GoldenAge Bloodsports

THE GOLDEN AGE
OF BLOODSPORTS
___________________________
THE COLLECTED WORDS, LYRICS & PERFORMED SONGS OF

JHONN BALANCE
Compiled by Phil Barrington

First Edition printed November 13th 2014 / ‘10th Anniversary’ Version
Second Edition printed November 25th 2014
Third Edition printed April 21st 2015
Foreword, curation, appendices material, design
and all photographs* © Phil Barrington / Barrington Arts except;
“For Learning, Not For Show” Appendix + Diagram - © Phil Legard
“The Guardian Obituary” Appendix - © The Guardian
All lyrics/word collages are © to their respective copyright holders
(see individual songs for writer credits)
All other illustrative diagrams and drawings believed to be in the public domain
*except for the thumbnail photographs on the Memorial Service pamphlet

(reproduced for historical purposes);
front of Memorial Service pamphlet © Ian Johnstone
back of Memorial Service pamphlet © Peter Christopherson
2
THE GOLDEN AGE
OF BLOODSPORTS
___________________________
THE COLLECTED WORDS, LYRICS & PERFORMED SONGS OF
JHONN BALANCE
___________________________
COMPILED BY PHIL BARRINGTON
AN UNAUTHORISED CURATION
BARRINGTONARTS
www.barringtonarts.com / www.facebook.com/BarringtonArts 3
4
CONTENTS
010 - A Foreword To The Curious / Acknowledgements (Phil Barrington)
015 - A Warning (Jhonn Balance)
MARS
020 - Balance (a poem)
021 - The Peacock (a poem)
022 - The Father Of Fear
025 - Fetish For Today
026 - Scars For E
027 - Here To Go
029 - Spoilt Children
031 - Baptism Of Fire
031 - Rape / Violation
033 - Truth
035 - Sicktone
036 - Poisons
037 - Boy In A Suitcase
038 - S Is For Sleep
039 - Coil Manifesto; The Price Of Existence Is Eternal Warfare
SUN
043 - How To Destroy Angels (A Programme)
045 - Panic (Compiled Version)
046 - At The Heart Of It All / Montecute
047 - Tenderness Of Wolves
048 - The Spoiler
049 - Restless Day
050 - Solar Lodge
051 - The Sewage Worker's Birthday Party
052 - Godhead≈Deathead
053 - Cathedral In Flames
054 - Tainted Love
055 - The Anal Staircase
056 - Slur
057 - Babylero
058 - Ostia (The Death Of Pasolini) (Compiled Version)
060 - Penetralia / Penetralia II
061 - Circles Of Mania
063 - Blood From The Air (Compiled Version)
065 - Who By Fire
067 - The Golden Section 5
SUN (continued)
068 - The Exploration Of Sleep (an article)
069 - Dream Diary; Dream #1 (a diary entry)
070 - Dream Photography
071 - The Wheel / The Broken Wheel
072 - For Us They Will
074 - Underneath All That Ever Was
075 - Leviathan Lifts
076 - Stones Standing Still
078 - Burn Time Dry
079 - William Burroughs; Electronic Revolution (an essay)
081 - Thunder Bends The Air
083 - Lightning Flashes
084 - The Colossus Of Rhodes
085 - The Bitch That Bore The Bastard Is In Heat Again
086 - The Silent Catastrophe
088 - Metal In The Head
089 - We Are The Lust
090 - Blind Orbits Arch
092 - Furious Flames
093 - Gilded Sickness
094 - Worldview
095 - Windowpane
097 - The Snow (Compiled Version)
098 - Teenage Lightning 1 & 2 / Lorca Not Orca / 2005
101 - Things Happen
103 - Further Back And Faster / Further
105 - Titan Arch
106 - Love's Secret Domain
108 - The Dark Age Of Love
109 - Scope
110 - Is Suicide A Solution? / Who’ll Fall?
111 - Light Shining Darkly
112 - Blue
113 - Fire Of The Mind
114 - It's In My Blood / A.Y.O.R.
117 - A.Y.O.R. (Fano Version)
119 - Heaven's Blade
120 - Amber Rain
121 - I Don't Get It
122 - A Cold Cell
123 - The $100,000 Altar
125 - On Rushing Winds
6
SUN (continued)
126 - The Test / Nature Is A Language
127 - Fire Of The Green Dragon
128 - Copacaballa (The Most Accomplished Surgeon)
130 - Paint Me As A Dead Soul
132 - Backwards (Compiled Version)
135 - Where The Long Shadows Fall
137 - Twilight Twilight, Nihil Nihil
140 - pHILM #1 (vox)
141 - Decadent And Symmetrical
142 - Ended
143 - Red Skeletons
144 - Refusal Of Leave To Land
145 - Stoned Circular II
147 - Blue Rats
148 - Chalice
149 - Assassins Of Hakim Bey
150 - The Lost Rivers Of London
MOON
155 - Heartworms
157 - AOS; Artist, Occultist, Sensualist (an essay)
165 - Bee Stings
166 - Glowworms / Waveforms
168 - Summer Substructures
169 - A Warning From The Sun (For Fritz)
170 - Rosa Decidua
171 - The Auto-Asphyxiating Hierophant
173 - Amethyst Deceivers / The Last Amethyst Deceiver
175 - A White Rainbow
176 - North
177 - Magnetic North
179 - Christmas Is Now Drawing Near
180 - The Snow Man
181 - The Sea Priestess (Prescription Version)
184 - The Sea Priestess
186 - I Don't Want To Be The One (Compiled Version)
187 - MÜ-ÜR
189 - Grief
190 - Are You Shivering?
191 - Red Birds Will Fly Out Of The East And Destroy Paris In A Night
192 - Red Queen
194 - Broccoli (Compiled Version)
197 - Strange Birds 7
198 - The Dreamer Is Still Asleep
MOON (continued)
200 - Broken Aura
201 - Queens Of The Circulating Library
202 - Silence Is Golden
204 - Tudor Fruits
205 - Black Nurse
206 - Optical Black
209 - Fouled
211 - Something (Compiled Version)
212 - Tiny Golden Books
213 - Ether
215 - Paranoid Inlay (Compiled Version)
217 - An Emergency
218 - Where Are You?
220 - Batwings (A Limnal Hymn)
222 - Health And Deficiency; Love's Septic Domain
224 - The Last Rites Of Spring
225 - Higher Beings Command
226 - I Am The Green Child
228 - Tunnel Of Goats V-VII
229 - Constant Shallowness Leads To Evil
232 - Copal
233 - The Coppice Meat
236 - Sick Mirrors
240 - Sick Mirrors (Glauchau Version)
243 - What Kind Of Animal Are You?
246 - The Universe Is A Haunted House (Compiled Version)
249 - Lake View
LUNAR ECLIPSE
253 - The Restitution Of Decayed Intelligence II
254 - The Gimp (Sometimes) (Compiled Version)
256 - Sex With Sun Ra (Part One – Saturnalia)
259 - Sex With Sun Ra (Part Two – Sigillaricia)
260 - Wraiths And Strays (Compiled Version)
261 - All The Pretty Little Horses
263 - Black Antlers (Where's Your Child?)
264 - Bang Bang
266 - I Am Angie Bowie (Compiled Version)
268 - An Unearthly Red (Compiled Version)
8
LUNAR ECLIPSE (continued)
271 - Snow Falls Into Military Temples
272 - A Slip In The Marylebone Road
275 - Triple Sons And The One You Bury / Triple Sun
278 - The Somnambulist In An Ambulance (The Dreamer Is Still Asleep)
281 - Make Room For The Mushrooms
282 - Unhappy Rabbits
284 - Stranded With Gifts
285 - I Want The Bells To Whistle
287 - Tom's Radio Weston
288 - Tattooed Man
290 - Going Up
292 - A List Of Wishes
294 - Christ's Teeth
296 - Beast Boxes & Milk Splashes
299 - Fj Nettlefold
303 - Going Up (Compiled Version)
APPENDICES
305 - The Final Days of Jhonn Balance (Phil Barrington)
314 - Chronology Of Monolithic Events (Phil Barrington)
319 - For Learning, Not For Show (Phil Legard)
323 - A List Of Wishes
332 - The Guardian Obituary
334 - The Curator’s Gallery (Phil Barrington)
338 - A Funeral Ceremony
344 - Assistance
345 - Who’ll Remember? (Jhonn Balance)
9
A Foreword to the Curious
First and foremost, this isn't a Coil book. This is a Jhonn Balance book, and not even
a complete book of his lyrics at that (that would be impossible, considering his
constant live improvisations, distorted word collages on several Coil tracks, and his
experimentation with language and made-up words enticing even the most astute
listener to make errors in translation). Although Jhonn was always the visionary
leader, conceptualist, artist and main lyricist of the mighty Coil and, thus, was
arguably more than half of the group in creative essence, his words were almost
always accompanied by the amazing sound experiments of Peter Christopherson
(and, with Coil's "Queens of the Circulating Library" album, Thighpaulsandra
exclusively), with well over half of the Coil catalogue not even containing his (and
no) lyrics at all. Thus, this book is indeed (and unashamedly) all about Jhonn.
What have I uncovered during the curation of this Book of Balance? What insights
lay ahead for the curious reader?
The lion's share of Jhonn's lyrics are, for the first time ever, here compiled into one
mostly chronological order within the pages of one tome for your reading pleasure.
I say 'mostly chronological' as the undated lyrics from the infamous long-gestating
1990s 'Backwards' sessions, and subsequent releases over a decade later, make it
difficult to put things into true order - this book dates the Backwards lyrics as from
1995-1996. Regardless, there are a great many insights about Jhonn to be found if
you're reading this book from cover to cover.
Who was Jhonn Balance? His was a lost soul addicted to the concept, and magickal
appeal, of "escape" from a very young age. Growing up in what seemed like a harsh
and physically abusive transitory household (moving country-to-country with an
apparently cold father figure guiding the patriarchal Rushton family), he eagerly
sought out the escapist wonders of the occult as an adolescent, making moon spells
to bewitch his fellow boarding school pupils, the whiff of being expelled always in
the air because of his arcane interests.
10
His personal feelings, and deeply-embedded fears, from his abusive childhood echo
throughout his lyrics here, from even before Coil's existence in the early 1980s and
onwards, to the very end of his life in the 2000s. His original lyrics for the band
Cultural Amnesia, such as "The Father of Fear" (renamed by the band as "Hot in the
House") paint a starkly obvious picture of his fearsome patriarch aligned closely
with his interest in the occult, with many further songs bleeding this pain through-
out, the pinnacle of which perhaps being his introductory childhood story to Coil's
"Broccoli" in 2003 (found in this book, its inclusion being arguably an historically
important one - the live recording making for an extremely uncomfortable listen).
Outside of this childhood disturbery (see how Jhonn's lyrical influence helps you
make up words?) his joy for the surreal couplet, religious condemnation in enmity,
and escape through potent sexual magick is most often found, and previously well-
noted strengths of his world vision. However, reading through this collection there
are three further aspects to Jhonn's personality that I feel are seldom noted
amongst the thriving Coil community.
Firstly, his knowing sense of humour. Just when you think he/Coil could be accused
of out-and-out pretentiousness he throws a disarmingly wry/daft curveball at you.
For all his literary sources, black sun theoretics and conceptual visions, there's a
"where's my bum?" or "angels kiss our souls/arseholes in bliss", or even Coil's over-
the-top short-lived lounge singer period ("Loves Secret Domain", “Circles of Mania”,
"Things Happen", etc.) always gleefully bursting such bubbles of pretension.
Secondly, his Gysin-esque word experimentation. Especially during Coil's "Moon"

phase, Jhonn's experimentation with word rhythm, repetition and thematic leaps
are a wonder to listen to (though not necessarily always a wonder to read!). Like
Brion Gysin before him, Jhonn recognised the power of the vocalised word in gently
distorted repetition, the end result being a patterned word collage of his own,
strangely in some kind of competition against Christopherson's collages of found
sounds when viewing Coil's back catalogue as a whole body of work.
11
Again, Jhonn recognised the voice as instrument - not necessarily as a constant
conveyance of logical narrative. It goes without saying that, from a Burroughsian
point of view, Jhonn's phrases and imagery infect and bleed through his whole body
of work, the Word Virus infiltrating the whole lifespan of Coil; the same words,
phrases, astronomical entities and ideas cropping up in the corners of almost all of
Jhonn's written works.
Thirdly, his doomed romanticism. Even taking stock of what many people see as
Coil's extreme and harsh scatological beginnings, there are many words for the
lovelorn to be found here, right through to "I will be all right if you kiss me / I will be
all right if you hold me" on the Sun Ra songs towards the end of Jhonn's time in this
particular universe; Jhonn's world was always one with the promise of love, though
mostly just out of reach.
As you can expect, there are definite musings elsewhere in his lyrics on his alcohol-
related time in hospital during the "Moon" phase of Coil, with lots of nods to the
infirm and disabled, medical imagery and mentions of serious ill-health; from zim-
mer frames, prescription (and, of course, non-prescription) drugs and blood transfu-
sions, to the aches and regrets of just getting older, it's all to be found here.
Time. Whether you agree with William Burroughs’ views on it or not - or even if you
take stock of various quantum multiverse theories - ‘Time’ itself seems to ripple
back and forth in the dark river of our lives, creating impressionistic visions or
strange precognitions of tragedies to come, déjà vu and troubled dreams of the
future (why do you think we don't get to remember most of them?). Thus, what was
to happen to Jhonn was already described in advance within his lyrics, and in great
detail too. If you have a spare evening, I am positive you could easily piece together
Jhonn's words to describe the circumstances of his tragic accident with the pinpoint
accuracy of a Pathology lab (or of a successful Seer/Shaman).
12
That, as observing (and listening) strangers, is what we know of Jhonn. That was the
level of his true multi-layered connection to this world.
He was one twisted mystic.
Phil Barrington
Postscript
I recognise that Coil fans are a discerning, loyal and fiercely protective bunch. So, with that in
mind, if you find any glaring errors (beyond individual interpretation of partially inaudible
vocals), additional songs or essays by Balance that you think should appear in future editions
of this book, why not get in touch; www.facebook.com/BarringtonArts
It should be stressed that this is a completely unofficial compilation and, as such, I had little
access to Jhonn’s archive of original lyric sheets, and so interpretations were often necessary.
Like Jhonn (and Kate Bush!) would say; “please be kind to my mistakes”.
Copyright is not willingly ignored by this commemoration compilation, originally released
under the Guerrilla Curator ethic (of seeking acceptance rather than permission) to duly pay
respect to Jhonn and his body of work on the 10th Anniversary of his death. I have strived to
included the sources of the lyrics/words under each song in an effort to acknowledge who
had originally written the works themselves.
This book was created as a friendly protest to get Jhonn’s writings officially collected and
available in paper book form, from his actual notebooks, for a new generation to discover.
Go to the Threshold House website to buy your official Coil items;
http://threshold.greedbag.com
13
Acknowledgements & Curatorial notes
My sincere thanks goes to the welcome guiding hand of Adam Czarnecki, Phil
Legard for his fantastic appendix (and esoteric support), and a very special thanks
goes to Maarten Schermer for his supreme kindness in sending me copies of
Jhonn’s notebook pages from that very rare “Gold is the Metal…” boxset.
Thanks also to Christopher Athanasiadis and Michel Faber. Sources of guidance,
reference and quotation used throughout this collection include the "England's
Hidden Reverse" book by David Keenan (1st edition, 2003, SAF Publishing Ltd.),
Peter Christopherson pamphlets, Coil interviews and assorted websites;
Cultural Amnesia, Threshold House and Brainwashed. My other starting point was
the equ.in/ox Coil lyrics site.
Curatorial Notes
Jhonn had many names (and Coil had others). For consistency I have called him
Jhonn Balance throughout, and referenced all Balance/Christopherson works as
Coil.
Coil had mentioned many times in interviews that their body of work can be seen as
two distinct phases; “Sun” and “Moon”. To incorporate juvenilia, pre- and early-
Coil lyrics into his whole body of work, together with later-life and posthumous
blending of “Sun” (from the “Backwards” period) and “Moon” material I have taken
the curator’s liberty of creating a further two phases for Jhonn Balance’s writing, for
coherence and accessibility reasons, alongside the broad aim of assigning themes
and emotives to such periods of his life;
Mars = 1975-1983, Juvenilia, arrival in London and up to the end of Jhonn’s Zos Kia
involvement.
Sun = 1983-1998, from “Scatology” to the start of treatment for Jhonn’s alcoholism
and the band’s move to Weston-super-Mare, England.
Moon = 1998-2003, from “Foxtrot” through to the end of Coil’s concert tours and
mail-order music releases.
Lunar Eclipse = 2003-2015, from the “Restitution of Decayed Intelligence” EP,

“Black Antlers” and one-off Coil concerts, up to Jhonn’s death and on to post-
humous releases containing his lyrical presence.
Essays and other notable pieces are kept within the chronological timeframes above
and not separated from the lyrics, to further identify Balance’s mindset at the time.
14
Engraved on the ground where we walk is this warning;
"Everything is now destroyed

Do not seek to be anything other than this
You will be divested of every garment until none remain
What is born must become whole by annihilation"
Jhonn Balance, "The Coppice Meat"
15
16
17
MARS
18
19
Balance
(A Jhonn Balance Poem)
Balance.
A piercing pivot point
Stuck in the helpless page
Greed.
A mound of coinage, useless
In a surrealistic chasm
Plastic.
Twisted up fragments, embedded
In a tussock of tortured blotting paper
A field.
Of white pulp, flat
And dry as the non-existence of its reality
[Written in 1975, aged 13]

20
The Peacock
(A Jhonn Balance Poem)
Dedicated to Mother & Father
Proud, elegant and haughty

The peacock calls to his mate
The sound echoes like the voice

Of a Chemaera
It echoes and rustles
The Leaves
To elicit the spirits

It Calls
And spreads its mighty rainbow behind
At the dawn of time

The Lord Peacock
Drank the elixir of butterflies
And his drab, limp tail
Drew up
And reached for the heavens
And caught the colours of the rainbow

In its feathers
And they've remained unequalled

For ever...
[Written on 16th August 1975, aged 13]

21
The Father Of Fear (Hot In The House)
(Jhonn Balance for Cultural Amnesia)
It was mere folly… I didn’t mark it

There’s more here than there seems… I don’t like it
50,000 wild flutes blow up a storm

There’s someone within us, someone amongst us
Someone who knows what frightens and thrills us
There’s laughter behind you and someone is crying
Wild dogs are running through dry riverbeds
Go down to the town, down to the town

Where they never work all their lives
So they just lie about
Lost until knives cut the skins from their backs
The butchers, the bakers, the nightmare makers
All lost till they stammer out there’s answers for life
He loves his little children, he waits in their bedrooms

Merging with furniture, hiding in playthings
He comes down, he comes down

The father of fear with a family to feed
Collector, reactor, collator, relater
Sheds tears, he sheds skins… he is here
Surrounded by wild men and ghosts and wild boys
He is wise, he is panic, he is fear
22
We are tense we cannot sleep
We pull wool from the backs of sheep
O hot in your houses and stained by dead horses
Situations repeated like films of your past
Like babies in baskets, like rats in the rushes

Bou Jeloud is searching for secrets inside
He loves little children, he waits in their bedrooms
Merging with furniture
Hiding in playthings
[Bou Jeloud - a Pan-like figure, half-goat. half-man, legends originating from Morocco.
Written in 1982, along with “Fetish For Today”]
23
24
Fetish For Today
Every night will be a death night

A black and white night, a red and knife night
Every day will be a death day
Morbid voyeurs, car-crash site display
A fetish for today, a fetish for today
Blind man standing on her doorstep

He throws acid in her young face
Feeling raw and mentally shattered
Her daily routine ended suddenly
She’s a fetish for today

She’s a fetish for today
25
Scars For E
A severe endeavour to sever the past

A stone cast by darkness to shatter the glass
And scars remain to stain the pain
White stains remain, remain
Bloodstains remain, remain
Pain stains darkest, can’t explain
The scars for E that infest me
Scars for E, o' weeping sadness is blurred

Flesh and memory, steel blades and tears
Sweat stains remain, remain
Pain deepest, can’t contain
A trust from me, a thrust from E

Stained by dead horses, smeared with blood voices
Video violence watch towers of silence

Video violence watch towers of silence
Fall, crush the sadness I feel
Bloodstains remain, remain
Pain stains darkest, can’t contain

26
Here To Go
(Jhonn Balance for Cultural Amnesia / Brion Gysin)
As he walked to her window she cried to his back

I want to be close to you
Gazing into the distance he disposed of her
Glimpse of eternity
Every bond is a bond of sorrow
I am here to go
That’s a quotation, you know
I can tell you nothing that you do not know

I can show you nothing that you have not seen
I am that I am, I’m here to go
I am that I am, that I happen
I am that I am, till the fields shift
I’m here to go
I can tell you nothing that you do not know

I can show you nothing that you have not seen
we are that we are, we’re here to go
we are that we are, that we happen
See what I say as well as I hear it

See what I say as well as I hear it
Surely this is it at last, surely this is it at last
[repeat]
You are forced to obey the suggestions we are making

Do it now do it later
Speed up slow down
Obey the law break the law
Listen to me ignore me
Trust in me trust in no one
[repeat]
27
I am that I am that I happen
I am a resultant
I am a coincidence of fields
I am, I am is my here
I am here, for what am I here I am
I am what I am, I am here for I am hear to go
I am a resultant
A coincidence of fields
When the magnetic fields shift there is no here
I am gone, I am thought in action
My field shifts for my thought is action
And I go, I am gone
Stop this song

Stop this song
28
Spoilt Children
On a day like today we could all fade away

Or act out the story that you saw on Jackanory
About the death that came to stay
And wouldn’t go away
Without the contents of your cupboard
And the bones of Mother Hubbard
It’s all so so slow, you know

The feeling you get when your dog dies
On your birthday and everything that comes
Through your mailbox tries to kill you
And it’s here come the damp rots to

Take away the Woodentops
Blood soils the buttercups
It’s all so so so, you know I was talking

To Christ about the view from the Cross
But his soul had flown to other lands
I just felt like throwing the Last Supper up

It’s all so so so, you know

It’s always almost midnight here
The proles and children live in fear
Of when the time will start up here
29
It’s all so so so, you know
Here come the soldier men
To rape and kill your toys again
And whitewash your memories again

Your eyes are two-way mirrors

That I want to stab with scissors
To stop the future leaking out
So I’ll see the sorry way
That fate will leave me now today
30
Baptism Of Fire
(Jhonn Balance / Zos Kia)
It's a secret
You're a secret
Thank you
Thank you for my tunnel vision
Thank you for the sadness that I see
Thank you, God, thank you for the shit of my muse
It doesn't matter, 'cause the zebra's on fire
In the fire
Zeeeebra
31
Rape / Violation
Fear holds me here

Watching, waiting, watching
Your eye... Wolf-eye, I…
I teach you
I hate you
You're waiting to be my sweetheart
...holds me here waiting...
Power danger violence fear
The power, danger, violence, fear, fear
Pain, and the pain
Hurts when you fuck me...
Hot hard prick rammed down my throat
He only does it for my red-hot womb
I'd give anything to leave now… Intimate
[repeat]
Fear, fear, fear, fear, fear...

