsemen betray their steeds - slitting open the animal throats - and in doing so release the Second Great Deluge - Horsegore - Infinite divisibles split - an Infinity of open Sewers -
The Four then fashion an immense earthmoving device from the collective jawbones - the Horse Rotorvator - with which to plough up the waiting World - (ROTA turns through 180 to TARO) - Wheels replace Horses - Dark Horses run - Dark Horses run Deep - and Hell is paved with Horseflesh... (We plough the Fields and scatter our dead steeds on the Land)'
This is Horse Rotorvator. Much more elaborate, complex and not so 'straight through' as Scatology, filled with parallelisms which became Coil's trademark.
The very characteristic vocals of Jhonn Balance start to unfold, creating a haunting atmosphere that drags you in his dreams. Abstract patterns, screaming children, abrupt industrial samples, create the means to Apocalypse as envisioned in the psychedelic dream of Horse Rotorvator.
Characteristic tracks are:
Blood from the Air
The First Five Minutes After Death, in its two completely different manifestations
and of course Ostia, written for the death of Pier Paolo Pasolini
Horse Rotorvator is the result of one of Johnn Banace's dreams in the period and its concept can be found on the album cover, the text of which I cite here
'On the Eve of the Apocalypse - (The Air choked with Horsehair) - The Four Horsemen betray their steeds - slitting open the animal throats - and in doing so release the Second Great Deluge - Horsegore - Infinite divisibles split - an Infinity of open Sewers -
The Four then fashion an immense earthmoving device from the collective jawbones - the Horse Rotorvator - with which to plough up the waiting World - (ROTA turns through 180 to TARO) - Wheels replace Horses - Dark Horses run - Dark Horses run Deep - and Hell is paved with Horseflesh... (We plough the Fields and scatter our dead steeds on the Land)'
This is Horse Rotorvator. Much more elaborate, complex and not so 'straight through' as Scatology, filled with parallelisms which became Coil's trademark.
The very characteristic vocals of Jhonn Balance start to unfold, creating a haunting atmosphere that drags you in his dreams. Abstract patterns, screaming children, abrupt industrial samples, create the means to Apocalypse as envisioned in the psychedelic dream of Horse Rotorvator.
Characteristic tracks are:
Blood from the Air
The First Five Minutes After Death, in its two completely different manifestations
and of course Ostia, written for the death of Pier Paolo Pasolini
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