He only does it… He only does it ...
To leave me here, leave me here alone
Lonely, touched (touched)...
Till the flesh is cold red...
Power, the power...
[distorted male voice begins]
I do not fuck around, I never fucked in my life...

Leave me here, leave me here, leave me, leave me
Oh wolf, wolf-eyes
I teach you,
I hate you
I kill you
I…
[scream]
32
Truth
(Charles Manson / Jhonn Balance / Zos Kia)
And I believe it was truth…

The truth has not been in your courtroom,
Never has been in your courtroom.
All you have is confusion in your courtroom.
Why do I have to stand and take the blame for your sins again?
I've spent my life in jail, paying for you, so that you could ride your bicycle, have
your birthday parties, have what you call a life.
You know, I never had a life. I don't even know what life is, you know: I go to the
desert, I'm not even allowed to live in your desert. I'm no good for anything except
to be used, as your scapegoat.
I'm used. Every day of my life, I've been used. When I haven't been used, and I have
been on the — on the street - I've been chased, robbed, harassed, pushed, kicked,
my ribs have been broken.
You know, the same man that gives you a traffic ticket is the same guy that knocks
my brains out.
He figures just because he's the man (those scum) ... nobody's gonna say anything.
My daddy's not a congressman, a doctor, or a lawyer.
..Under the door... Sneaking ... Sneaking everywhere. Everything is sneaky up
around Sneakyville...
Has to be sneaky, and it's even a shame to sneak... to make... Such an evil, nasty
thing.
You gotta sneak to get to the truth; the truth is condemned... The truth has been in
your reservation, building your railroads, emptying your garbage. The truth is in
your brains and your jails, and the young lads starting your courts or your congress
where the old sit judgement on the young. They don't know about the young...
Look at the madness that goes on. You can't prove anything that happened yester-
day. Now is the only thing that's real. You can try to prove that Columbus sailed on
that ocean, but it's not the same ocean: it's a different ocean. It's a different world.
33
Every day, every reality is a new reality.
Every new reality is a - is a new horizon - a brand-new experience oblivion.
A friend of mine... He's afraid of what he might have to do in order to save his
reality, as I saved mine.
You can't prove anything: there's nothing to prove. Every man judges himself. He
knows what he is. You know what he was. I know what I am. We all know who we
are. Nobody can stand in judgement - like you're standing in judgement. of a
human body... But it doesn't amount to anything.
What they're doing is, they're only persecuting themselves. They're persecuting
what they can't stand to look at in themselves: the truth! They can't stand to
look at the truth in themselves so they persecute themselves.
They're persecuting themselves every time they go on the freeway.

They hate themselves. Look at the signs. Stop, go, turn here, turn there, you can't
do this, you can't do that, you can't, you can't, you can't, this is illegal, that's illegal,
everything's illegal.
The police used to watch over the people; now they're watching the people. The
president doesn't represent the people; he could be on the roadside picking up his
children but he isn't. He's in the White House sending them off to war.
And you're saying I have to pay for this again, and again and again;
I've gotta pay for your sins. How many times have I gotta pay for your sins?
I'm getting tired.
I'm getting tired.
[Various live hollers by Balance punctuate the original broadcast source; John Moran's 'The
Manson Family Opera']
34
Sicktone
We've been witnessing your many (and varied) forms of control today
They're very effective
They're very pretty
Are you bothered?
Stop! Stop!
Leave me alone
Leave me alone
Leave me alone
Get it out, get it out, get it out
Get it out, get it out
No
Get it out of here
Get. It. Out.
I want tits out
[incantation]
35
Poisons
Kitchen;
No. No. No. No
No. No. No. No
No. No. No. No
No. No. No. No. No!
...So we know this
We've all gone mad
We've all gone mad
We've all gone mad by now
Touched, touched, touched
Touched by Christ's little hand
Have to rearrange reality
To come back here
To these monoliths
36
Boy In A Suitcase
(Jhonn Balance)
Boy in a suitcase
Boy in a suitcase
Boy in a suitcase
Follows you from place to place [x4]
Boy in a suitcase
Boy in a suitcase
You're alright?
You're alright?
You're alright?
You know who he is… The boy...
He's your boy in a suitcase
Pray our lies are stuck in a timeless place
He's your boy in a suitcase… In a timeless place
Follows you from place to place
Follows you from place to place
He's your boy in a suitcase

Open your eyes
Boy in a suitcase
Open your eyes
Open your eyes
Boy in a suitcase
Boy in a suitcase
Checks in / Checks out

Disappears without a trace
Boy in a suitcase
Boy in a suitcase
Holding a man's eyes in a young boy's face
37
S Is For Sleep
(Jhonn Balance)
S is for silence
S is for sleep
Fears soaked in secrets
Dreams that we keep
Lost between “were”
And “shall be”
Here are we both
Cruel and in ruins
Walking into the centre
Of a circle of animals
A place where nothing is
And nothing becomes
Here, exhaustion is the signal
To start the slide of secrets
Dead letters fall from our shedding skins
Planting history in expanses of mud
Here is completion
Here is compulsion
Here is another rosebud
To darken the blood
[italicised lyrics from original lyric sheet, and do not appear on the recorded song]
38
Coil Manifesto;
The Price Of Existence Is Eternal Warfare
(Jhonn Balance)
COIL is a hidden universal. A code. A key for which the WHOLE does not exist. Is
NONEXISTENT, in silence and secrecy. A spell. A spiral. A serpents SHt round a
female cycle. A whirlwind. A double helix. DNA. Electricity and elementals.
Atonal noise, and brutal poetry.
COIL is amorphous. Luminous and constant change. Inbuilt obSOLescence.

Inbuilt Disobedience. A vehicle for obsessions. Dream-cycles in perpetual motion.
We are cutthroats. Infantile. Immaculately Conceived. Dis-eased.
The Virus is Khaos. The cure is Delirium.
COIL are Archangels of KHAOS. The price we pay for existence is eternal Warfare.
There is a hidden coil of strength, dormant beneath the sediment of convention.
Dreams lead us under the surface, over the edge, to the Delirium
state.UNCHAINED. Past impositions and false universals.
Reassembling into OUR order.
COIL. Who has the nerve to dream, create and kill, while the whole moves every
part stands still. Our rationale is the irrationAL. Hallucination is the truth our graves
are dug with. COIL is compulsion. URGE and construction. Dead letters fall from
our shedding skins. Kabbala and KHAOS. Thanatos and Thelema. Archangels and
Antichrists. Open and Close. Truth and Deliberation. Traps and Disorientation.
39
COIL exist between Here and Here. We are Janus Headed. Plural. Out of time.
Out of place. Out of Spite. An antidote for when people become poisons.
COIL know how to destroy Angels. How to paralyse. Imagine the world in a bottle.
We take the bottle, smash it, and open your throat with it. I warn you we are
Murderous. We massacre the logical revolts. We know everything! We know
one thing only. Absolute existence, absolute motion, absolute direction,
absolute Truth.
NOW, HERE, US.
"Not Knowing What Is And Is Not Knowing, I Knew Not"

Hassan i Sabbah
Sleazy; “Pretentious?”
Jhonn; “No no, it's…”
Sleazy; “It sounds good”
[Italicised end conversation from the 2001 “Black Gold” reading]

40
SUN
41
42
How To Destroy Angels
(A Programme By Jhonn Balance)
Ritual Music for the Accumulation of Male Sexual Energy

Throughout history man has made and used music for two distinct and separate
purposes.
In recent years, particularly since the advent of sound recording, the most popular
use of music has been for entertainment - the temporary amusement and
distraction of as large a number as possible.
As a consequence, many people tend to overlook its more fundamental and ancient
use as a tool for affecting man's body and spirit.
The many varieties of religious music from around the world contain a vast quantity
of clues to the way in which sound can affect the physical and mental state of the
serious listener, yet many find their associations with the religion itself - the dogma-
tism of the churches and the obvious shortsightedness of many cult leaders and
their followers - too difficult a stigma to overlook in their appreciation of the sound
and its potential, for its own sake.
Over the past few years, we have been involved with a number of contemporary
music groups that have tried to some extent to investigate this aspect of sound but
only with varying success.
On this record, hopefully the first in a series, we have tried to produce sound which
has a real, practical and beneficial power in this modern Era. Specifically, it is
intended as an accumulator of male sexual energy.
Although we make neither claims nor rules for its use, we do suggest that for maxi-
mum potency it should only be played in circumstances that are exclusively male
and/or onanistic in nature. What these are is entirely up to you.
Obviously, the execution of the place was structured around concepts that we felt
would work for us, in this case magickal and numerological rather than convention-
ally musical in form, but detailed information about the recording process, much of
which was personal and relevant only to us, might well confuse and distract from
the purpose.
43
One image or symbol which we drew upon that may be useful to bear in mind is
that of Mars, often indicated by the male.
Mars is the Roman god of Spring and Warfare. His qualities are dynamic energy
combined with a vital stabilising discipline; when self-control is missing the
unbalanced force results in cruelty and wanton destruction.
Mars is a deification of forces within Man which can be found in every culture in
one form or another, even to this day.
Finally, since prejudice and fear of the unknown seem so far to have been
unaffected by civilisation, we would like to state once again that, should this music
have any power, over and above the banal and transitory titillation achieved by
most records available now, it is a positive and beneficial power to be used and
controlled by the listener, as he desires.
Thank you.
COIL. London 17th March 1984
"The price of existence is eternal warfare"
44
Panic (Compiled Version)
(Jhonn Balance)
Anything will be all right

If you come out in the night
With your life sewn open
Breathe in, put the bone back in
Buried under the skin
Murder in reverse
Out of time and out of place
And out of spite, swallow the spike
Anything will be all right
If you come out in the night
The only thing to fear is fear itself
...
Out of time and out of place
And out of spite, swallow the spike
With your life sewn open
Breathe in, put the bone back in
Buried under the skin
Murder in reverse
Aaah
The only thing to fear is fear itself [repeated]
Aaah
[Italicised lyrics appear on the 12” vinyl version of “Panic”]

45
At The Heart Of It All / Montecute
(Leonard Cohen, "You Know Who I Am")
You cannot follow me

I am the distance you put between
All of the moments that we will be
You know who I am
You've stared at the sun
Well, I am the one who loves
Changing from nothing to one
Sometimes I need you naked
Sometimes I need you wild
I need you to carry my children in
And I need you to kill a child
You know who I am
If you should ever track me down
I will surrender there
And I will leave with you one broken man
Whom I will teach you to repair
You know who I am
I cannot follow you, my love
You cannot follow me
I am the distance you put between
All of the moments that we will be
You know who I am
...meaning we've finished! [laughter]
[Excerpts from the above song recited softly and casually over the Coil track, the vocals heard
more prominently over the alternate version called “Montecute”, with Dame Judy Dench’s
recitation of Shakespeare’s “Sonnet 104” closing the song]
46
Tenderness Of Wolves
(Gavin Friday)
Was all in vain, or did you cry?

No need to ask; my tears have run dry
This is the end of my pity
I wait to die
You now the living, me now the dead
To prove that you loved me
Mere words could not have said
Biting into skin, into flesh, into me
Taking all you could
Oh, I'd still give you blood
Just to paint your lips
If you should wish them red
My desires your kiss completed
But only now I can see
The vicious joy when you took delight
Behind each kiss your poison bite
And when my all was given
And you had taken
O' dog like Judas, you did disappear
Was all in vain, or did you cry?
No need to ask
[The song was partly inspired by Karl "Fritz" Haarmann (1879–1925), a German serial killer
known as the Wolf Man because his preferred murder method was of biting through his
victims' throats. He committed the sexual assault, murder and mutilation of at least 24 boys
and young men in Hanover, Germany.]
47
The Spoiler
(Jhonn Balance)
The spoiler (follows you)

In spoiler's time (from place to place)
Old man's eyes In a young boy's face (in a young boy's face)
Walking in another's skin, walking in another's skin (Walking in another's skin)
The spoiler
The spoiler
(The spoiler's catch)
Boys who exist (In the stories of shadows)
On our walls
Who take to the floor (like a falling wall)
To dance (to dance with oblivion)
Black boxes (black light)
He works (at night)
The spoiler
The spoiler
The spoiler (Louder, louder, louder, louder, louder)
Spoiler, spoiler, spoiler, spoiler
The spoiler
Spoiler, spoiler
The spoiler
Spoiler, spoiler
His head (resting)
His hands (continents)
Spoiler
His feet
Spoiler
His heart (apart)
The spoiler (Down under, down under, down under)
The spoiler
The, the spoiler
Spoiler, spoiler, the spoiler
[repeated in various arrangements]
48
Restless Day
(Jhonn Balance)
Each time I wake up

Each time I say
The shifting slow beginning
Another restless day
Doubt and indecision
Push me on my way
The shifting slow beginning
Another restless day
Supermarket Sunday
Faces cold and grey
No bread or milk or tea left
No energy to play
Fear is the jailer
That locks my love away
The boy on the checkout
Says "Have a restless day"
Who has the nerve
To dream, create and kill?
While it seems the whole moves
Every part stands still
So there's nothing, yes, there's nothing
Everything makes me ill
While it seems the whole moves
Watching television in the afternoon
Wasting my life away
All they want to show me is
What's under the clock today
But even rats in a cage
Are liable to stray
49
Solar Lodge
(Jhonn Balance)
See the black sun rise in the solar lodge

See the black sun rise from the solar lodge
Stop like a clock
Like a hole in the ground
Stop like a clock
Like a lock
Like a knife in the sound
From the solar lodge
From the solar lodge
Like a knife in the sound
[repeat]
50
The Sewage Worker's Birthday Party
(Word Collage by Coil / TSM Media GmbH, Köln)
Bowl / Crouches
Shits / Pisses
Turd / Mouth
I warned you
Come on, Tiddler!
Are you sure about this?
Well, you ate some (just about)
Bad
...
“Steve had worked in a sewage plant on the outskirts of Scunthorpe for three months and
today was his twenty-first birthday.
The squad was the filthiest of any sewage plants in the area. Not one of them washed his
working clothes. They changed in a group of huts round a brick building which was supposed
to be a toilet and washhouse. The wash-hand basins and the showers worked, but the urinal
drain was blocked with the result the floor had a permanent pool of piss. The three lavatory
bowls were blocked and had a mixture of shit and piss lying in them all the time. The wooden
partitions separating the bowls into cubicles had been broken due to fighting and had been
eventually removed leaving the bowls exposed for all to see.
On every guy's birthday he received a special "Treat" from the squad. It would follow the
usual pattern, tied to the lavatory bowl and used as a urinal for a couple of hours. What Ste-
ve didn't know was that a lot of the guys were fed up with his arrogant ways and wanted to
do something extra.
Just before lunch several guys grabbed Steve and took him to the toilets. The Celebrations
were about to begin.
He was ordered to lie down in front of one lavatory and his wrists were tied round the back.
This meant his cheek was hugging the side of the filthy bowl. A rope was tied round each of
Steve's Wellingtons keeping his feet well apart. Dave took a cloth, dipped it in the bowl with
its mixture of shit and piss and suddenly rammed the cloth into Steve's mouth. He was taken
by surprise. This had never happened before.
John grabbed Steve's hairs and quickly jerked his head to the side sufficiently to pull a short
rope round and tie the gag into place. It was impossible for him to move or say anything. He
was completely at their mercy…”
[song inspired by the above story from the German gay fetish magazine "MR SM" (edition no. #24)] 51
Godhead≈Deathead (Ergot)
(Jhonn Balance)
Godhead turns deathead

Three in one, one in three
The crutch of Christianity
This is not Paradise Lost but Paradise Disowned
Virgin Mary, weak and wild,
Rids herself of an unwanted child
Price of love, pain to pay
For a quick visitation in the hay
A reign of love that stank of death
Nowhere New Jerusalem
No Festival of Light
A moral mean majority who'd
“Kill a queer for Christ”
A moral mean majority who'd
[Balance; "Originally to be called ‘Ergot’ after the hallucinogenic toxin Ergot Rye Mould,
found growing parasitically on the grain that, when inadvertently baked into bread, was
responsible for outbreaks of St. Antony’s Fire, mainly during the Middle Ages. Symptoms
included seizures, religious visions, limbs that turned black and gangrenous. Ergot alkaloids
provided the original source of LSD-25"]
52
Cathedral In Flames
(Jhonn Balance / De Sade)
Circle within circle

And when that hour came
From words they passed to deeds
Spires, spirals and stones rise
“And in the distance, a cathedral in flames”
Given a chance to recover his breath
And exposed
To the process once more
The youth squirmed in a shower of gold
That etched on his skin the words;
"Paradise stands in the shadow of swords"
53
Tainted Love
(Ed Cobb)
Sometimes I felt I had to run away

I had to get away
From the pain you drove into the heart of me
The love we share seemed to go nowhere
And I lost my life
For I tossed and turned, I couldn't sleep at night
Once I ran to you, now I run from you
This tainted love you've given
I give you all a boy could give you
Take my tears and that's not nearly all
Tainted love, tainted love
Now - now I've got to run away
I've got to get away
You don't really want any more from me to make things right
You need someone to hold you tight
And you say love is to pray
But I'm sorry, I don't pray that way
Once I ran to you, now I run from you
This tainted love you've given
I gave you all a boy could give you
Take my tears and that's not nearly
Oh Tainted love, tainted love
Don't touch me please
I cannot stand the way you tease
I love you though you hurt me so
Now I'm going to pack my things and go
Tainted love, tainted love, tainted love, tainted love
Touch me baby, tainted love
Touch me with your tainted love
Tainted love, tainted love, tainted love
54
The Anal Staircase
(Jhonn Balance)
The angels kiss our souls in bliss

Measure the extent of a dizzying descent
Down the anal staircase
Put just one foot on the staircase
And the next step you're down here on this face
And the rapids of my heart
Will tear your ship of love apart
And we'll end up wrecked
We'll end up at the start
Of the anal staircase
And the angels kiss our souls in bliss
Measure the extent of a dizzying descent
Take a hollow-point revolver
Right down the rapids of your heart
Blow the fucking thing apart
Blow the fucking thing apart
One step, two step, three step, four step
“Hey! Quit it! Quit it! Get off me, you punk!”
“No”*
[* Recording of boys playing, originally supplied by a Coil fan from the Netherlands. More
excerpts from the tape can be heard on “A Dionysian Mix” of this song]
55
Slur
(Jhonn Balance)
Roman land of Roman sands and Roman sons

As I watch the sun sink down
On the blood-red edge of the blood-red town
There are shadows for sale
On the edge of town
On the edge of the night
Is a darkness seen
From the side of the night
And the winds blow round this sleeping town
This sleeping town
This Roman land of Roman sands and Roman sons
And it seems to me that when I close my eyes
All the lights in the world
Go out
And the night passes by and you whisper to me
A thousand lies
I stare in surprise
Towards the desert's warm black
And the desert stirs
And the desert stares back
With a thousand eyes
Piercing eyes, ancient eyes
And I ask my lovers, "Do you know
Where the desert roses bloom and grow?"
56
Babylero
(Trad. "Maria Isabel")
Chiribiribí, porompompom
Para ti, María Isabel
57
Ostia (The Death Of Pasolini) (Compiled Version)
(Jhonn Balance / Pier Paolo Pasolini)
Quanto al futuro, ascolti: i suoi figli fascisti veleggeranno verso i mondi della Nuova
Preistoria. Io me ne starò là, come colui che sta sulle rive del mare in cui ricomincia
la vita. Solo, o quasi, sul vecchio litorale fra ruderi di antiche civiltà, Ravenna Ostia o
Bombay — è uguale — con Dei che si scrostano, problemi vecchi — quale la lotta di
classe — che si dissolvono... Come un partigiano morto prima del maggio del '45,
comincerò piano piano a decompormi, nella luce straziante di quel mare, poeta e
cittadino dimenticato.*
There's honey in the hollows
And the contours of the body
A sluggish golden river
A sickly golden trickle
A golden, sticky trickle
You can hear the bones humming
And the car reverses over
The body in the basin
In the shallow sea-plane basin
And his body rolls over
Crushed from the shoulder
Singing like a puncture
Singing like a puncture
Killed to keep the world turning
58
Throw his bones over
The white cliffs of Dover
And into the sea, the sea of Rome
And the bloodstained coast of Ostia
Leon like a lion
Sleeping in the sunshine
Lion lies down
Lion lies down
Out of the strong came forth sweetness
Out of the strong came forth sweetness
And murder me in Ostia
The sea of Rome
And the bloodstained coast
[* "Una disperata vitalità" by Pasolini (excerpt), recited during live performances.

Translation: “As to the future, listen: its fascist sons will sail toward the worlds of the New
Prehistory. I will be there like one dreaming of his own damnation, at the edge of the sea in
which life begins again. Alone, or almost, on the ancient shore among the remains of ancient
civilizations. Ravenna, Ostia, or Bombay - it is all the same - with Gods picking their scabs of
old problems - such as class struggle - which dissolve... Like a partisan dead before May 1945,
I will slowly decompose in the tormenting light of that sea, a forgotten poet and citizen]
[Track overlaid with chirping grasshoppers from recordings made in Chichcn Irza, Mexico]
59
Penetralia / Penetralia II
(Jhonn Balance / Word Collage by Coil)
Hello? I'm in...now... Five, four, three, two, one

Follow the black valley, trail of death
Just look at it this way
Into the beautiful sunshine
...I mean, in five years, who cares?
We've made our money
No - what are the satellites for?
Learn to kill, kill from the inside [No, you're breaking up, you're breaking up totally
I know there's somebody else on the line; you gotta hold your own down]
Penetralia, mercenary paraphernalia - sex, sex scenes, funeral, funeral music. Gay
bar. Submissive dominance. With us, are you with us? Within us.
Caught, caught between two cars about to crash. Yeah, okay. In the future you'll
learn that survival depends on how much, or how little, you leave to chance.
What are you wearing under that?
Something, something, something's coming out of the blue: looks like that kind of
sex scenes. Fuck the car. Monster car, monster entrails.
Pictures...together with women struggling to enter the recesses of my own body.
I just think classical, classical horrors. It's going to take boundless bloody hours.
Words and pictures.
Split second face. Do you hear me?
There's some heavy dark blood on the doctor's hands, and that sledgehammer
crashes with the killer-boy kisses
Kiss, kiss that kills. I can see something of the car in front. Check it out.
In five minutes, okay. Killer-boy kisses. There's just no way...
The diminishing returns, the diminishing returns of a...dream of a horse's head
And a rope of blood cuts them seven times for talking such crap.
Unclean flickers. Have you got the pictures? Hello, er, uh... Very well done flavour.
Can you bid us up, man? I keep moving and now I, I can't stop... Could you repeat
that please? I couldn't quite understand what you were saying then. But I'm caught.
I mean, caught between two cars. Five minutes. Call me. Over.
60
Circles Of Mania
(Jhonn Balance)
"Next up on stage, children, here's Joey"*
Nero's long hot tongue

Nero's long hot tongue licks
This is the sound of the world turning round - the underground

This is the sound of the world turning round
Of the world spinning round
You get eaten alive by the perfect lover

I fell into a burning ring

A burning ring of knives
And the knives slide in
They slide deep into my skin
And they open me so wide
That you stick your head inside
You stick your head inside
You get sewn inside alive

You get eaten alive
You get eaten alive
You get eaten alive
You get eaten alive
When you've swallowed one you just swallow another

When you've swallowed one you just swallow another
61
To drive away this hunger
You stay in there forever
Caught in the centre of a

Circle of mania
Chemical angel enters arena
Toro d'Or falls to the floor

Falls to the floor
Falls to the floor
And he's fucking the floor
Fucking the ground
Fucking the ground
Fucking the ground
The hole in the ground

The hole in the ground
And hot wires sing deep in my skin

I'm writhing, perspiring like Dutch Schultz at 106 degrees
And I wake up licking
I wake up licking the bedsheets clean
Licking and sucking and sucking
And licking and sucking...
[* Recording of Adonis Lounge sex club compere. Dutch Schultz (1901–1935) was a New York
City mobster, with William Burroughs inspired by the gangster's feverish dying words to write
a mock screenplay about him. Schultz's surreal last words were delivered in the midst of high
-fever delirium after being mortally shot while urinating in the men's room of a Newark bar.]
62
Blood From The Air (Compiled Version)
(Jhonn Balance)
A sleeping explorer, his wandering mind

Crossed over the border
A mind like a cemetery where the corpses are turning
Where the bodies twist deep
In the frozen grip of a dreamless sleep
Then the lowest comes up
Like a wreck from the depths
He hears night calling and has dreams of waking
Here in this brightness
That burns like slow lightning
He sees words burnt in ice
And reads that the world is a wound
And the body of Christ
Effects of the animal, animal sound effects
He says, "Death, he is my friend
He's promised me a quick end"
The world is in pain
And should be put down
And God is a sadist
And that he knows it
The depths of the night skies
Reflects in his eye
He says, "Everything changes (Nine Knives of ice)
And everyone dies"
And the night slits her veins
And the darkness drains
And the void rumbles in
Like an underground train
63
Forever comes closer
The world is in pain
We all must be shown, we must realise
That everyone changes and everything dies
…
That everything changes and everyone dies
Best friends die
Worst enemies die
And Pets
Places change, decay
Everyone’s a complete disappointment
Everyone’s broken, all the dead
I’m dead inside
I’m trying to live
Pets and people and places
Change, decay, dismay, distort
Everything’s a complete disappointment
And then they die
[Extra italicised lyrics culled from live performances in Amsterdam and Nantes, 2001. "Nine
Knives" or "Nine of Swords" is a Tarot card also known as "Lord of Cruelty" which, if shown in
an upright position, can mean premonitions, bad dreams, suffering, cruelty and violence.
Given the additional mention of ice, it's worth noting that the original "Lord of Cruelty",
Lucifer, was found imprisoned in ice in Dante's "Inferno C. XXXIV". Jhonn Balance; "It's about
a man buried in ice, who wakes up and becomes a murderer"]
64
Who By Fire
(Leonard Cohen)
And who by fire? Who by water?
Who in the sunshine? Who in the night-time?

Who by high ordeal? Who by common trial?
Who in your merry merry month of May?
Who by very slow decay?
And who shall I say is calling?
And who in her lonely sleep? Who by barbiturate?

Who in these realms of love? Who by something blurred?
Who by avalanche, and who by powder?
Who for his greed, and who for his hunger?
And who by brave assent? Who by accident?

Who in solitude, and who in this mirror?
Who by his lady's command? Who by his own hand?
Who in mortal chains? Who in power?
65
66
The Golden Section
(Peter Lamborn Wilson)
The Angel of Death stands between heaven and earth, holding a poison-dripping
sword. Identified with Satan, he is full of lies; a diligent reaper, an old fugitive and
wanderer like Cain, a beggar, a pedlar, an Arab nomad, a skeleton capering with
sinners and misers in a juggler's dance.
But the nightmarish Angel presents a different face to the one who has 'died before
death', or who has attained some measure of the Apatheia of the Saint.
We are told that Azrael, Death, appears to our spirit in a form determined by our
beliefs, actions, and dispositions during life. He may even manifest invisibly, 'so that
a man may die of a rose in aromatic pain' — or of a rotting stench. When the soul
sees Azrael, it 'falls in love', and its gaze is thus withdrawn from the body as if by a
seduction. Great prophets and saints have even been politely invited by Death, who
appears to them in corporeal form. Thus it was with Moses, and with Mohammed.
When the Persian poet Rumi lay on his deathbed, Azrael appeared as a beautiful
youth and said, "I am come by divine command to enquire what commission the
Master may have to entrust in me."
In fact, a strange connection becomes apparent between Mors and Amor, Love and
Death. The moment of 'extinction' in the pleasure of love resembles that of death,
and thus that of the mystic. In mythic terms, Eros and Thanatos are almost twins,
for in some cases Death appears as a lovely youth, and Eros as a withered starve-
ling.
Both Love and Death are gateways - hence their eternal adolescence and their
fixation in the midst of the rite of passage.
[Original narration by BBC science correspondent Paul Vaughan]

67
The Exploration of Sleep
(An essay by Jhonn Balance)
Certain cultures treat dreams with as much credence and importance as they do
their waking life experiences. In the West the dream has been ignored, dismissed,
suppressed, explained away in purely pathological terms - feared and ridiculed.
Recent advances and discoveries begrudgingly allow us to acknowledge a symbolic,
quasi-importance.
We should begin to use our dreams - as tools - as storehouses for the imagination -
as psychical playgrounds, testing grounds. People are conditioned to disregard and
forget their dreams. They are regarded as harmless and shallow, at best an amusing
diversion - like weak television programmes. We should attempt to reverse this
unfortunate, blinkered, limiting trend and begin a systematic exploration of sleep.
We should equip ourselves and penetrate these unchartered regions, these waste-
lands of the nocturne. We can experience waking dreams, lucid dreams, clairvoyant
dreams. Symbolic and cathartic scenarios can be constructed and enacted in the
dream arena. Create while asleep - free from material/physical boundaries and
circumstantial limitations. The Surrealists, who ably conducted substantial and
lengthy periods of sleep experiments were able to verify; "There is the same
triumphant spontaneity - the same sense of drawing no longer from the narrow and
brief endurance of nerve and brain but on some unknown source exempt from
these limitations".
Use written, recorded results as catalysts to spark off new avenues of thought, to
penetrate problems. Examine your psychological makeup and improve/enhance it.
It's a mountain of raw material mined from the depths of the brain.
It is not always necessary to understand, but to allow some unknown quantity,
some untouched, untested, quality in yourself to enter and change one's
perceptions. The vital, essential, chance factor.
Modern theories have proposed the possibility of a race memory, a collective
consciousness - certainly we have subconscious desires and fears that provide
common cultural and psychic links. Avatars, archetypes of thought, of being. We
should endeavour to unearth these raw laments and utilise them.
[A brief draft of the article appeared on the inlay for the 1986 compilation cassette
"Peyrere". The complete article featured in the 1987 “Hang Loose With Coil - A Coil
Magazine”, self-published by R&D Group 28] 68
Dream Diary; Dream #1
(A Jhonn Balance diary entry)
The action began in a modern design catacomb. A pleasant one. There was an
assembly... A conspiracy of schoolteachers. They had some information about one
of the tombs, that they were about to announce. We waited to hear and find out.
The attendant knew too. He stood beside us.
Sleazy pressed a remote control button on the far end of one of the nearby tombs
and it swung open. The man inside had only recently been identified, having been
moved from an old unmarked tomb... Cut to me reading his name close-up, carved
on the clean grey stone.
Inside, his remains had been mixed with modern rubbish and all of it had been
pressed and shaped into the vague representation of a human body. You could
make out crisp packets, the hands and feet of dolls, bottle tops... Among his
features.
Sleazy broke into the corpse looking for something inside, or underneath it. People
were watching. A lot were wearing roses as some sort of identification. A mafia
linked by symbols.
We were chased by a crowd of men, 4 or 5 of them, who had become boys by the
time they reached us. As we were fighting, rolling in the corpse remains, I kept tell-
ing them that I was sorry, but I intended to win. Both parties kept apologising for
what they usually did instinctively.
They began to examine my muscles, like a racehorse. I apologised that my teeth
were bad because I had lived for 12 years in remote countryside where there were
no dentists. We sat down and compared our teeth. The boys said that they too had
problems with them, and in particular that they stained badly from drinking tea and
coffee.
[This diary entry originally appeared on the inlay pullout sleeve for the 1986 compilation
cassette "Peyrere", curated by Robin Rimbaud www.robinrimbaud.co.uk ]
69
Dream Photography
(Jhonn Balance)
This camera takes pictures

Of all the lost boys who want to dance
With oblivion
Who take to the floor like a falling wall
Boys who exist

In the story of shadows
On our walls
This camera takes pictures of dreams
I see you in a dream

Where your tongue becomes a sword
A sword that cuts my heart in two
Love and terror
[Ultimately unused set of lyrics (though some surfaced in "The Spoiler"), assumed to have
been written for what turned out to be an instrumental Coil track of the same name. These
lyrics appeared in an edition of Unsound Magazine in 1984]
70
The Wheel / The Broken Wheel
(Jhonn Balance / Word Collage by Coil)
When the storm clears and the sun shines

We'll see the country beyond the garden
Oh I was dragged here by an angel
Against my weak will the stronger dictate
Now I stand here, I've scaled the mountain
That led from function to forms of glory
And when our hands touched like worlds colliding
A star exploding
Then I knew that the wheel is turning
The wheel is turning, the wheel is turning
Rust transmuted to gold and silver
By strength of true will
No more resistance, No more resistance
Just perfection, just perfection
…
One, two, three, four...One, two, three, four...One, two, three, four
Where are you?
Oh, big boy!
What do you want?
I wants fucking fuck you. No
You want fucking? Yes - come here
No no no no no - I don't want to fuck me - I want fuck you
Fuck me. Oh yes… [ecstatic groans]
What do you do? Oh, you fucked me, oh yeah, oh yeah, oh...
Why? You hurt fucking with me
Okay. Goodbye! Bye”
Oh, Philippe? Yeah? Phillippe! Bloody funny! Hahaa!
[Italicised lines from “The Broken Wheel”]

71
For Us They Will
(Jhonn Balance)
[Hands] Held high to frame the sun, that burns in the sky
That burns in his eyes, and pierces a hole
Like a negative sun, soleil noir
Le soleil noir [has known] all the time
That you have to burn in order to shine
Smear me with - with blood, love-blood
Till the sun rises red
Till, till the sun rises higher, and higher
Becomes a baptism, a baptism of fire
And I'm caught between bright teeth, bright, bright teeth of morning
I am dog
I tell myself, I am dog, I have no name
I am hungry
I am hungry and I want to eat
I want to eat the hand that feeds me
The hand that feeds me
And I know these things
I know the stupid should struggle - the stupid should struggle
And, and with us they will
And, and for us, for us they will
And, and they will be gored to death
Gored to death on the horns of plenty
And, and smear me with blood
I am dog
Smear me with blood, blood
Until the, ‘till the sun rises red
‘Til the sunrise is known all the time
You have to burn
You have to burn in order to shine
In order, in order to shine
[Bracketed unused lyrics are from the printed lyric sheet in the booklet of Coil’s rare 'Gold is
the Metal...' boxset]
72
73
Underneath All That Ever Was
(Jhonn Balance)
Sorcery-storm Millibars
Sailors beware of the sea
demons - the tornado - path of error
A hymn to the spinal serpent
Hours and bowels
Oral star
Burst to the surface
Sun king
Dauphin
(Nor am I alone in this)
The explosion of the swan
By means of which;
A justice will be done
Cyclone kisses;
I've dreamed of you so much
Second spin
Ageless; Abscess
I saw the angel of the world
Trampled under
Blurred by swarms of teeth
Ravenous
With no hunger
Killing insects
From outside
On the walls of my boredom
I write...
[Unused set of lyrics featured in the booklet of Coil’s very rare Coil’s 'Gold is the Metal...' box-
set. Millibar (or HectoPascal Millibar - symbol mb or mbar) is a meteorological unit of
pressure equal to one-thousandth of a bar]
74
Leviathan Lifts
(Jhonn Balance)
Fast cars collide

Slow stars likewise
Leviathan lifts the head of Black Jackal throwback
Solar exposure
Solar locusts
Locus Solus
In the gut you feel it (strong)
Near enough to need it
Run rings around the Sun
Circles on the Sun
Spit in the eye of time
The eye of the storm is over your house
The eye of the storm is over your town
Time passes over the eye of the storm
Time passes over long stones unturned
Days lived days that lessons unlearned
Burned time out of the plan
Sandstone juts into landslides
Landslides and blurs
One minute your head is my hand
The next not there
Leviathan lifts broad head of black standing stone
I hear the crackle of Black Jackal throwback
I hear a hum in the sun
Saw what I'd become
Learn the lot in an instance blurred
The scene itself seemed blurred
Outlying
Serene on the inner eye
[This ultimately unused set of lyrics featured in the booklet of the very rare Coil’s 'Gold is the
Metal...' boxset (rumoured to be of an edition of only 55). Official title unknown]
75
Stones Standing Still
(Jhonn Balance)
Stones standing still

Still standing stones
The distance between
And the difference between
Distant difference
The distance and the difference
The distance between the difference
The distance between us (distance)
Inbetween, the distance
Inbetween, the difference
The instance, the substance
Indistinction between ideal and actual
It's the soft intruder that reveals steel teeth
Converts from myth and fiction
Reported truth and contractual factual
Responds to action
Response to reaction
High altared thighs
Warm arches
The breath in the body
The body of stones
Brickworking body
Built from sand and stones
Standing stones
Stones standing still
Metal...' boxset (rumoured to be of an edition of only 55)]
76
77
Burn Time Dry
(Jhonn Balance)
Antidote to escapegoat
The dancing distance
Key witness - blinded
Locked-up
Looks up
Into the area of my eye
Stark, staring
Into the centre of the eye glass
Into the centre of the hour glass
Second passed
Second rate
Snail's pace
Crawlspace
Burning hot bliss
Time passes on over
Overstays the night
Time rolls over
Rolls on...
The arc of time
Great wheels of time
Past and future passed by
Past the future
Time passed-out and future dazed
The weak nostalgia for the future
Speeds up the passage
Of time
Hour glass hours
This must be the last time
Next time is always the last time
Next time is always going to be
What had been going on
Going, going, gone
[Unused set of lyrics featured in the booklet of the very rare Coil’s 'Gold is the Metal...' box-
set. Official title unknown]
78
William Burroughs;
Electronic Revolution - An Introduction
(Excerpts from the draft of an essay by Jhonn Balance)
William S. Burroughs has become part of the establishment - a kindly if rather

eccentric old uncle, that your parents view with tolerance. But his benign exterior is
deliberately misleading. It is a disguise.
Like the Shaman, he is a seasoned traveller, fluent in the languages of the dead. A
psychic explorer, he sallies forth (with the minimum of luggage) into the Deadzone,
the Space Between, mapping out forbidden territories, coded terrains, and the
realms beyond demarcation.
Out of bounds.
Operating at the interface of the "impossible" and the "inevitable".
Logic is simply not applicable in these areas. Employing a skilled scientific approach
to areas of non-scientific interest, he factualises fictions, collecting, processing, and
piecing together with a necessary obsessiveness and attention to detail.
Bringing back information, data, and raw material, like an anthropologist smuggling
back valuable artifacts, he returns, a spy clutching pages of Forbidden Texts, torn
from the Akashic Record, (surely not located in any afterlife, but written into the
human genetic code - the DNA script itself, that original pre-historic Survivalist
text).
Nothing is taken at face value. Every phenomenon observed, every word recorded,
is a trap to be sprung, a code to be broken, revealing the meaning, the latent within
the apparent.
Sabotaging natural conclusions, logical and neurological responses and conditioned
reflexes, he forces the facts out into the open exposing, each time, a little more of
the truth about the human condition.
The Electronic Revolution was written in the Sixties, when scientists shared their
discoveries with high-school kids as well as with the CIA. Everyday brought a new
drug, a new device, a new social freedom - anything could happen, and happen
regularly, within this context, making the results of the tape recorder experiments
that William Burroughs, Brion Gysin and Ian Sommerville conducted not only
plausible but also a great opportunity to make a difference.
79
Attitudes have changed since then. Cynicism has replaced optimism as the mood of
the people.
In a recent interview Burroughs told about the reaction he received when he gave a
tour of lectures to groups of students. He explained the plans and workings of the
Orgone Accumulator. It was a device that, by ways of using accumulated
concentrations of universal life force, improved your health and energy.
To Burroughs' clearly apparent dismay there were no interested parties for making
such a device.
Despite the fact that different parties, from both the establishment and from the
ranks of the avant-garde music scene, have tried the experiments found in this
book and have subsequently found that they are work, they are ignored for the
most part, their latent potential not applied.
Perhaps this can be seen, in a certain way, as a good thing. After all, what you
might not know can be kept secret, and be used against you.
This book is the original Handbook of Possibilities. It is both "user" and "abuser"
friendly. The real danger lies in one's denial of the effects these experiments can
have on its subjects. Open interaction is vital when approaching this book.
To quote from the book itself;
"This is certainly a matter for further investigation"
John Balance
London 1988ev.
[The complete version originally appeared as the introduction to the Dutch translation of the
William S. Burroughs essay collection "Electronic Revolution", Published in 1988 by Stichting
Maldoror] 80
Thunder Bends The Air
(Jhonn Balance)
The thunder bends the air

(Bends the air)
Rarified air
Stifling air
L'air épais
Fear builds a house
Brick by brick
Limb by limb
Stone by stone
Satellite views
Micro-swallows
360 degrees
Fullscope
Telescope
Telescopic
The scope of
Infra-ultra u.v.-syco-syndro
[Unused set of lyrics featured in the booklet of the very rare “Gold is the Metal…” boxset.
L'air épais is a ritual or rite also known as "The Ceremony of the Stifling Air", requirements as
such; '...The chamber must either be black, or mirrored. A mirrored chamber provides great-
er confrontation for the celebrant, making him hyper conscious of his role. Mirrors also serve
to 'rob the soul' according to old tradition. The coffin may be of any type, but must be large
enough to accommodate two persons.' Anton LaVey]
81
82
Lightning Flashes
(Jhonn Balance)
So heavy, so slow
Taking care to tell all
This moment's mirror
The mirror of that moment
"Hours scratch each other"
The surface all over
The quick and the dead
The day gets up and walks away
Enormous strobic ecstasies
Robes of silt
Black veins and trampled skies
Crowned with hours
Turned inwards
Like my dream
When you arrive
To find yourself dreaming
Floors and walls
Walls of summer snows
Spectral roses reverse
To soils unstained
Webs of summer snows
Transform the piano of death
Into scrap iron
A flower of eclipses and thunderbolts
Lightning flashes
Official title unknown]
83
The Colossus of Rhodes
(Jhonn Balance)
The sexual architecture

Body in plaster
Life-lying in ruins
Pile of flesh
Roots of flesh
Flesh church
High altered
Draped in the raw
Cathedral of Thighs
Attired
Spinal
Stairwell
Spines and eyes
The spine and the eye
Limestone spine
Blind for a time
Offal altarpiece of raw red meat
Arches
Sexual architecture
Sexual burial
Temple of the body (crumbles)
Pinnacles of spires
Archeologo
Archeo-illogical
Excavator simulator
Muscular masonry
Circulatory designator
Towers of strength
[Unused set of lyrics featured in the booklet of the very rare “Gold is the Metal...“ boxset]
84
The Bitch That Bore The Bastard Is In Heat Again
(Jhonn Balance)
Throat choked on the killing joke

The ultimate, untimely joke
Open throats
Open fires
Burn dry
Burn-day dry
Unleash me to anyway
Wield me and whirl me
On bright ropes of hair
Give sanity a longer leash
But some of us have sharper teeth
Bite through it
Unleash me to anywhere
Wield me and whirl me
On bright ropes of hair
With deadly intentions
Extended tension
Light in exertion
We all get the Gods we deserve
Work your way to the centre
The dead centre-point of entry
The spine and the eye
Split worldview
Split wide open
Worldwide view
World wide open
Wide open view
Of the gap in the clouds
Wide open pornographic skies
They're rebuilding the city
In four-letter words
(Relocator revealing)
[Largely unused set of lyrics featured in the booklet of Coil’s very rare “Gold is the Metal…”
boxset]
85
The Silent Catastrophe
(Jhonn Balance)
I wake from a burning sleep

And dreams that split open the night
Dreams fed with blood from knives
And kept alive with broken lives
Midnight spilt across night skies
This is the time for telling it
As it really is
And still a knife sleeps warm in the wound
Wakes and slips a kiss
Between the lips of the skin
A love as deep
As blood is sweet
And the noise of the jaws
Metal...' boxset (rumoured to be of an edition of only 55)]
86
87
Metal In The Head
(Word Collage by Coil)
And I've spent five hundred quid tonight

He's a good lad, he is
How much?
Here you are, you ugly...
What do I do with that?

Yeah?
Yeah
Do you know the daft thing is, I never had a son

Got two daughters, but I never had a son
He's a good lad, he is.

Never been a better lad in — in your life
And the north won't be the same...

...Usually
88
We Are The Lust
(Jhonn Balance / Death in June)
We Are The Lust
Hold a Knife, Blooded

To The Throat of Love
Hold the Knife Blooded

Hold a Bloodied Knife

We Are The Lust

That Comes From Nothing
We Are The Lust

As They Turn to Dust
As They Ground to Dust
A Crown of Tears
We Are the Lust
We Are The Lust

That Comes From Nothing
89
Blind Orbits Arch
(Jhonn Balance)
Invite ghastly defeat to protect this art

Invite ghastly defeat to protect this art
When they struck into that
They were struck out
Struck into converted code
Released upon the world
I can stop the change
Find the switch if you want to
Find the switch if you can
Beyond a time-altered arrival
And in the distance
The spaces between me and you
Never were mine
“Blind orbits arch”
We told each other
There under the stars
The stars are out for you (out for you)
The stars out of reach for you (reach for you)
To want it, like I am
Without telling you why
But, you see, my… I’ll wait
I have to wait
‘Til they burn me
Pain and pleasure
On extension leads
Manipulate / intimidate
You know more than you think
And you think you know more than you think
You know you think more than you know
You know
Metal...' boxset. Official title unknown]
90
91
Furious Flames
(Jhonn Balance)
Furious flames who came to work for us

They thought they had come
To change the world
They thought they had arrived
Every place and every time
In every place
Every time and every place
And every time in every place
Instead of spells
Give out more space
Cast out full rooms (locked out)
Listen no further
Spin in the interior
Crawling out into knowing space
You knew I never knew you
I never guessed you knew
You knew what I never knew
What was I thinking of?
What was I thinking about?
In that time
In that place
Don’t think too much
Too much of thinking
Best left to himself
Left to instinct
Left to his own devices
Best left to chance
Official title unknown]
92
Gilded Sickness
(Jhonn Balance)
Pinnacle; a miracle
Spectacular miracular
Hot heart of rottenness
Rotten heart, in sin I rate
Incinerate
Gilded with sickness
A shivering illness
A silver filigree illness
A near miss
Near to a pestilent past
Pull out the pricks
Husks and splinters
Pull out the spines
Prime, Medieval
The middle of the age
The middle falls out
Of the age
Passover
Pass through
Pass beyond
Traverse jet black Anubis
Anubismal abyss
The return of the evil
The return of the evil past
Past tense spells pestilence
[Unused set of lyrics featured in the booklet of the very rare Coil’s 'Gold is the Metal...' box-
set. Official title unknown]
93
Worldview
(Jhonn Balance)
Prove a point
A point of entry
Entrance
Sentence
A point of sentry
Weak tears plant sad seed
Unstrung strings of years
And misspent misdeeds
Go straight for the eyes
The blind cannot see
The column rises in roaring lines
Out of the wide world
A grand scale; world viewed
Sunstrokes the crisping
Sick sunshocked searing skin
Sluts ring the rim
Of the hot pit
That pours out
Hot sick spice
Black thick spice
A waterfall of whores
Outdistanced
Out and over
Traveller clearance
Flesh from the ruins
Sexual E-Jackali
Long and hard architecture
Over-throne by undertow
[Unused set of lyrics featured in the booklet of the very rare “Gold is the Metal…” boxset]
94
Windowpane
(Jhonn Balance)
In the sky and in the eye and In the sky and in the eye and
If you want to touch the sky
Just put a window in your eye
See the sun, see the rain

See the window, see the pane
See the sun and see the rain
See the bird's eye, see the brain
Ancient cities rise again
See microscopic, see worldview

See the future leaking through
See the person who once was you
See the seashore and see the sand
See the windows in your hand
See the lie
Gold is the sky in concentrate

Power in its purest state
Power surge, power will rise
Through the window and through the skies
See the sky and see the eye and

See the sky and
In your hand in the sky and in your eye
See the sky in your hand
See the sky and understand
95
Power will rise, power will fly
Through the window, through your eye
Gold is the sky

Gold is the sky
Riches, treasures, riches, treasures, riches, treasures, riches
Riches, treasures, riches, treasures, riches, treasures, riches
Treasures, riches

[played backwards]
96
The Snow (Compiled Version)
(Jhonn Balance / Samples Sourced by Coil & Jack Dangers)
Get ready to be delivered, and delivered in a hurry!*

Man has given a false importance to death
Every animal, plant, or man that dies
Adds to nature's compost heap+
Get ready to be delivered, and delivered in a hurry!*
Man has given a false importance to death
Every animal, plant, or man that dies
Adds to nature's compost heap+
Stay
Stay
Stay
Stay
Beholding all, with eyes whose flashes flood
The veins of their own universe with blood^
[All above words compiled from The Snow EP;

* Originally sourced from a 1980’s Federal Express TV advertisement
+ Originally sourced from Peter Weiss' play "Marat/Sade"
^ Originally sourced from Aleister Crowley's "Moonchild"]
97
Teenage Lightning 1 & 2 / Lorca Not Orca / 2005
(Jhonn Balance)
Don't be alarmed
It will not harm you
It's only lightning
Teenage lightning
It's real, unbelievably real

Teenage lightning
Don't be frightened
This is the way we do it

This is the way we do it
Don't be alarmed
It's only me pursuing
Something I'm not sure of
It's only lightning

Teenage lightning
Don't be alarmed
You can't be harmed
Teenage lightning
Is it real?
Can you steal
Teenage lightning?
It is the lightning's deep, dark love
98
Don't be alarmed
It's only lightning
Teenage lightning
Don't be alarmed
It's only lightning
Teenage lightning
It's real, unbelievably real

Teenage lightning
Don't be frightened
It's only lightning
Teenage lightning
Teenage lightning
Teenage lightning
Don't be frightened *
[* “Lorca Not Orca”]

99
Don't be alarmed
It's only lightning
Teenage lightning
Don't be afraid
Don't be expectant
Don't be afraid
Don't be reluctant
Don't be afraid
It's only lightning
Teenage lightning
Don't be afraid
It's only lightning
Teenage lightning
It's real, it's unbelievably real
It's only lightning
It's only lightning
Teenage lightning ^
[^ “Teenage Lightning 2005’”- itself taken from “Teenage Lightning (10th Birthday Version)”]
100
Things Happen
(Jhonn Balance)
Kill the creator! Send them the bomb!
Daddy, do you have a cigarette for me? I think

Maybe it's getting late, maybe time is running out
You know, I knew somebody once, rifled through his drawers
I wasn't that suspicious but you know, these things they happen
But, muñeca, do you have a towel?
See those people gather round
Baby do you have a light?
What's it like in Ohio... baby?
What d'you want to call me, muñeca?

Honey, do you like my dress?
You know, I think the colour pink suits my complexion
Or is it a reflection of the sky outside, you know
Why are those people crowding around?
You know I think your time is running out
What was your name, anyway?
No lipstick on his collar, but maybe it was blood

I don't know to this day, dear
Do you have another, uh...
Did you light that cigarette for me?
Oh, did you leave that on the side?
Do you have another cigarette for me? You know, uh,
Well, I had somebody once, ah,
You know, we used to cook a lot
It was a...
Do you like chillis in Ohio?
Muñeca, yo te quiero
Yo te quiero Ohio
101
Anyway... muy bonito
Where did I leave my matches?
I thought they were on the table there
By the way, did you, uh...?
Do you have some, uh, cash for me
Because you know I have to, uh, get a cab somewhere, after here
You know, I don't want to push you, but, uh,
You know, I've got to go some place
There's something burning in the kitchen
Did I put the pepper in?
I don't... uh... oh, dear
You know you have to watch yourself, don't you?

Why are those people crowding round me in the street
It must be like that for you a little bit, huh?
It's a bit of a commotion
Nice meeting you

I have no regrets, but I did feel a little bad, you know?
It's kind of like, you know what it's like...
102
Further Back And Faster / Further
(Word Collages by Coil)
We've gone too far. We need... we haven't really got anywhere.

Anyway, we've gotta go much further out.
We have to go much further... much further back, and faster.
Wait a minute.
You've got it! You've got the gift!

...Yeah! A special energy, pulsating...*
See his hands

Look at the fingers
See his hands
See his hands

Look at the fingers
See his hands, see his hands, see his hands
Tattooed fingers
Tattooed fingers: hate
See his hands

Look at the fingers
Fingers of the left hand spell love
See his hands
Look at the fingers

Those of the right hand spell hate
The fingers of the left hand: love
The fingers of the left hand: love/hate
Those of the right hand: hate
Those of the right hand: hate/love ^
103
This is the dark age of love
And you better get me some LSD. Hurry then!

I'll get...I'll get you some LSD
...I'll get you some LSD
Real! What is real? Are you certain you know what reality is?
As it really is!
As it really is!
How do you know that in this second you aren't asleep in your bed, dreaming that
you are here in this theatre?
All your life, your past, your rules of what can or cannot be: it all was part of one
long dream from which you are about to awaken and discover the world — as it
really is!
As it really is! +
[* From Nic Roeg's film "Performance"]

[^ From "Night of the Hunter" as read by Charles Laughton]
[+ From HG Lewis's film "The Wizard of Gore"]
104
Titan Arch
(Jhonn Balance)
Crown the dark animal

Black jackal crawling
Eternal returning
An end to the waiting
There are thrones underground

And monarchs upon them
They walk serene
In spaces between
At the head of the storm

Darkness is rising
In the garden of jaws
His wounds are shining
Angels take poisons

In rotting pavilions
Under shivering stars
The sickness is gilding
105
Love’s Secret Domain
(Jhonn Balance / Roy Orbison / William Blake)
O Rose, thou art sick
Seduce, let loose the vision and the void

Bloodsuckle and honey suck
O, the vision and the void
The bloodsickle cuts the honey suck
In little children's heavy heads
My dreams erupt while in my bed
Innocence is innocence is innocence is dripping red
In dreams I'll walk with you
In dreams I'll talk with you
In dreams you're mine
All of the time
Heads on fire and drunken lights

Oh, days devoured by hungry nights
In love's secret domain
This is mad love
Oh, this is mad love
Sweet tortures fly on mystery wings

Pure evil is when flowers sing
My heart, my heart, my heart is a rose
This is mad love
This is mad love
106
Give sanity a longer leash
But some of us have sharper teeth
In dreams, in dreams
In dreams I'll walk with you

In dreams I'll talk with you
In dreams
In dreams you're mine all the time
The invisible worm

The vision and the void
The bloodsickle cuts
And the honey sucks
107
The Dark Age Of Love
(Jhonn Balance)
Now you see why I'm not scared to die

I saw a vision of an angel of the world lay down and die
The earth is full of ghosts now
Ghosts that sweat and ghosts that cry
Instead of peace just stop and cease
A final end, a sweet release
The language of love is the language of liars

The flames of all love become funeral pyres
Smoke gets in your eyes and grown men cry
I see young men led to an early grave and old men pray to die
The shipwreck to the shore

From the client to the whore
From the shadow to the sun
From the bullet to the gun
The moment you discover that your killer is your lover

I kill all that I love, I just destroy what I become
108
Scope
(Jhonn Balance)
"wow, wow, wow..."

Just say... Just say
Just say; "Ahhh"
Oh, just say
Just on one day
Just say
Just say
Just say
Just say; "Ahhhhhhhhh"
When you ever want, just say
Just say
Going away? Oh, just say
Go on your way, just say
Go on that day, oh, just say; "Ahhhhhhhhh"
Just say
[The hyper-distorted vocals for this song, seemingly about abandonment, recovered by rais-
ing the pitch 51% whilst maintaining tempo and split channelling the track, is from a studio
jam between Stephen Thrower and Jhonn Balance whilst both experimenting with MDMA]
109
Is Suicide A Solution? / Who’ll Fall?
(Jhonn Balance / John Harwood Answerphone Message Edited By Coil)
I am the loneliest link in a very strange chain

Peter, a friend of mine's just committed suicide.
He was a great friend of mine, and it's...I've come back, and I heard that, and it's
shocked me a bit; and I wanna tell you because, um, not that you know him (that's
not the point).
And he planned it out; he had a... he left his boyfriend... I mean, um, he left notes...
and things. But he... he threw himself off a cliff, Peter, and...
I just wondered what you think that feeling is like.
What happens, what goes through your head, between throwing yourself off, and
actually dying?
I wondered what you thought of it. Perhaps you could call me and tell me because
it would help me, because I have a terrible fear of heights and, for me, just the idea
of falling, so far, and being alive...
And I just wondered if things go through your head — you know, people that you
love, and that, or things that you feel that you should've done — flash before you,
but you can't do anything about it. I just wondered what you thought.
You're probably the only person that I can call right now.
And... I'd like to see you, because I think, in a funny way we're doing that... we're
just... don't really connect.
One day, you know, you're gonna fall, or I'm gonna fall, or something's gonna
happen; and... anyway.
Well, I'm very sad. You know my number. Hope you're both well.
Lots of love.
Bye.
[played backwards]
When the gods want to punish you they answer your prayers
[The answerphone message is repeated without the Jhonn Balance wraparound on "Who'll
Fall?"]
110
Light Shining Darkly
(Found Sounds Edited by Coil)
No
I mean
I said earlier
I mean he was so vital and so alive that the fact that he wasn't there was —
was unbelievable.
And I was totally devastated...
Picking up the pieces afterwards...
And, ah, it took me about a year to feel safe.
I couldn't possibly think of anybody else other than John...
I was so distressed...
I think it's a dreadful
Dreadful thing
111
Blue
(Word Collage by Coil / Derek Jarman)
Derek Jarman, Derek Jarman to Airport Information please
Impatient youths of the sun

Burning with many colours
Flick combs through hair in bathroom mirrors

Fucking with fusion and fashion
Dance in the beams of emerald lasers

Mating on suburban duvets
Come-splattered nuclear breeders
What a time that was
[This version, from Coil’s “Black Gold” bootleg album is also referred to as “Blue (Special
Alternate Combination Mix)”]
112
Fire Of The Mind
(Jhonn Balance)
Does death come alone

Or with eager reinforcements?
Does death come alone or with eager reinforcements?
Death is centrifugal
Solar and logical
Decadent and symmetrical
Angels are mathematical
Angels are bestial
Man is the animal
Man is the animal
The blacker the sun
The darker the dawn
Flashes from the axis
Flashes from the axis
On the hummingway to the stars
Holy holy, holy holy, holy oh holy
There are hounds between the pylons
Guardians of the cycles
(Hounds between the pylons - guardians of the cycles)
Fire of the mind agitates the atmosphere
Does death come alone or with eager reinforcements?
Man is the animal
The blacker the suns
The darker the dawn
[Italicised extra lines from the 1996 New Orleans demo. Inspired by the animal art of Louis
Wain, especially "The Fire of the Mind Agitates the Atmosphere"; as a child Jhonn boarded at
Lord William's comprehensive school in Oxon, UK, where he slept in dormitory barracks with
old Louis Wain prints hanging above his bed]
113
It's In My Blood / A.Y.O.R.
(Jhonn Balance)
It’s in my blood
It’s in my blood
[repeated]
It's in my bloodstream
It's in my blood, bloodstream
[repeated variants]
Bloodstains
…
These are the lyrics I stole from the book
I took from the Pope’s secret library
He’s got a lot of good lyrics in there
(He’s got a lot of good lyrics in there)
A.Y.O.R.
[repeated]
It’s in my blood
[repeated]
It’s in my blood
[repeated]
Your blood is my blood

My blood is your blood
[repeated variants]
At your own risk

Do it at your own sick
It’s all at your risk
It’s all at my own risk
114
It’s in my blood
[repeated]
It’s all in my blood

[repeated variants]
…
Oh yes, an infector; An Infector Calls
Everything you do in life
Whatever you’re doing
Is at your own risk
It’s at your own risk
It’s at your own risk / it’s in my blood
It’s in my blood / at your own risk
[repeated]
It’s in my bloodstream
It’s in my blood
[repeated]
HIV all what I see

HIV all what I see
[Taken from studio version and live versions from Coil’s “Live Three” and Oct 4th 2002,
Hamburg. Originally from the Backwards sessions, "At Your Own Risk" was the title of the
1993 Derek Jarman autobiography, the filmmaker who died of AIDS-related complications]
115
116
A.Y.O.R. (Fano Version)
(Jhonn Balance)
A.Y.O.R.
It's in my blood
I went to a Doctor
He said it's in my blood
It's circulating around my bloodstream
It's inside of my heart
It's in my heart
Pump, pump, pump, pump
It's in my blood
It's in the oceans of blood
It's in the streams of blood
It's in the rivers of blood
It's in the rain of blood
Your blood is her blood
Her blood is your blood
Your blood is her blood
Your blood is our blood
His blood is her blood
My blood is his blood
[repeated variants]
117
It's in my blood
It's in my bloodiest dreams
[repeated]
I'm riddled
I'm riddled with disease
I am a little disease
I am a ripple
[repeated variants]
[Taken from Coil’s live performance in Fano, Italy, July 2002]

118
Heaven's Blade
(Jhonn Balance)
There's blood in the sun

There's blood in the sun
But I'm not afraid
I cut myself with Heaven's blade
Inside the wound I found my wings

And walked away from this human skin
I asked the earth to open up the sky

To get inside and live with me for life
I stand before the sun

Rise up and see the shape of things to come
It's all the same

[repeated]
Just cut yourself

[repeated]
With Heaven's blade
Just cut yourself

With Heaven's blade
Just cut yourself

With Heaven's blade
[repeated]
119
Amber Rain
(Jhonn Balance)
Amber rain is beautiful but wrong

Caught between weak and being strong
It seems these days the weaker ones survive

What an awful way to find out you're alive
A dull warm red water falls

Flowing down to the sea
Where deeper darker waters wait for me
I don't expect I'll ever understand

How life just trickled through my hand
120
I Don't Get It
I don't get it
I don’t get it
I don’t (I don’t get iiiit)
Get it, get it, get it...
I don't -
I don't -
..ittt
I don't get it...
Hello…
HelloOoOhh…
HelloooOhhhhh
I don’t get it now
(...get it NOW)
Hello…
HelloOoOhh…
HelloooOhhhhh
(I love you mum

I love you mummy)
[The track is a compilation of samples from both Coil's "First Dark Ride" and a Backwards
track (originally named "Spastiche" by Danny Hyde). The bubbling feminine voice sample
heard throughout this track, such as at 2.55min, is saying either "I love you mummy..." or a
heavily distorted resampled version of the high-pitched voice heard at 3.28min in "The
Broken Wheel" saying "I wants fucking fuck you", or…? We may never know]
121
A Cold Cell
(Anon / Edits by Jhonn Balance)
O Lord, save my sinful soul

From local punishment
From the far-away zone
From being frisked
From the tall fence
From the severe prosecutor
From the Devil Owner
From small rations
From dirty water
From steel handcuffs
From hidden obligations
A cold cell
And short haircuts
Save us from the death penalty
Amen
Amen
Amen
[English translation of an anonymous russian prison school juvenile’s prayer, the close of the
song features an incoherent rapid recital of more juvenile prisoner observations; “...drink
from a cup of dirty water” etc.]
122
The $100,000 Altar
(Taylor Mead / Word Collage by Coil)
I laid the boy on the £100,000 Altar

I took the knife (a very sharp knife)
Cut off his balls
Then I pierced his eyes and ate them - ha!

Sucked the blood from them and
As he shitted I sucked on that
Not after jerking him many times
And eating the cum left over
Then I fucked 'til he bled there

And we're both smeared in cum and blood and shit and juices
The altar looked beautiful

Blooded and shitted
I think he died (but maybe not)
But then this great man attacked me

Oh my God!
And killed me
Oh, I could hear him
Eating and fucking me
He also ate my balls

And came in my mouth
Until I choked to death
Or it streamed out my eyes (I don't remember)
Then (or before) was all this whipping

And naked rides on leather seats of cycles
With forty or fifty rough boys following
123
To help fuckin', pissin', killin'
Fuckin', killin', pissin'
Fuckin', killin', fuckin'
Cum all over me

And maim me
Put me into unconsciousness
And delusions
They were called the Greeks

And Vongolas
And Lower East-Siders
And Mission Street Murderers
And God
I saw everything so clearly

So beautifully
So suddenly
...with a little help with Quaaludes I'm getting over that.

If you can get me any Mandrax from England, or anything...?
[Recorded initially for the “Backwards” album, then optioned for the ultimately abandoned
Coil spoken work project "Wounded Galaxies Tap At The Window" which was to feature
William S. Burroughs along with possible tracks featuring Taylor Mead, John Giorno, and
Terence Mckenna. Intriguingly, "$100,000..." is heard as a distorted babble at the end of
"Fidgit" on the 1989 LSD demos bootleg - a full seven years before this recording. See the
future leaking through...]
124
On Rushing Winds
(Jhonn Balance)
There are other things that sing

That sing
That usher in
On rushing winds
As sure as I know anything

And everything
That I have seen
And where I've been
I know
There are other things

There are other things that sing
That sing
That usher in
On rushing winds
On rushing winds
[From the "Backwards" sessions, official title unknown, though using an early version of
"Heaven's Blade" as instrumentation]
125
The Test / Nature Is A Language
(Jhonn Balance / Morrissey)
[below lines appear in various orders of repetition]
Nature is a language
Can't you read?
Can't you read?
Can the animals see this?
It's a test
Ride the horses of heaven
It's a test
Nature is a language
Can't you read?
Can't you read?
It’s a test
Ride the horses of heaven
It's the rush hour of the gods
Man is the animal
Can you hear that sound?
[Incorporates lines from the 1996 New Orleans demo and “The New Backwards” version.
This song quotes lines from The Smiths' song "Ask". Balance professed his innocence as to
the source, but could it be a playful nod to the fact that The Smiths called one of their songs
"Panic" soon after Coil's Ode to Pan was released?]
126
Fire Of The Green Dragon
(Jhonn Balance)
Sound now
The Earth that fed you
Now must eat you
The Earth which fed you
Now it must eat you
Teach me something new
I'm driving you... Ahahaha
And I'm gonna give you honey if I can
Do they know? No
Children of the blind in a blindfold
There's an angry light in the stones
There's an angry light in the stones
On Fire... Ahahaha
Re-align the ancient isles
I'm driving you, children...
There's a terrible blinding sound made by the sun
Teach me, teach me something new
127
Copacaballa (The Most Accomplished Surgeon)
(Jhonn Balance)
By the pricking of your thumbs

Something wicked this way comes
By the pricking of your thumbs
Something wicked this way comes
I am the most accomplished surgeon
Of moral deformities
I am professor of energy
Napoleonic electrifier of souls
Your glorious palaces are hospitals
Set amid cemeteries
There's an outsider inside
Where no one can hide
There's an outsider inside
where no one can hide
I am the most accomplished surgeon
Of moral deformities
I am professor of energy
Napoleonic electrifier of souls
I am an eternal vessel for forces that nestle
For forces that sleep in the minds of the weak
And even as you've been 'thout your nightly dreams
Explained it all from your giant books
Not even as you've been 'thout your nightly dreams
Explained it all to me from your giant books
You made me feel
I would never be alone
You knelt me down
To kiss the bones on your throne
128
The angles small
Or still in their moorings
Of Leviathan distortions
Casting out
Casting out your nets of darkness
Casting out
I'm casting you out

[repeated]
Smear thyself with the vixen's tan

And beware the bloody steps of man
Smear thyself with the vixen's tan

And beware the bloody steps of man
I want to be a stranger
Become a shape changer
Your glorious palaces are hospitals

Set amid cemeteries
[repeated]
I'm trying to strip the silence away
High up there with thy hiss

That's where all the magic is
High up there with thy hiss

That's where all the magic is
129
Paint Me As A Dead Soul
(Jhonn Balance / Aleister Crowley)
Paint me as a dead soul

With a halo of black joy
Medusa in a mirror
Etched out in acid
The flesh, the image, the reflection
One who dwells in scarlet darkness
Like animals in palaces
Drawing blood
The flesh, the image, the reflection
Let's complete the illusion
Paint me as you see me
From memory or history
In a fever or a frenzy
Paint your lucid dreams and visions
In a chamber of nightmares
In a temple of locusts
So violent, vile and vivid
May the colours make you fearful
Blind and hypnotizing
In our subterranean heaven
Paint my cunt with dragonflies
My eyes as bright as diamonds
My heart open like an ulcer
Or a sacred crimson rose
Bathed in blood
Or drowning in my bed
With the fragrance from the flowers
In the gardens of the dead
130
Paint ghostly foxes, cats and camels
A red dog and a black dog
Paint a putrid sunset
In verdigris and violet
Ochre, amber, mauve
Four monks
Carrying a goat
Over the snows
To nowhere
And paint the shades
That come with evening
Peacock angels
Dream of leaving
Paint me as you see me
Paint me as I see me
Paint me as a dead soul
[this song lifts some lines from, and inspired by, passages of Aleister Crowley's "Confessions"
autohagiography]
131
Backwards (Compiled Version)
(Jhonn Balance)
Backwards, backwards, backwards

Reverse backwards, backwards, backwards
Get cursed, get cursed
Get hexed, get hexed
Crawl, crawl backwards, crawl backwards
I'm fine
Fucking incapable of normal emotions
[repeated]
Backwards, backwards
Reverse backwards
In fear, false evidence appearing real
False evidence appearing real

[repeated]
Backwards, everything's backwards

Stabbed in the back
Go back, back in two year's time
How about another slice
From this parking metre dime?
Everything's backwards
Everything dies
Stab yourself in the head
Wish everyone dead
Everyone is history
There's no mystery
Everybody's history
Watch the stars rot
Bring it all down
Right back 132
Make everything anathema
[repeated]
Put out every light
Bring back the Dark Knight
Bring back the dark night
Put out every light
Bring back the dark night
Exit is everywhere [repeated]
The machines are sick / sick machines [repeated]
Fuck me backwards
Fuck me from behind
Fuck me in reverse
Normal is perverse
How about another slice from this parking metre dime?
Sickly sweet sound of death warming up
The sickly sweet sound of death warming up
Eternity ends here [repeated]
Bring it all down, bring it down
And bring it all down
Bring it backwards
…
The world ended a long time ago [repeated]
I'm fine I'm fine
It's just it's all backwards
Backwards in the backwoods 133
Everything's black squids, everything's black squid
Think I'm backwards, everything's backwards
Living around the wrong way round
Everything's backwards, everything's backwards
I'm fine, I'm fine
With false evidence appearing real
We're backwards
Everything's backwards, with false evidence appearing real
False evidence appearing real, everything's backwards
Everything's black squids… everything's backwards
The world's turned upside down
The world's turned upside down, Oh the world's turned upside down
Hornet, wasp or hoverfly
Even the birds have their lullaby
All hummingbirds must die
I want you, I need you, but I can't find you
I need a killer to take my pain away
And Christ on a bike with carpet burns keeps falling to his knees
In United States of American death
Wasps pollinating disease
And when I reach the station in the heaven of glass
I'll say a little prayer for you
[compiled from the New Orleans demo, ‘The New Backwards’ demo remix, and live versions
from 2002 which often incorporated elements from Coil’s “Constant Shallowness of Evil”, this
song uses repetition beyond the point of the repeats noted here] 134
Where the Long Shadows Fall
(David Tibet with Jhonn Balance improv.)
Around me: I stand on the shore

The waters are black and swirling
I hold a black mirror in my hands
The swastiked winds sweep around me

Their arms the nightbreath sleepwalking
The sighing of imminence and ending
All there the waves curl under and over
Around me: I see things coming to a close

The door is nearly shut
As we stare at it the tiny light squeaks out
Slower and slower
I see things coming to a close

The folding cerecloth shrugs down over the windows
The lights burn still: but invisible to us now
I see things coming to a close

(My mind kissed Myrinerest last night)
I dreamt
I cannot see
I cannot see
I can no longer see
And nor would I want to, anymore
Clearblindlayeredlightcolourblindeathcomecomecomecome
Go away
135
The pale toothed face inverted
At the foot of the Rose Garden
By the hedge and by the dream
By the post and by the bell
By the dawn and by the form
(Formless He Lay and Dreamt)
And formless we lay and shall dream

And then the rain
"My pain beneath your sheltering hand", he cried

And gave himself up to the Tempter
The rebel angels (he thought and knew)

Would indeed array him with robes of water
But not mad

But clear
Why can't we all just walk away?
[The final line, from Jhonn Balance’s improvisation, also appears with more clarity on Current
93’s “The Long Shadow Falls”]
136
Twilight Twilight, Nihil Nihil
(for Thomas Ligotti, who has seen the bloodbells shine)
(Trad. / David Tibet)
Who will deliver me from this body of death?

There is no refuge
I have found the word does not save
There is no refuge
In the rock or stone
There is no refuge
In the wind or other forces of nature
The fire especially especially does not save
The fire only destroys
And though it may purify it takes takes takes
And gives nihil back nihil, nihil, nihil, nihil, nihil
And the holybooks alas have not
Will not alas can not save nihil, nihil, nihil
This is the chorus of the wind
The sun the moon the waters all blue all green or stagnant
Nihil they sing nihil

The inmost light nihil, nihil
The inmost light nihil, nihil
The inmost light nihil
Finally the child aged dies and sings
Nihil this swansong towards nothing

Nihil, nihil, nihil, nihil, nihil
We need not not not blow out the candle
Nihil, nihil
It dies anyhow
137
Nihil, nihil, nihil
Nihil, nihil, nihil
Nihil, call me nihil, nihil
The stars are so far

I had thought not but nihil, but nihil
The great king is dead
The great queen is dead
Their child stillborn
And so nihil nihil nihil nihil
They call the inmost light
But hear nihil, nihil, nihil

Nihil, nihil, nihil

I felt I saw you coming over the water
Without you I am nothing
And still I see you
Nihil, nihil, nihil, nihil
In the room where
Nihil, nihil, nihil
The wineglass shattered in the box I gave it to you
Nihil, nihil, nihil, nihil
Shattered
Nihil
I thought I saw you waving to me over the bay
Nihil, nihil, nihil
You waved
Nihil
138
Why we have no words any longer
To say to one another
Your mouth opens and; Nihil, nihil, nihil
Bend your face to kiss, you said nihil
Bend your arms to hold, you said nihil
And nihil, nihil, nihil
There is nothing there
Nihil, nihil, nihil
Bend your face to kiss, you said
The waters arise and take me finally

And my remembrance is; Nihil, nihil, nihil
nihil, nihil, nihil
nihil, nihil, nihil
nihil, nihil, nihil
139
pHILM #1 (vox)
(Jhonn Balance)
Is it harder to answer
Or easier to try
To make all the questions

Ask themselves why?
140
Decadent and Symmetrical
We got to…
We all got out the bus;

You know, where there's like the poor old lady
That's crippled
And we all sort-of followed one another
Into Woolworths
Well, one picked up a hairnet...

The other one bought some curlers - truly, yeah
And, er, and the other two, ah
I think they were just friends

with the same hair
Poor Alan couldn't get his drinks
For a start, they'd only got two lemons
All right, that's enough from me, all right?
141
Ended
(Sam M. Lewis)
...We may never meet again

For all we know
On this dusty road again
We won't say goodnight
Until the very last minute
I'll hold out my hand
And my heart will be in it
For all we know
This affair may be a dream
They come and go
like the ripples in a stream
So kiss me, my darling
Tomorrow was meant for some
Tomorrow may never come
For all we know
Da da, do do do do do do do
La de, la da, da da da da da da da
Tomorrow may never come
For all we know
[The song sung by an anonymous* amateur singer from London in this found sound
recording (from old sound reels bought by Peter Christopherson in Spring 1995) is "For All
We Know", originally written in 1934. A distorted version of the first verse of this recording is
also found on Coil's "Dark Start". *Claims that the track's singer is Leah Hirsig, wife of Aleister
Crowley, are highly doubtful because 1) the EHR book's recounting of the reel finding makes
no reference to this important detail (given the angle of the book, it would’ve done) and 2)
Hirsig was born in Switzerland and grew up in the USA, teaching at a high school in the Bronx
- the voice on the recording has neither a Swiss nor American accent or lilt.]
142
Red Skeletons
I love you too with all my heart and soul

...or not?
I don't know
I don't want you to drop out in the open
Then how am I supposed to do that?
Softly. If you listen to me; if you listen to me...
Mmm...
Just drop out
I'm asking you...
I don't want to do any more favours for you. Look, it's over.
Please. Please. I'm asking you, I'm asking you as a favour. Yes?
I've been a very good friend to you
Really!
Yes, I have
Like hell have you
Like hell have you
Yes?
I didn't show up, show up...
Ah, no, hang on...
No, I'm serious...
[laughter begins, signalling some reversed speech]
I love you too with all my heart and soul

Look, I'm not having you saying that of me again next week
I'll reorganise the issue -
Look, do you want to have a continuative relationship with me or not?
No
143
Refusal Of Leave To Land
(Jhonn Balance)
[Regain Control; Regain Control; Regain Control]
After refusal of leave

To land
Lay your heads down
On the shivering sand
After refusal of leave

To land
We laid our heads down
On the shivering sands
[The creaking "Regain Control" looping sample in the first section of the song can also be
heard in other Coil songs, including "The Beginning is Always The End" and “Gnostic Verses”]
144
Stoned Circular II
(Jhonn Balance)
A voice should say; "one hour"

A voice should say; "one hour"
27th
.II
1917
V
36
'76
XI
1923
[The concept of time measurement and calendars have an interesting motif in Coil's history,
including the ability of the "Time Machines" album to seemingly stretch time, Jhonn's lyrical
nods to Burroughs' reflections on Time & Space, and both Jhonn and Peter choosing to use
Thelemic Calendar notations in correspondence. Interestingly, the lyric V/36 is mentioned
just before the 5.36 minute mark in the track itself]
145
November 13th 2004
Anno IVxii Sun in 21° Scorpio, Moon in 9° Sagittarius
146
Blue Rats
(Jhonn Balance)
Blue rats, what's the matter?

Blue rats, pitter-patter
Blue rats, what's the matter?
Blue rats, pitter-patter
I'm waiting for the scratch

Of blue rats
Of blue rats
Scritch, scratch
Scritch, scratch
Scritch, scratch

Of blue rats

Scratch
Scratch
Scratch
Scratch
147
Chalice
[Repeated backwards]
The doorway to thy fatherland

All Time; it turned sideways
Slow
As she walked in dreams
[This translation, of 90% certainty, is the result of my lengthy audio analysis using ‘Adobe
Audition 1.5’ of the reversed sample found on loop in this song whilst on doses of 200mg of
Tramadol to enhance my hearing/sidereal cognition]
148
Assassins Of Hakim Bey
(Jhonn Balance / Bill Laswell)
And this prince was called Alamut and was Mohammedan.
He had created, in a lovely valley enclosed between two very high mountains, a
beautiful garden, full of every variety of fruit and trees that could be obtained.
Round these plantations were various palaces and pavilions, decorated with golden
ornaments.
He had brought in young girls of perfect beauty and full of charm to live here,
paintings and furniture all made of silk, and they were trained to sing, to play all
sorts of instruments, to dance, and above all to make the most seductive advances
to men that can be imagined.
This is the reason why the old man had this place built, Mohammed having said
that those who obeyed his will would go to Paradise where they would find all the
pleasures and delights of the world, beautiful women and rivers of milk and honey;
this man wanted to pretend that he could make anyone he wished enter this very
Paradise.
No-one could penetrate into the garden we described, for they had built at the
entrance to the valley a very fortified and impregnable castle. It could only be
entered by a secret road.
149
The Lost Rivers Of London
(Jhonn Balance / Hubert Montague Crackanthorpe)
I'm gonna drown myself

In London's lost rivers
I will walk down to the rain
I have sat there and seen the winter days finish their short-spanned lives; and all
the globes of light — crimson, emerald, and pallid yellow — start, one by one, out
of the russet fog that creeps up the river.
But I like the place best on these hot summer nights, when the sky hangs thick with
stifled colour, and the stars shine small and shyly. Then the pulse of the city is
hushed, and the scales of the water flicker golden and oily under the watching
regiment of lamps.
The bridge clasps its gaunt arms tight from bank to bank, and the shuffle of a
retreating figure sounds loud and alone in the quiet.
There, if you wait long enough, you will hear the long wail of the siren, that seems
to tell of the anguish of London till a train hurries to throttle its dying note, roaring
and rushing, thundering and blazing through the night, tossing its white crests of
smoke, charging across the bridge into the dark country beyond.
In the wan, lingering light of the winter afternoon, the parks stood all deserted,
sluggishly drowsing, so it seemed, with their spacious distances muffled in greyness:
colourless, fabulous, blurred. One by one, through the damp misty air, looked the
tall, stark, lifeless elms.
Overhead there lowered a turbid sky, heavy-charged with an unclean yellow, and
amid their ugly patches of dank and rotting bracken, a little mare picked her way
noiselessly. The rumour of life seemed hushed. There was only the vague listless
rhythm of the creaking saddle.
150
The daylight faded. A shroud of ghostly mist enveloped the earth, and up from the
vaporous distance crept slowly the evening darkness.
A sullen glow throbs overhead: golden will-o'-the-wisps are threading their

shadowy ribbons above golden trees, and the dull, distant rumour of feverish
London waits on the still night air.
The lights of Hyde Park Corner blaze like some monster, gilded constellation,
shaming the dingy stars. And across the east, there flares a sky-sign, a gaudy
crimson arabesque. And all the air hangs draped in the mysterious sumptuous
splendour of a murky London night.
I'm gonna drown myself

In the lost rivers of London
I am gonna drown myself
In the lost rivers of London
[The main paragraphs of this song are taken from Crackanthorpe's “Vignettes” (1896), its title
taken from Nicholas Barton's book of the same name that traced the trails of the Fleet, the
Tyburn, Stamford Brook and Walbrook beneath the streets of London. A version of this Coil
song exists without the main paragraphs called "London's Lost Rivers"]
151
152
MOON
153
154
Heartworms
(Jhonn Balance / John Everall)
Ohhhhh
There's too much blood in my alcohol
Oooooh
Demons generally enter in
Demons generally enter in through my ears
I don't like what I hear

I don't like what I hear
I don't like what I see
I don't like what I see
Ghosts vomit over me

Liars through my eyes

Can't get enough to numb me


155
Each beat feeds the heartworms
Each beat feeds the heartworms at the heart of me
At the heart of me
There's too much blood in my alcohol (Can't now get enough to numb me)
There's too much blood in my alcohol (Can't get enough to numb me)
There's too much blood in my heart
In my heart (it's preventing coagulation)
I'm faithful that this stagnation's feeding my heartworms

Feeding the heartworms
The demons generally enter in through my ears
It all feels off of me

Ghosts vomit over me, over the older me
This knife's gonna make some young woman a fine husband

[repeated]
[Musician Andrew Liles; "[On the] date that happened to be the last day on this planet for
Jhonn Balance, [John Everall and I] were both playing live at the 'Burst Couch Event' in
Manchester. On the night of the show John told me on the way to the venue he had found a
discarded badge in the street. The words on the badge were something along the lines of
'Where is John?'. We also discussed Coil and how John created the wonderful line "There's
too much blood in my alcohol" which was borrowed from him by Jhonn Balance for the song
“Heartworms”.]
156
AOS; Artist, Occultist, Sensualist
(An Austin Osman Spare Essay by Jhonn Balance)
I saw my first original Austin Osman Spare painting hanging above the seething
bookshelves of Atlantis, the occult bookshop that I spent my late teens lurking
inside. In fact there were several of his paintings and I could not believe my eyes.
Until then I had only been aware of his name and had been conscious of seeing the
recurring and haunting image of “PAN”, which was actually a section of the late
pastel called “The Vampires Are Coming.” This image was widely used in the seven-
ties on several occult type book jackets and was a key figure in the promotion of the
eclectic magazine series ‘Man, Myth and Magic’.
Here were a clutch of excitingly vivid and dynamically coloured originals. My mouth
went dry, my head reeled and I was shocked into a state of genuine awe. These
were the real thing. I remember a dual self-portrait in which the two facing heads
of Spare seemed to be locked into some perpetual argument. There was an eerie
study of a transported medium, her eyes neither open nor closed, and then there
was a Martian coloured astral landscape with a single figure of a seated satyr look-
ing into the orange-red void. I liked this one the most. Unfortunately I couldn’t
afford to buy any of the pictures and very soon they went to various acquaintances
who could afford them. I was desolated and vowed then to one day own one of my
own.
The painting with the solitary satyr soon vanished into its own hinterland after
being left on a tube train by the person charged to deliver it to Heathrow to begin
its journey abroad to a new home with a foreign buyer. But my appetite had been
whetted. From that day on I sought out as much information about Austin Osman
Spare as I could find and tried to see as many original works or reproductions as I
could.
I soon began to realise that this man was an extraordinary and prolific artist and
that with each new image a new facet was revealed, and the essential mystery of
the man deepened. Even the sound of his name evoked something rarer and more
exotic than the normal. I wondered whether there was an Irish connection as he
sometimes signed himself Austin O’Spare. Friends asked if there was a Persian
connection with that curious middle name. Early photographs and pen and ink
drawings of himself compounded the mystery as I came across beautiful images of
the artist as a tousled haired bare-footed aesthetic, as a savage and exotic Mongol
shaman with skulls and altars, and as a Princely Magickian in the fashionable
157
Japanese style of the era, bound up in the rich apparel of his Sorceries. I began an
ever evolving quest to understand and appreciate the dynamic mystery of his art
and life.
This new exhibition of his work will give the visitor a chance to acquaint themselves
with the extraordinary sensual properties of the artist’s work. For I believe that the
art of Austin Spare – more so than any other artist I am aware of - is capable of
existing on multiple layers of interactive experience. The casual viewer will be
seduced and enthralled by the surface beauty of his art and the way he handles the
various media of his craft, while those familiar with his work may linger awhile and
enter through the portals of the images into a strange and more vivid hyper-world.
Spare provides windows and doorways into the Spirits world – of this I have no
doubt. And with practice and imagination we may be granted access to Spares
“storehouse of memories with an Ever-open door”.
This quality to Spare demonstrates the high imaginative frequency at which he
works. These images cannot be taken lightly. Rarely have pastels been forced to
create such sumptuous crescendos and chaotic riots of colours as they were in his
later pastel works. There can be few examples of draftsmanship in pen and ink as
fine as the early magickal drawing of spare, busy in the first opulent heights of his
post Royal Academy flowering. Spare found himself in a starkly brilliant world of
high Magick and decadence fueled by his experiences with Aleister Crowley and the
A.A. and his experiments with narcotics and bi-sexuality.
There has been much speculation as to Spare’s sexual orientation. Later on in life
hehad strong attachments to the women he knew, but in his youth, he seems to
have had strong bi-sexual leanings, something that he shared with Aleister Crowley.
For instance how are we to interpret this passage from
The Focus of Life: “The degenerate need women, dispose with that part of thyself.
Give unto her all thy weaknesses, it is the suffering half…Awake! The time has come
for the new sexualities! To improve the species ye men must love one anoth-
er…“Thou art that which thou dost prefer.”“…to supercede the sexualitites.”
It was a time when he consciously turned his back on fame and fortune and instead
chose the grim path of asceticism and sorcery. These dramatic themes were to
158
weave in and out of his life like a crimson thread as he constantly reinvented him-
self and stove to find new ways to express his dedication to the artist/outsider. So
take your time in looking at this body of work. Try an experiment and stop in front
of one of the Self-portraits and engage the attention of the eyes. Give the artist an
opportunity to speak and you will hear him.
There are many thematic twists and turns in Spare’s work. There is wonderfully
dark and brooding chthonic leaning in the early works, where fabulous animals
prowl amongst the dreaming humans. Snakes and dragons and other
representations of primal forces.
Beautifully realized animals swarm and stampede through the whole of spare’s
oeuvre: Swans, owls, antelope, cattle, tigers, wart-hogs and giant tree shrews
amongst them. He felt an affinity with all creatures and placed them as equals
with mankind. He donated pictures to help raise money for horse charities at a
time when their welfare was low in most people’s agenda, and he kept an open
house for cats in the various places he lived. In some earlier pictures it seems as
if more than half the image is made-up of scales and feathers of the winged and
crawling creatures that intertwine with captured humanity. Their constant
companionship accompanies Spare’s twilight journeys through the spirit worlds.
Equality with the beasts seems paramount to his vision.
Spare’s obsession with the hybrid and grotesque in nature and supernature, some-
thing which takes in the full spectrum of Ovidian metamorphoses, suggests in the
artist’s minda vision of the active trafficking of creatures between one world and
the Other. All of the Janus-headed, multi-faced, theriomorphic swarms which
proliferate in “Spare’s paintings threaten to break out of their world and spill into
ours.
“The Soul is the ancestral animals.” A.O.S.
Spare is a sorceror and a shamanic artist – He attempts to represent the occult, the
hidden, the unseen, to illustrate the unseeable, to portray sensations and sub-
conscious energies: to delineate and draw into focus the astral forms of the spirits
and shells who swarm about him in his everyday world. Few are capable of
perceiving these layers of existence, even fewer of making a lifelong attempt to
illustrate this hidden inner world.
159
The shaman is a person who deliberately remains in a perpetual spiritual crisis and
this can sometimes conflict with his earthly needs.
Early in his life Spare was a Super-Sensualist – He loved the textures and the stuff
of life and surrounded himself with objects of richness and taste that fuelled his
visions. His books from that period such as The Book of Pleasure (Self-Love) sub-
titled The Psychology of Ecstasy, acknowledge that the celebration of the corporeal
and the physical, allows a state of grace that leads to a Spiritual enlightenment. His
love of the world and the spiritual acceptance of everything in it, lead to a height-
ened awareness of sense and sensation. As he got older he tempered this with an
increasingly strong stoic streak, which helped him cope with his impoverished
domestic situation.
There are few examples of practicing Shaman artists. One can cite the painters such
as Max Ernst, Salvador Dali, Oscar Domiguez, Leonora Carrington and Ithell
Colquhoun as creators who acknowledged a strong interest in the occult and its
various manifestations.But it is to the contemporary artist Jose Ameringo that I
turn to find a comparison with Spare’s graphic art.
As a learned practitioner of the cult of Ayahuasca, Ameringo has undertaken
ex-tensive shamanic training as a “vegetalisa” and is skilled at psychic healing,
astral travel and other more arcane practises. He also paints, and his highly-
coloured depictions of the psychic realms contain striking thematic similarities to
the work of Spare.
Transformations of man into animals along with animal totems and familiars
populate his dense pictures. There are also numerous chthonic serpent, snake and
large dragon-like creatures in his work, in addition to spirit portraits and the
inclusion of multi-coloured auras and rainbows. It has been left to anthropology to
find precise meanings in all these various phenomena depicted in Ameringo’s art.
Perhaps such a correlative anthropological precision could be applied to the study
of Spare’s art and his use of similar devices. They are clearly not there for mere dec-
oration – such areas of investigation are perhaps waiting to be explored. “Having
renounced both good and evil conveniently, one should engage in
spasmodic madness.”
160
The Focus of Life
This proto-surrealist maxim can be seen as bravely preceding Andre Breton’s credo
that surrealism was founded on the principle of convulsive beauty, an idea which
can be linked to Arthur Rimbaud’s belief in “the systematic derangement of the
senses.”
Spare himself demonstrates that he went through several magickal crises and his
detractors leapt upon such admissions as evidence of psychosis. In 1924 around the
time of the publication of the Anathema of Zos subtitled (A Sermon To The
Hypocrites) and around the same time as he drew the grotesque and powerful
The Book Of Ugly Ecstasy he seemed to plunge headlong into a pit of loathing that
deeply affected his view of mankind. The flesh that he drew seemed to overwhelm
him in brutal floods and he withdrew deeply into himself, haunted by the intensity
of the maelstrom of images he was receiving. And again in 1954, towards the end
of his life there emerges an unsettling sense that the Vision was becoming too
unsupportable, too vivid and too painful, and something of this experience is
reflected in the intense shattered techniques he used to paint the later Chaotic
series of pastels. In these, the modern world and all its elements flow into highly
coloured reconfigurations and juxtaposing patterns. We might compare these to
the works of the brilliant artist Louis Wain whose charming portraits of cats became
increasing tessleated and jewel-like, shattering into shards of colour and pure
sensation before his schizophrenic Universe finally submerged him.
There is a feeling in these later works that the senses have become inflamed and
flooded with information in a way that sets the nerves jangling in both the viewer
and the artist. But if this direction into synaesthesia wasn’t entirely deliberate, it
was certainly kick-started into colour by the arrival of a gift of a new set of pastels
courtesy of Kenneth and Steffi Grant. Spare’s handling of this medium and his bold
experimentation with flux and form sees him pre-empting and pre-figuring the
extravagant and drug-induced art of the 60’s and 70’s. Yet again he is attuned to
the social pre-echo of the entire psychedelic movement. His artist shaman
antennae were feeling their way ahead of time through the colonization of entire
psychic geographies.
161
Again he reaches for a ‘Pure Art’ “of becoming entirely sensation.”
Spare was to write at the end of one of his books, “If you cannot understand this
primal script of magic – swallow the whole damn book.”
I cannot endorse this most epicurean approach for the viewers of the pictures in
this exhibition, as most are very kindly loaned. That really would be a “Feast for the
Super-Sensualists. But it is an excellent idea to take one’s time to savour the
atmospheres that the pictures exude, and to take in the strange nourishment that
they provide upon careful examination. It is a very rare feast indeed that they are
gathered here together. And I recommend that if at all possible you come back and
take a second or a third look at the exhibition. A primary reason to do so is to
perceive how the work continually changes for the viewer.
The extraordinary metamorphic qualities of Spare’s work are best pronounced
when viewed in conjunction with other people. I have experienced marvelous
revelations taking place in the pieces in my own collection, seeing one set of subtle
attributes with one person, and having an entirely new set revealed to me as I
viewed them with someone else. Very often hidden faces leap out of the chaotic
backgrounds, and trees and vegetation reveal nyads and dryads.
I have a small psychic landscape in which the weather looms over a Fairie hill.
I have sat with my friend and watched as the brooding sky has opened and
drenched the whole of the picture with rain.
I personally have had a very unsettling incident when, after having visited a friends
house to view his collection of Spares, I had to travel home by bus or by tube train
to find myself dead amongst a living, heaving throng of exactly the same hybrid
creatures as were in the pictures I had just viewed.
Even now, I have a tendency to check my fellow passengers to see if they have
pointed ears and hairs sprouting from the bridges of their noses – to see what stage
of satyrisation they are showing, in their journey through the underworld.
162
There is a very definite sense that, through my contact with the art of Austin Osman
Spare, the previously unseen spirit world has become tangible and palpable, more
reachable and more real.
Powerful stuff indeed.
John Balance
[Originally appeared in "Austin Osman Spare: Artist - Occultist - Sensualist: Collected Essays".
Published by Beskin Press, London, 1999]
163
164
Bee Stings
(Jhonn Balance)
Don't believe AE
See for yourself the summer fields
Before the tractor comes and wakes you
Before the cereal is sown
Walk along on your own
Don't believe the guidebooks
See the glimmer on a wet stone surface
Be an idiot
Be yourself
Drink the dew
Drink the dew
Don't believe AE
Seek the advice of the summer fields
Before the tractor comes and wakes you
Before the cereal is sown
Walk along on your own
Don't believe the guidebooks
See the glimmer on a wet stone surface
Be an idiot
Be yourself
Drink the dew
Drink the dew
[The first and fifth verse makes reference to the Irish writer and mystic George Russell (I867-
1935) aka AE or AeonEnglish]
165
Glowworms / Waveforms
(Jhonn Balance)
Waveform, variant, monolith, mask

Reflection, hat, tree-stump, bin
Where's the bells?

Where's the bells?
Where's the bats?
Where's the summer?
Where's the keyboard?
Where's the instinct?
Where's the patience?
Where's the tiny golden books?
Where's the notepad?
Where's the ink and milk?
Where's the woodwork?
Where's the science?
Where's the diet?
Where's the incoming amount?
Where's the artifact?
Where's the post-man?
Where's the chance again?
Where's the old coins?
Where's the syllabus?
Where's the red door?
Where's the martyr?
Where's my mother?
Where's my breakfast?
Where's my punchbag?
Where's my cornfield?
Where's the waveform?
166
Where's my breeding-ground?
Where's my paintbrush?
Where's my horse head?
Where's my symmetry?
Where's my torso?
Where's my manual?
Where's my drum?
Where's my bone?
Where's my bum?
Where's my bum?
Where's my summertime?
Where's my footstep?
Where's my chequer?
Where's my idiot?
Where's my waveform?
Where's my hat?
Where's my footwear?
Where's my footwear?
Where's my eyelash?
Where's my tongue?
Where's my bum?
Where's my bum?
Where's my mirror?
Where's the bells?
Where's the bells?
Where's the bells?
Where's my phone call?
Where's my phone call?
167
Summer Substructures
(Jhonn Balance)
We're going under

We're going under
By the water (river)
We're sold inside

We're going so near
We are soul song
We are soul
We are sol-di-ers
We're soldiers of my soul
Low, on storms the high unroll
There's someone in, in my whole

Dreams high on the water
The light beats even faster

Than it may seem in me
The roaring is in me
Come into me
Over the waves we go

Over the lazy haze we go
I'll lay by the water

On the water's edge
Oh, thy walk there
I know
168
A Warning From The Sun (For Fritz)
(Jhonn Balance)
The sun is coming

The sun is coming
The dragon flies
The dragon flies
His breath will drown

This world with astral fire
The sun is coming

The sun is coming
The dragon flies
The dragon flies

This world
With astral fire
The sun is coming

The sun is coming
The dragon flies

[Fritz, the subject of the song’s dedication, was a friend of Jhonn Balance who committed
suicide in May 1998, this song written soon after in eulogy]
169
Rosa Decidua
(Jhonn Balance)
Rose
I hear your voice sing near to me

I've put away the poisoned chalice (for now)
And lie down amongst the flowerbeds
Whichever stars we walk among

We both seek out the darkest red
The wine was turned to blood again
Without this blood we'd both be dead
I've wound myself tight into the hedgerows

Let's see which way the winter wind blows...
(You are my shadow)
170
The Auto-Asphyxiating Hierophant
(Jhonn Balance)
A concentration of disasters
Our words not properly fixed
We fall or fixate
Is this the threshold?

Is this the threshold?
Fixed in a thousand voices

Blended and descended
Indestructible and definite us
It's only zero charges electricity
In love with a similar assistance
No action without, it seems, inaction

Making noise to cope with this pain
I happen to be in contempt of laws for awful
It was logical but fatal

Once more the fortress of pure numbers
In confusion with a false moon
It will fall soon

It will fall soon
It will fall soon
171
The white magic of the moon
Is the black magic of the Earth
Spice, it makes welts on my nerves
To what extent have we deceived ourselves
As to the damage?
Being misled
Mistaken by instinct
Ice temples crackle
Like the capital in the rain
And my eyes vibrate at a catgut rate

Stagger into the streets bearing after the blood-red number
The flag banner
Stutter and stammer
Nothing will ever be the same

172
Amethyst Deceivers / The Last Amethyst Deceiver
(Jhonn Balance)
Amethyst deceivers
Amethyst deceivers
Amethyst deceivers
Pay your respects to the vultures

For they are your future
Our fathers and mothers

Have failed to release us
Into the welcoming arms
Of the amethyst deceivers
Amethyst deceivers
Amethyst deceivers
Amethyst deceivers
...

Our fathers and mothers have
They have failed to release us
Into the welcoming arms (repeated)
Of the amethyst deceivers
So pay your respects
So pay your respects
Pay your respects to the vultures *
173
And to the crows (and to the carrion crows)
And to the ravens (those graven ravens)
And to the carrion crows
And to the rooks
And to the rooks
And to the vultures
And to the vultures
And to the vultures
For they are our future [repeated]
Of the amethyst
Of the amethyst
The little mushrooms
Those little mushrooms
Welcoming arms
Of the amethyst
Of the amethyst
Of the amethyst deceivers*
[* Taken from live versions of the original song, especially the live vocals which eventually
appeared on Coil's "Ape of Naples" album (2005)]
174
A White Rainbow
(Jhonn Balance)
A white rainbow
(a roaring aura)
Under an unquiet skull
(A tremulous column of air, hanging there)
Moon's milk spills from my unquiet skull and forms a white rainbow
(a psychosis, a roaring aura)
Aurora borealis
A white rainbow
A lunar ascension, a solar declension
A tremulous column of air hanging there
A bleached beach, a psychosis
(laughing like skeletons clattering at midday)
Feel the moon's pull
Moon's milk spills from my unquiet skull
A white rainbow, inverted vertigo
A psychosis
(moon's milk spills)
And overhead, overhead
(feel the moon's pull)
A tremulous column of air, hanging there
(a white rainbow)
Laughing like skeletons clattering at midday
And overhead, a white rainbow
Under an unquiet skull, under an unquiet skull
A white rainbow
175
North
(Jhonn Balance)
This black dog has no owner...
This black dog has no odour...
176
Magnetic North
(Jhonn Balance)
Heaviness, heaviness
Blue sapphire six-pointed star

Deep ruby-red inverted pyramid
And red rose fill the skull

Red rose filling the skull
Yellow cube in the lower pelvis

Yellow cube, yellow cube
Silver moon crescent below the navel
Red ruby inverted pyramid
White-winged globe defines the forehead

Between the eyes
Between the eyes
Black oval egg occupying the throat

Black egg within the throat
And red rose filling the skull

177
And red rose fill the skull

Yellow cube in the lower pelvis

Yellow cube, yellow cube
Silver moon crescent below the navel
Red ruby inverted pyramid

Between the eyes
Between the eyes
Black over back occupying the throat

Black egg within the throat
And red rose filling the skull

178
Christmas Is Now Drawing Near
(Trad.)
Christmas is now drawing near at hand

Come serve the Lord and be at His command
And God a portion for you will provide
And give a blessing to your soul besides
Down in the garden where flowers grow in ranks

Down on your bended knees and give the Lord thanks
Down on your knees and pray both night and day
Leave off your sins and live upright I pray
So proud and lofty is some sort of sin

Which many take delight and pleasure in
Whose conversation God doth much dislike
And yet He shakes His sword before He strikes
So proud and lofty do some people go

Dressing themselves like players in the show
They patch and paint and dress with idle stuff
As if God had not made them fine enough
Even little children learn to curse and swear

And can't rehearse one word of godly prayer
Oh teach them better, oh teach them to rely
On Christ, the sinner's friend, who reigns on high
[a popular 16th Century Winter folk song, "Christmas is Now Drawing Near at Hand" was
traditionally sung by beggars, travellers and the 'roaming folk' of England towards Christmas
time over the centuries]
179
The Snow Man
(Jhonn Balance for Rosa Mundi / Howard Blake)
We're walking in the air

We're floating in a moonlit sky
The people far below
Are sleeping as we fly
I'm holding very tight

I'm riding in the midnight blue
I'm finding I can fly
So high above with you
All across the world

The villages go by like dreams
The rivers and the hills
The forests and the streams
180
The Sea Priestess (Prescription Version)
On the sea coast of Tibet

Egyptian Aztecs are arriving from Norway
They've been varnishing the woodwork for forty-four centuries
Nature is naked, acrobats bathed in blood
There's a beast of prey on the threshold of pleasure
And a giantess, Sea Priestess, beckoning the passers-by;
"Do not lose sight of the sea"
After washing myself in a bath of blood, I held breakfast with the Sea Priestess
Her sibilant esses are escaping gas from the sea floor
The sea priestess lays on a bed of nails
Twenty-seven lead soldiers at her head
The Sea Priestess is escaping gas
The grass grows iss turned to gas
Gas fired from a gun, herbal hydrogen
If it goes any faster there'll be an astral disaster
We spent the rest of the time

Pissing out tiny diamonds
Passing the time wondering
Whether we should walk down the same path
That had introduced us to the valley the day before
I was woken three times in the night

And asked to watch whales listening for earthquakes at sea
I had never seen such a strange sight before
Somehow I think that soft verges of insanity
And the hard shoulders of reality
Point past signs here
181
It's probably a lack of poor visibility
Something special in the esses
That the rocks and the seashore make
The men here are desiccated like mummies
Been out in the sun for thousands of years walking along
The women stuff themselves full of collagen
And other animal remains
I don't think we'll stay here long
As soon as the ships have been rebuilt
We'll be out of here into the sun
Our ship was wrecked on the seacoast of Tibet
The first thing we saw were several Egyptian Aztecs arriving from Norway
Here all nature is naked
We watch acrobats bathing themselves in blood
And over the doorway there's a beast of prey
On the threshold of pleasure
And a giantess, Sea Priestess, beckoning the passers-by
She implores them; "Do not lose sight of the sea."
She hisses; "Do not lose sight to the sea."
[This early version of the song is included here due to some different emphasis on character
and phrasing, with the main character bathing in blood before eating with the Sea Priestess
who, this time, hisses her warning at passers-by]
182
183
The Sea Priestess
On the sea coast of Tibet

Egyptian Aztecs are arriving from Norway
They've been varnishing the woodwork for forty-three centuries
Here, Nature is naked, her acrobats bathed in blood
There's a beast of prey on the threshold of pleasure
And the giantess, Sea Priestess, beckons the passers-by
"Do not lose sight of the sea. Do not lose sight to the sea."
Her wizened mouthpiece whistles with silver fishes
Swirls of spider-crabs crackle like Wimshurst mechanicals
All around her, jellies are diaphanous
After washing myself clean, I had breakfast with the sea priestess
Her sibilant esses are escaping gas from the sea floor
The sea priestess lays on a bed of nails
Twenty-seven lead soldiers at her head
The sea priestess is escaping gas
The grass that grows is turned to gas
Gas fired from a gun, herbal hydrogen
We spent the rest of time
With furious faking of dreaming
Pissing out tiny diamonds
And passing the time wondering
Whether we should walk down the same path
That had introduced us to the valley the day before
I was woken three times in the night
And asked to watch whales listening for earthquakes in the sea
I had never seen such a strange sight before
Somehow I think that the soft verges of insanity
And the hard shoulders of reality
Point past signs posted in the past sea
184
It's probably a lack of poor visibility
And something special in the sand
And the essence of the rocks on the seashore make
The men here are desiccated like mummies

Been out in the sun for thousands of years
Walking along
The women stuff themselves full of collagen
And other animal remains
I don't think we'll stay here long
As soon as the ships have been rebuilt, we'll be out of here
Into the sun
Our ship was wrecked on the sea coast of Tibet

The first thing we saw were several Egyptian Aztecs arriving from Norway
Here all nature is naked
We watch acrobats bathing themselves in blood
And over the doorway is a beast of prey
Straddled on the threshold of pleasure
And a giantess, sea priestess, beckoning the passers-by

She implores them, "Do not lose sight of the sea."
She says, "Do not lose sight to the sea."
[The lyrics are largely adapted from Aleister Crowley's descriptions of the wall murals he had
painted in 'The Room Of Nightmares' in his Abbey Of Thelema, which he founded in 1920 in
Sicily]
185
I Don't Want To Be The One (Compiled Version)
(Jhonn Balance)
I don't want to be the one

When everyone has gone
When everyone is gone
To open up this wound
To put my head inside
To find out you’re alive
To find out you are gone
To see so far ahead
I have to live life looking back
To see the skies turn red
To play this dangerous game
To find out why they came
When everyone has gone
When everyone is gone
[italicised verse taken from the early ‘Prescription’ version of the song, with its intriguing nod
to the lyrics of Coil’s “Circles of Mania”] 186
MÜ-ÜR
(Jhonn Balance)
Ma, ma-ma
Ma-ma, what can you see?
The miraculous image of sound washed ashore

Hurts me to see
Murderous pa-pa
Chocolate ca-ca
Desolate ma-ma
You are urgent messages
Ma-ma
Open your mouth and let the gold coins fall
It's the sail of the century
It's the sail of the century
Run lady run
We can feel the rain coming
We feel like babies in the brine
Ma-ma
Murderous chocolate
God saved me from drowning
Then kicked me to death on the beach
What's hit is history
What's missed is mystery
And the miraculous image of sound washed ashore

187
188
Grief
(Jhonn Balance for Tactile / William H. Hodgson)
Fierce hunger reigns within my breast,

I had not dreamt that this whole world,
Crushed in the hand of God, could yield
Such bitter essence of unrest,
Such pain as Sorrow now hath hurled
Out of its dreadful heart, unsealed!
Each sobbing breath is but a cry,
My heart-strokes knells of agony,
And my whole brain has but one thought
That nevermore through life shall I
(Save in the ache of memory)
Touch hands with thee, who now art naught!
Through the whole void of night I search,
So dumbly crying out to thee;
But thou are not; and night's vast throne
Becomes an all stupendous church
With star-bells knelling unto me
Who in all space am most alone!
An hungered, to the shore I creep,
Perchance some comfort waits on me
From the old Sea's eternal heart;
But lo! from all the solemn deep,
Far voices out of mystery
Seem questioning why we are apart!
Where'er I go I am alone
Who once, through thee, had all the world.
My breast is one whole raging pain
For that which was, and now is flown
Into the Blank where life is hurled
Where all is not, nor is again!
[A poem by English writer William Hope Hodgson (1877-1918), who explored cosmic, occult
and horror themes in his works - especially horrors associated with the sea]
189
Are You Shivering?
(Jhonn Balance)
Brrr-rr-rrr-rr-rrr
Are you shivering? Are you cold?

Are you bathed in silver or drowned in gold?
This dream's a vitality
With filaments as fine as a spider's web
Pour through your mouth
They pour through your mouth
O river of silver, O river of flowers

I lie down and shiver in your silver river
Out drips the last drop of this vital fluid
Our life has grown weary

The stars have grown old
Are you still shivering?
Are you still cold?
Are you loathsome tonight?

Does your madness shine bright?
Are you loathsome tonight?
In the oceans of the moon

Swimming squid-like and squalid
This bright moon is a liquid
The dark earth is a solid
This is moon music

In the light of the moon
190
Red Birds Will Fly Out Of The East
And Destroy Paris In A Night
(Jhonn Balance)
The night was long

That Nostradamus got dragged into
Got dragged into a dream-like mix
Of visions
Of visions of a naughty naughty town
What we need to understand

Is that the event
Referred to “red birds”
Care-care-care-careful
Careful
Careful-ful-ful
Care-care-care-care
[An attempted decipher of Balance’s distorted vocals about the French apothecary Michel de
Nostredame (aka Nostradamus, 1503-1566). Musically, it is arguably a cover version of
sections of Tangerine Dream’s “Rubycon” Parts 1 & 2 (1975)]
191
Red Queen
(Jhonn Balance)
[distorted version of first verse]
Now you've absorbed it into your system

Now that you've allowed it to be true
Now that you've neutralised it, made it safe, made it yours
Now that you've been photographed, recorded
What are you gonna do?
Is it so unsafe when you are

Insecure in the space where you are?
Is it so, really so
Is it more real?
Is it more yours?
Is it more yours?
Is it more real, for you
Than it is for him or me?
And the people who perceive it

Repeat it, distort it, improve it, update it
Slightly change it
And these people believe it
And write it all up for you
And is it more real?

And is it more real?
Does it make it more yours,

Now you're recorded as having said it?
192
And being seen and done it
People have been seen to take notice
So empty
Is it so awful to be seen to feel and fail?

Overheard and noted to authenticate his story
An unsafe male trait
You know what they say
That empty vessels ring true, like bells
Make the most noise
The ink is still wet
In this case, the medium is not

Is it so, really so, unsafe you can't let - let go?
What are you going to do if they don't believe you?


[repeated]
193
Broccoli (Compiled Version)
(Jhonn Balance)
"When I was about nine my stepfather (we lived in Germany at the time), he took
me to the dam, which is featured in the film 'The Dambusters' - the bouncing
bombs destroyed it and flooded this valley - and he dangled me over this dam by
my...the clothes I was wearing and then, when he put me back on the ground
again, he...hit me, because I started crying. I never figured that one out, really.
I am shivering - constantly - with you in mind. So I am dedicating this song to my
stepfather - who I do not get on with - and to my father, and to my stepfather's
father (who was in the British Raj), and to his father who probably did the same
things to him that he did to my stepfather, who then did them to me.
All with a twist of warfare within
All with a little twist of warfare within
Oh no no no..." *
...
Wise words from the departing;
Eat your greens, especially broccoli
Remember to say "thank you" for the things you haven't had
By working the soil we cultivate the sky
We embrace the vegetable kingdom
The death of your father

The death of your mother
Is something you prepare for
All your life
All their life
194
Wise words from the departing
The death of the mother and the death of the father
Is something you prepare for, for all of their life
for all of your life
[repeat of core verse with following line variations]
Wear sensible shoes and always say "thank you"

Especially for the things you never had
And enter the vegetable kingdom of our own heaven
By working the soil we cultivate good manners
Is to say "please" and "thank you"
Especially for the things you never had
And always say "thank you"
Especially for broccoli
…
By working the soil you cultivate heaven
You cultivate the sky
And enter a vegetable kingdom of your own making
You enter a vegetable kingdom of your own making (of your own making)
By working the soil you’ll enter heaven
By working the soil you’ll dig your way to heaven
You’ll dig your way to heaven [repeat]
Dig your way to heaven [repeat]*
[* Introduction and final lines taken from live version performed in London, 25th July 2004]
195
196
Strange Birds
(Jhonn Balance)
One day your eggs

Are going to hatch
And some very strange birds

Are going to emerge
197
The Dreamer Is Still Asleep
(Jhonn Balance)
Hush - may I ask you all for silence?

The Dreamer is still asleep
May the Goddess keep us from single vision
And Newton's sleep
He's inventing landscapes in their magnetic field
Working out a means of escape
We'll cut across the crop circles
The seer says “no
Not much time left for these escape attempts
Look at it this way
In ten years' time who'll care?
Who'll even remember?”
One dies like that, deep within it
Almost inside it
It's there for a reason
I'll give you my old address
And take that little book
To tear and cut the paper
The beginning is also the end
Time defines it, time defines it
It will end
Like close friendship
Nothing could be further
We forget the space between people and things is empty
We forget, and don't notice the loss
Crossing into venerable degeneration
Such radiant pollution
198
The God With the Silver Hand surveys this vast contamination
The Dreamer is still dreaming
In the heart of your heart your eye remains
Is that hurt you? Is that blister you call loveless?
Your whole life is a cold slow shock
Take all your time
Track the shabby shadow down
Through hissy mists of history
Hush - may I ask you all for silence?
Will he wake in time to catch the sunset?
Hush - may I ask you all for silent?
May I ask you all for silence?
199
Broken Aura
(Jhonn Balance)
As I fell into the water

I slipped and broke my aura
Are you asleep? (Yes)
Are you asleep?
Are you asleep? (No)
Are you asleep? (Yes)
...Are you asleep?
Are you asleeeeep? (Yes)
[played forwards & backwards]
It's going to rain
It's going to rain
It's going to rain
200
Queens Of The Circulating Library
(Jhonn Balance)
I am the Queen of the Circulating Library

I have declared an amnesty
All books may be returned without a penalty
Return the books to me
Return the books
Don't burn the books
You cut down the trees to make paper disease
It's in the trees; it's coming
Return the book of knowledge
Return the marble index
File under "Paradox"
The forest is a college
Each tree a university
I am the Queen of the circulated library
I'm here to answer your enquiry
All knowledge resides within me
Your membership has expired
You are way past expiry dates
Words, words, words, words!
You may as well listen to the birds
[Vocals by Dorothy Lewis, Thighpaulsandra's mother. The line "It's in the trees, it's coming" is
derived from the British occult horror film "Night of the Demon" (1957)]
201
Silence Is Golden
(Jhonn Balance for CoH)
Om, er, ss-ss

Om, er, ss-ss
Don't forget to say your prayers

Kneeling by the bed
See the twinkling stars through the window
From where I'm standing I can see the same stars
Is that twinkling star as lonely as I am?
Daddy loves you
But he can't love what he can't have
I'll wrap my last kiss in a bandage
I send you this message
My love is endless
Now close your eyes and send you off
The shining moon will sing you to sleep
Go to the moon and drift forever
On the sea of stars that's heavens' deep
Whisper goodnight forever
Whisper forever goodnight
A bright star at the end of the tunnel
An exit
A kindness so bright
Om, er, ss-ss

Om, er, ss-ss
Om, er, ss-ss
202
You are fixed
I am transient
As permanent as pain
I'll leave enough to last a lifetime
You won't see my kind again
Om, er, ss-ss
Om, er, ss-ss
In the centre of the silence
On a silver ball of calm
I can drown you in my sorrows
I could keep you safe from harm
The silence is silver
Your child's crown is gold
My arms around you
You'll never grow old
203
Tudor Fruits
(Jhonn Balance for Thighpaulsandra)
Addressing; remove; function;...in defence; arm brightener; instrument; folate;

appointment; scar shudder; re-routing; engorgement; crane; neck brace;
Ambrudinard; Jewish queen.
Some distance
Cold compress
Oral fixation
Azimuth
Fern green
Encaustic
Torpor
Whalebone
Pelican
Pretence
Blemish
Dislocate [cough]
Contributing
Impact
Section
Azimuth
Some distance
Cold compress
Oral fixation
Contributing
Impact
Section
Belittle
Section
Closure
204
Black Nurse
He is so not soiled
His fingernails are dry
Forged black nurse
And tending an office on high
Marked for death
In the glub of clubs
He comes unbroken with a message from above
Fun, you're in Zambia
Fine, you're in Zambia
Turn, you're in Zambia
Fuck, you're in Zambia
The clasp is broken
The headlights receding
The word unspoken
He's under-dreaming
Points is zero
Blessed by one
Walk on past the church of the Nazarenes
To the Pikinees guns, saying
[A possible focus of the song is Frederick Chiluba, President of Zambia between 1991-2002; a
"fervent born-again Christian” steeped in allegations of corruption, governing over Zambia's
poor human rights record and corrupt police force; On August 2nd 1999 26 year old Violet
Tembo died after being tortured by police officers at Lusaka. She was eight months pregnant.
In March 1999 six journalists were detained for publishing a story criticising Zambia's military
capability. All reporters were later charged with "espionage" whilst the war in the
Democratic Republic of Congo rumbled on]
205
Optical Black
Er, om, yeah, er

[a rapid reading of a long stream-of-consciousness text, largely indecipherable]
...Final thoughts
Each deeper feeling
Thoughts and frustrations
Form at the fore
Emersed into an urgency of emotions
Old man
Seedy man
Seen him there
He comes again
You're own teeth, you're own teeth
You're own teeth
In a line would make diamonds
A horse’s head in a library of foals
I've been observing objects, non-deserving objects
I’ve spent thirty years in this
The hungry are the hungry
The signs are in the sea
The symbolic are in the hands of the receivers
In the eyes of the believers
We hear every word we hear
We believe what we hear
The code is not cracked
The code is not crawling
My heart is a bird
A spread heart, sprawling heart
There is a hole in my heart where the sun shines in
We've all been asleep and we should've been
206
A whimpering sadness of a betrayed friend
...Align the animal's soul
This selfish soul has spiked the heart
The heart; the cortex
The cortex sets in motion
We are viral, base

We are basic, just like slaves behaviour
Talons of teeth of fear

Eat your own teeth
Eat your own teeth
The teeth, eat eat eat
Numbness is next to Godliness
Base, basic spinal chord

Column-linked temple
Each day is vital to pass into motion
Each dream and feeling
Expression of person
The externalised vision
Thoughts and frustration
Form out of thought
(The lot from Germany once)
A notion into an ocean

A sea of emotion
The tide’s too strong
And I’m drowning, I’m drowning
Cross-current is pulling me out to the rocks of heartbreak
Drowning in a sea, a sea of swimming sexual...
207
No sense of direction
No raft
No laughing
No laughing
No laughing
No lifeboat
Invisible split
An infinity of open sewers
A vision of the piper’s purpose
Mucous; sub-atomic passage
That goes through the flow of the channel
Chemical temple
There is no final vision
No kingdom
No door
No final altar
An expensive formality
A question of disposal
A psychic ruin removal
Chemical temple = Flesh Church
Sweat like a stallion
Jesus; “it’s not painful, but dull
And it is so obvious, inevitable”
Rose like star students
Live like sick soldiers, pox soldiers
A charm around my neck which is choking
But I can’t answer, no answer, you forgot the question
[even when slowed down 200% the improvisation is still 80% indecipherable throughout] 208
Fouled
The hand shadow

The piece of porcelain
The wording of the reigns
I'm bowed by you
Be this damned other truth
I am floating eternally
Accusing, the fires await
Just a little bit drowsy
Shadow returns beyond teenage obsession
The sea of permanence
Delirious dimension
The taking and waking of hidden obsession
And…
There's only one thing worse that I think could have happened
(cough)
The pillow is cursed, the pillow is cursed

The bed's a (bloody) mess, the bed's a mess
I curse the stains you caused me to leak out of my body
I have found myself fouled
Fouled and fooled by you
Suckered
You fouled invented Harrigan
You fouled invented Harrigan
You fouled invented Harrigan man
Now get out of my garden
Now, please
Get out of the garden now
209
You are leaking pestilence into my garden soil
Consider you've been seen in someone else's cabbage patch
Go stray, on a date, in someone else's cabbage patch
Just you wait 'til the sun sets, Ladyfuss
Just you wait 'til the sun sets, Ladyfuss
Then we'll find out just who's behind you
In all this malicious blueprinting
We'll find out who's just behind you
In all this malicious blueprinting
[Ladyfuss (or ladyfuzz) can be a derogatory term for someone based upon a crude phrase for
female genitalia. Harrigan is the name of Brian Cox's ephebophile character in the early 2001
film L.I.E.] 210
Something (Compiled Version)
(Jhonn Balance)
something
Something
Something
Something
Something
Something
I know why the birdcage sings

Its wrapped its song
Around everything
Io Pan, Io Pan, Io Pan
The woods are alive with the smell of his coming
Around everything
[repeated]

Around everything
[Compiled from studio version and live performances in 2001, Amsterdam and New York. “Io
Pan” is the frequent call to Pan in Crowley’s “Hymn to Pan”, featured in his “Magick in
Theory and Practice”]
211
Tiny Golden Books
(Jhonn Balance)
Dark they were

With golden eyes
Brought golden books
From darkened skies
Every word from every world

Within was written down
They read it all aloud to us

With silver tongues of fire
That licked the sun and stars and moon
All space became a choir
Shining
Shining
Shining
Then they left without a sound

212
Ether
(Jhonn Balance)
It's either ether or the other

My mind is back to front
And sometimes absent
And slip the cup
I've taken a sip from the cup
That slips into ether
It's either ether or the other
I press my window to the glass

The glass turns to gas
I breathe out ether, a glass of ether
Ether is a thief
It's stolen my belief
Slip through the ether

We both slip through the ether
Slipstreams of memory slipping away
It's ether
Betty May and Raoul Loveday

Slip through the ether
Sip the ether
Sip the ether
213
Slipstreams of memories slipping away
Slipstreams of memories slipping away
Memories of Fitzrovia slipping away
Into ether
Into ether
I've changed my mind

It's what it's there for
I've changed my mind
It's what it's there for
For therefore
Full of ether
Full of ether
Full of ether
Full of ether
Full of ether
I'm going upstairs now

To take my mind off
I'm going upstairs now

To turn my mind off
To turn my mind off
To turn my mind off
To turn my mind off
To turn my mind off
To turn my mind off
To turn my mind off
[Raoul Loveday (husband of Betty May) was a student who died of acute enteric fever at
Crowley's Abbey of Thelema after drinking contaminated water from a mountain spring]
214
Paranoid Inlay (Compiled Version)
(Jhonn Balance)
Serenity is a problem
When you get this close to Heaven
But you really want to see
The wonders of the underworld
They caught Saint Peter's disease
As he rattled his keys
Such a paranoid inlay
Hand-painted, pain by numbers, just join the dots
Bloody British bulldozers
These vegetables are suicidal
It seems concussion suits you
It seems concussion suits you
Dear Diary, I must take risks
I must not be afraid of failure
What do I need to give up?
Crystalline ladders, shiny things, mirror-balls
On a clear day I can see forever
That the underworld is my oyster
…
I caught Saint Peter's disease
Serenity is a problem for me
It really is a problem
It seems concussion suits me
215
I used to believe in mirror-balls
Television - switch the fucking evil thing off
Before it switches you off for good
I mustn’t be afraid of people I haven’t met yet
I mustn’t be afraid of saying “no”
There’s no question I have to answer
Ever
Watches, clocks and telephones
[repeated]
Leading from behind

[repeated]
[Second, italicised section of variant lines taken from Coil’s “Live Three”]
216
An Emergency
(Jhonn Balance)
And your wounds were growing

And your feast on your fear
Are you bathing in moonlight?

Are you drowning in tears?
I thought I had lost you

But I now find you here
In the darkness we share
[Chillingly, the label message on Side C of the vinyl release of “Musick To Play In The
Dark²” (containing this despairing song, “Where Are You?” and “Batwings”) states; “LAST
ONE OUT TURN OFF THE LIGHTS”]
217
Where Are You?
(Jhonn Balance)
Where are you?

Are you hiding from me?
Are you still looking for things that no-one else can see?
Where are you?

Are you in some place that we cannot reach?
Are you bathing in moonlight or drowned on the beach?
Where are you?

Are you surrounded by things we cannot penetrate?
Is the cage you love the home you also hate?
Your fear of death attracts such strange objects

Smothering you, hiding you, don't let it spoil you
Show yourself so the others may see you
So the others may feed you
They want to be near you
If you can't get enough of your hypnotic injection

Then it's time to put an end to this invalid function
Poor little ghost boy
Let me be your human toy
Where are you?

No-one's seen you for years
Have your wounds grown wings? Are you feasting on fears?
I can see your dark corona is eating into you

You're surrounded by things we cannot penetrate
Is the cage you love the home you also hate?
218
Life lies with the scissors inside her
The surgeon was a butcher
All of us are wounded, anaesthetised in A&E
Numbed by stuff we should not see
Each of us lies bleeding

Our rivers intermingling
Poor little ghost boy

Let me be your human toy

219
Batwings (A Limnal Hymn)
(Jhonn Balance / Sir Thomas Browne)
(The key to joy is disobedience

There is no guilt
And there is no shame)
A moon-piece to fetch up the golden cup

A snow-piece to avoid the great heat of the sun
Is kept in the night and by the light of the moon
An ice-piece so as they seem forever fallen

A night-piece of the dismal supper and strange entertainment
A rare chance-piece, a handsome piece of deformity
The skin of a snake bred out of the spinal marrow of a man
With stones and illegible inscriptions found about great ruins

Pictures of three remarkable steeples, or towers
Built purposely awry, so as they seem eternally tipping and falling
A transcendent perfume made of the richest odorates

Kept in a box of translucent scale
A glass of spirits made of ethereal salt, hermetically sealed up

Kept continually in quicksilver, of so volatile a nature
That it will scarcely endure the light
And therefore only shown in winter
Or by the light of a carbuncle, or a firefly
And batwings
And batwings
And batwings sing this limnal hymn
220
A wideness opening and closing to keep the darkness sealed within
To keep the darkness sealed within
And batwings
And batwings
And batwings sing this limnal hymn
A wideness opening and closing to keep the darkness sealed within


A moon-piece to fetch up the golden cup
[Evocation section, spoken in Jhonn Balance's own magick language]
[Many lines adapted from Sir Thomas Browne's "Musæum Clausum" (1684)]
221
Health And Deficiency: Love's Septic Domain
(Jhonn Balance / Louise Weasel, for CoH)
Astral archaeologists
Electronics take a shit
Gynaecologists and priests
Very well-being their living
Take these anti-coagulants
Sterilise, cauterise and dress
My confessions in a stainless steel chair
Or a titanium chair
Or a lithium...
A shiny metal chair; do you want that?
My favourite person is who visits me
Be on your best behaviour
Yeah, I know
Yeah, I know
Dirty hospitals, dirty hospitals
Dirty hospitals, dirty hospitals
It's a terrorist's briefcase or an innocent's bomb
This place is run, it's overrun
If only by the deceased
Now I'm alone, and I have time to kill
I sit and stare at my long, long fingers
Ten inches is a monstrous size
It doesn't do to glamourise
There are rules and there are regulations
Be on your best behaviour
Yeah, I know
Yeah, I know
Yeah, I know
Dirty hospitals, dirty hospitals, hospitals
It's overrun by medical regime
222
And I have hypnotists and anaesthetists
It's struck dumb by vitamin deficiency
Its medicine has terrorism
Empty coagulates again
Empty coagulates again
Sugar shit and chloroforms
(I have patience - I like to have a hands-on approach to things)
Twenty-seven pills before 9 a.m. in the morning (Yellow, brown)
Then another thirty-five by nine in the evening (And occasionally red)
Three intravenous intrajections (I've used this before)
One in the thigh, two in the eye
(I'd like to try it again)
But I'm confused between sexual, murder, magic, and medical
Is the difference metric or imperial?
Septic, fertile, furtive, or sterile?
I take twenty-seven pills before 9 a.m. in the morning
Another thirty-five by nine in the evening
I have three intravenous intrajections a day
One in the thigh, two in the eye...Eye!
I've got two thighs and two eyes
One in the thigh, and two in the eye
These dirty hospitals, these dirty hospitals
These dirty hospitals
I have twenty-seven pills before 9 a.m. in the morning
[Balance noted in an interview that he wouldn’t want to return to the dark and wildly manic
character with such lyrical content he performed on CoH collaborations like this one. Louise
Weasel is a pseudonym for Balance, featured here as a feminine vocal distortion]
223
The Last Rites of Spring
(Jhonn Balance)
We are children, we are children

We are children, we are children of the dark sun
We are children, We are children
We are children of the black sun
We are children, we are children of the black sun
We are born, we are born, we are born under a black sun
We are children, we are children
...Here it comes, here it comes, here it comes
And William Burroughs is hallucinating in space
Are we going in space?
Are we going in space?
The animal's saliva will survive
And the animal's saliva will survive
[repeat]
And as a human race
We are going deranged
We can be arranged
The saliva will survive
Saliva will survive
And the animal's saliva will survive [repeat]
[repeat in slight variation]
[Compiled from Coil's "Live Four" and *Gdansk live performances, Autumn 2002]
224
Higher Beings Command
(Jhonn Balance)
Higher beings command

Their powers to the ground


To madness
To madness
To madness
To madness
[repeated]

Their power to the ground
[all words taken from selected live versions, Europe 2001, especially from Coil’s “Live Two”,
which blurs this song with “Something”]
225
I Am The Green Child
(Jhonn Balance)
I am your creation
I remember creation
I am your creation
I remember creation...
And...drank to the fire...

I am the Green Child
The vengeance divine
What's twice in thine is thrice in mine
What's twice in thine is thrice in mine
I have a deeper pain effect the drive in me

Oblivion coming from the hate
Coming from the state we're in
Occidental vomit
We're swimming in a sea of occidental vomit
Make a paper-cut
It's the least I could do
Splash colour, sound, oblivion
Name and shame

Driven insane
By this game of shame
I'm driven insane
By the name of...
226
In fifteen minutes, the future will be famous
In fifteen minutes, the future will be famous
Electrocuted by hallucinatory equipment

The vomit world
Swimming in the sewer
The machine started to flow into a vein


... A vengeance divine

Vengeance is mine
Colour, sound, oblivion

227
Tunnel of Goats V-VII
(Jhonn Balance)
The river gone, so why go on?

And the sun dissolves like an octopus
No allegiance to the hummingbirds
No reward from the sun
Hornet, wasp, or hover-firefly
Even the bee, they have their alibi
Do you believe in dentists?
Anaesthetists and gas?
I want to believe
It's a certainty of animals
I want to go among them
I will step across an ocean, a lagoon of fish
Fly with suicidal birds
I'm so tired of the seasons and the breeze and the river
Wasps pollinating sores
In their Altered States of American Death
Want to go under...
I want you and I need you but I can't find you
I'm allergic to disease
Christ on a bike with carpet burns keeps falling to his knees
Then I'll cut off the heads of the birds that fly
There is no wrong, so why go on?
There is no wrong, so we go on
[3 sections of an 18-section piece, section 18 includes laughter from “I Am The Green Child”]
228
Constant Shallowness Leads To Evil
(Jhonn Balance)
We have heard that some of you

May have read that we eat human flesh
We only do this on religious holidays
We don't eat girls
And we don’t eat gold
We only drink silver
We only drink silver liquids
We only drink silver liquids
We like mushrooms
We like drugs
And we like cheese
We are decadent and we are symmetrical
[repeated]
Louder
Louder
Louder
Louder
Louder
Louder
Louder
“kill; kill / kill; kill / kill; kill / kill; kill”
There is no wrong so I go on
No allegiance to the hummingbirds
No warning from the sun
Hornet, wasp, or hover-firefly
Even the bees have their alibis
All hummingbirds must die 229
[repeated]

Do you believe in dentists, anaesthetists and gas?
I want to go under in the company of animals
[repeated]
I want to go underneath...
I’ll swim across an ocean of drunken fish
Fly suicidal birds
I want to go under in the company of animals
I’m tired of the priests and the thieves and the lawyers
Cross-pollinating sores; The United States of American Death
I want you and I need you but I can’t find you
Allergic to the bees
I need a killer to take my pain away
[repeated]
Christ on a bike with carpet burns

Keeps falling to his knees
No allegiance...
Then I'll cut off the heads of the doves that fly
[repeated]
230
In the company of animals I want to go under...
In the company of animals
Man is the animal
Man is the animal
[repeated]
I want to go underneath
[repeated]
Cadaver dogs, cadaver dogs

Good good cadaver dogs
[repeated]
Cadaver dogs, cadaver dogs

Dirty little cadaver dogs
[repeated]
“kill / kill / kill / kill”
[A compiled live interpretation of sections of Coil’s “Constant Shallowness Leads To Evil”

album, this version taken from Coil’s “Live Two”]
231
Copal
(Jhonn Balance)
Looking upon it with a sense of dread

Facing it with a sense of dread
Gazing upon it with a sense of dread
Facing it with a sense of dread
Larks, carrion crows, ortolans

Turkeys, peacocks, guinea-fowl
Robin Redbreast, thrushes, swans
Edible birds uttering horrible cries

Nocturnal birds, boiled owls
Nocturnal birds, boiled owls
Edible birds uttering horrible cries
Could you swallow...

Could you even swallow a boiled owl?

Gazing upon it with a sense of dread
Looking right upon it with a sense of dread
[This song was added to the “Moon's Milk (In Four Phases)” compilation in 2002, almost four
years after the first “Moon’s Milk” EP]
232
The Coppice Meat
(Jhonn Balance)
The mother tongue

Semblance to waking
Semblance to moving
Semblance to being over with
The mother tongue joining of the drum
Mutter to the dream gutter

The bar of light blinding us at the peak we wait for no longer
Such speech in search of the dead
Only one sound jumping up to thee
They have sent me in search of the dazzling dead
And their face is blurring into mist behind the hill

Only one song, crazed purpose, enactment in the land
What was granted on that first time out over the shadows
They were filling every crooked palace of my eyes' hollows
That look and lunged on that first walk out
What was spoken first was how all of this

Every least part must be supernaturally clearer
Illumined on eternal tables that shift
What was spoken on the first part about the fresh, the vivid
The hole in the vortex where worlds pierced ideas with an absolute
Embraced
And allowed themselves to exist in beauty
What was spoken from moment to moment, revolving in a clear space

without confusion
And the doors opened
The entire map appeared, plan of the whole
Worlds appearing, crashing into perfection
Like unimaginable powerful and efficient weapons
Stars consume us with longing, boulders reach for us like lovers
233
And we enter singing; “We have gone nowhere“
What was seen with a thousand eyes of us
At the brink of all
Suns, glory of mists, cleared from the entryways across the valley floor
And the keepers who wait at the gates of the plan
What was heard in a skeleton's brief aria of obedience
As its rainbow bones paid homage, wing-tip to wing-tip
The ones of the...magnificent, crowding to catch with tender clasp
My wisdom which never was
To transport it, with all due pomp
To a distant spot where it may revolve forever on its own delicate pivot
In a style to which it is accustomed, safe from me
Until time is no more
And every gate to the plan and every threshold of every gate
And every approach from the far places
And every cloud that hovers above the plan
Desiring wind and the gleaming sky
Where will the cries of the ecstatic iron bird find us, now that we know
And the shift has shown us, and we are walking with ourselves
Into the shaking air needing nothing
And all being has become as breath over the transfigured spaces?
Into the house of the heart on that first time
Into the plan, through the gate of the first time
Throughout the land I saw you
Whom my heart had never hoped to see
And it was all fire, as the first drops of rain fell
And the scents, sliding down the air of the million and one desires
of the unnamed god
Penetrated us, who are empty of all wisdom at last
The gate of entry was passed
234
And night fell over the dissonant ranges
Here, where it all began, as the ground trembles
The wraiths of what was un-god, anything before
Bestows itself prostrate before us, prepared for annihilation
Engraved on the ground where we walk is this warning;

"Everything is now destroyed
Do not seek to be anything other than this
You will be divested of every garment until none remain
What is born must become whole by annihilation
By the gates of the first time
By the glittering flight of arrows into all twilights of knowing
By the din of the waning light"
What was spoken, what was heard, what was seen

Beyond the shift
[This song was added to the “Moon's Milk (In Four Phases)” compilation in 2002, nearly four
years after the first “Moon’s Milk” EP]
235
Sick Mirrors
(Jhonn Balance)
"I glimpsed behind my shower curtain last night in my hotel and I saw a very, very
heavy thing. I saw the hairy mother of God."
Remote viewing, remote viewing
Viewing from a distance
Eyes shut, eyes shut, eyes shut
Shutters in the way, shutters in the way
Visiting people far away
Something-ah, something-ah
Something-oh, something-oh
Something cold, something cold
Something old walks this way
Something cold, something old
Something cold walks this way
Something black cracks something’s back
And something’s black cracks the red things back
Is the red thing cracked?
Is the black thing back?
But something old meets something cold
Something walks clear waters
I walked down to the waters
With my dogs by the river
With my dogs by the sea
I would never walk this forest
With my dogs without me
Something cold, something old
Something cold walked to me
Something black broke the other thing’s back
And something red was left for dead
236
But was it dead?
Was it dead or just looked dead?
Or was it red or black or red?
Or just looked red?
And it’s coming
Coming closer to eat me
Oh, something black broke red thing’s back
And something cold’s coming to meet me
It’s coming to meet me
The mirrors are sick
I can’t see anything coming from within it
My mirrors are diseased
Will someone mercurise them please?
Vaporise the mercury
Vaporise the mercury
Vapour… Mercury
Mercury lurks in the way of the images
I’m scrying in the mirror, mirror, mirror
[repeated]
I’m scrying in this mirror, mirror, mirror

Angels walk with me
Angels talk with me
They say I’m diseased
With my mirror I’m diseased
With my mirror I’m displeased
With my mirror;
What it shows me
And what I don’t see
237
As I walk down to the sea
With my dogs with me
With my dogs with me
I wouldn’t walk this forest
Without my dogs with me
Walk me to the sea
Where the horses are
Where the horses are
Where they marry in the water
I must stay underwater
Can I stay in the water?
If the water comes over me, over me?
The water is flowing over me, on me
On me
I may as well drown
In this beautiful sea
This beautiful sea
What was seen what was following
What was seen and what was following
What was seen and what was following me
What I saw on the seashore I will never say
What I saw there on the seashore I will never say
What is there on the seashore I will never say
What was there to say for me and it will never stay
It will never stay
It will never stain me
It will sustain me
[repeated]
238
It will never stain me
It will never pain me
It will never claim me
Like the sea, like the sea
Like the sea, like the sea
Like the sea
I like to see, like to see

I let it claim me
I let it claim me
See me in the flames of the sea
[Taken from Coil’s “Live Three”]

239
Sick Mirrors (Glauchau Version)
(Jhonn Balance)
I can see them again

I saw them last time
Wounded galaxies tap at the window
Wounded galaxies tap at the window
I saw them last time
Like I saw them before
I wonder when they're coming in
I wonder when
I wonder when they'll come again
I wonder when
Something black killed another thing's back
And something red broke another thing's head
I wonder when they'll come again
I wonder when
And something black broke another thing's back
And something red killed another thing dead
And something black broke another thing's back
Dead
240
Oh, the sick mirrors the sick
Mirrors are sick
Mirrors are sick
And something black maybe killed itself back
And the sick mirrors the sick
Mirrors the sick
Mirrors the sick
Mirrors the sick
Mirrors the sick
[repeated]
And something red broke another thing's head

And something black killed another thing's back
Oh the sick mirrors the sick
Mirrors the sick
Mirrors the sea
Mirrors the sick
[repeated variants]
Mirrors the sick

Mirrors the sea
Mirrors the sea
Mirrors the sea
Mirrors the sea
The sea mirrors me
[Taken from Coil’s live performance in Glauchau, Germany, April 2002]

241
242
What Kind of Animal Are You?
(Jhonn Balance / Simon Norris)
I'm wearing a crown of thorns

A crown of black thorns
Thy black birds
Like black splinters
From the black throne
Of the black Pope
Of black Rome
Like black splinters
From the throne of the black Pope
Of black Rome
The ancients in your brain is not the cause of our pain
The ancients in the brain is not the cause of our pain
The ancients in your brain is not the cause of our pain
The ancients in the brain is not the cause of our pain
I am a dog whose bite is bright as light
I am a dog whose bark as dark as night
243
I am a dog whose bark as bright as night
I am dog whose bark is bite as light
Huh, ooh, yow, yow, reh, reh
Reh, reh, reh, reh, reh, reh
And when you strip your plastic back
Then you'll see, then you'll see, then you'll see
Man is the animal
Man is the animal
Man is the animal
Man is the animal
Man is divine
Man is divine
There is no time
There is no time
There is no time
Then you'll see, then you'll see
Man is the animal
Man is divine
There is no time
There is no time
244
I am a salamander
I am a salamander
I am a salamander
I am a salamander - a burning, burning salamander
A sala - salamander
I am a salamander
[repeated]
I am an animal
Man is the animal
Man is
You don't keep goats in papa pagodas
You don't keep goats in papa pagodas
You'll see, you'll see, you'll see
Man is the animal
Man is divine
There is no time
There is no time
Those lights at the end of your tunnel
You see those lights at the end of the tunnel?
They are the fires of your burning brains
They are the fires of your burning brains
What kind of animal are you?
[This version taken from Coil’s Paradiso concert, Amsterdam, June 1st 2001. Whether
Balance states “ancients” has been contested in the past though, given how he pronounces
the word with a silent first ’n’ in “Slur”, this is believed to be the correct transcription]
245
The Universe is a Haunted House (Compiled Version)
(Jhonn Balance / Robert Burns)
No angels are here [repeated]

Whistle and I'll come to you my lad [repeated]
I am not here; I am there
I am not there (and the ambulance died at my feet); I am down here
And the ambulance died at my feet
Whistle and I'll come to you my lad
And then the ambulance died at my feet
Whistle and I'll come to you my lad [repeated]
Whistle... whistle!
Whistle and I'll cut you with a knife
Listen, I will fuck you with a knife
Listen and I'll fuck you with a knife [repeated]
Listen, I will fuck you with a knife
Whistle and I will fuck you with a knife
Whistle, Whistle and I'll come to you my lad
Whistle and I'll fuck you with a knife!
Whistle and I'll fuck you with a knife!
Whistle and I'll cut you my lad
Don't have to say it
Between all of our sins
I don't have to say it
I put liquid LSD in my eye
246
Whistle I will come
Listen I will come

Listen I will come
To put liquid LSD in your eye
To put liquid LSD in your eye

I put liquid LSD in your eye
Power is, gold is...

The metal with the broadest shoulders
The metal with the tallest orders
….
We will push it in your direction
[repeated]
Where’s my unlucky rabbit?

Drip, drip, drip, drip
[repeated]
...as I am not here

Where’s my unlucky rabbit?
[repeated]
Look what’s happened to the world!

Push the sound into the world...
247
… Look at my unlucky rabbit...
Why could you lie?
Why…you lie?
You know you could’ve asked questions
Fucking questions...
But why are you here?
Why are you here?
Fucking… Fuck me…
[repeated]
We are the alien
[Primary section taken from Coil’s “Live Four”. Second section additional fragments taken
from Coil’s “Megalithomania!” concert on 12th October 2002]
[Brainwashed.com; "Megalithomania! was a celebration of sacred sites and standing stones
as expressed through history, folklore, art and sound. For this special event, Coil performed a
long, drawn-out permutation on "The Universe is a Haunted House" [with] a particularly
spectral vocal improvisation from Balance. As reported by many people who attended the
event, there seemed to be a strange rift between Balance and Sleazy, evidenced by John's
agitated screaming: "Why are you here? Why are you here?" Balance's statement that "we
are the alien" could be read as a tribute to the extra-terrestrial builders of Stonehenge, or as
a further statement of his growing alienation from his long-time partner. A few days after
this performance, Peter and John announced that while Coil would continue, they would no
longer describe themselves as a couple."]
248
Lake View
(Jhonn Balance)
Drown it...
Never turn the lights on [repeated]
Never turn the lights on
In a dark room [repeated]
We, impossible
It all seems impossible
It seems so small
But it's a long way down
If you're going to fall
It's a long way down
When you're deep within
An accoision;
Where disablement equals sin
We sent a floral tribute
It floated down the river
And into the sea
It seems a long way down
When wrong a long time
Read your message a long time
If you're going to fall [repeated]
If you're going...
[A song initially labelled by Jhonn Balance as “The Universe…” during its live performance in
Greece, October 5th 2002. Though ‘accoision’ is clearly said, ‘occasion’ may be the intention]
249
250
LUNAR
ECLIPSE
251
252
The Restitution Of Decayed Intelligence II
(Jhonn Balance)
I'm the disabled messenger now

Unaffected by youth
An old beast
I climbed the clouds

A broken vessel
A stolen moment
And then razed to the ground
The blank / the blank

The blank

The blank / (the blank)
An old enemy
An object
An old star
An old situation
At the right time

253
The Gimp (Sometimes) (Compiled Version)
(Jhonn Balance)
Sometimes, Sometimes, Sometimes, Sometimes
Sometimes I hurt myself

Sometimes I hate myself
Sometimes I just hurt myself

Sometimes I just help myself

Sometimes I just hate myself

[distorted sidereal passage]


Sometimes I can't help myself
254
[My Announcements / My Announcements / My Announcements]
["Sometimes I hate myself" backwards sample distortion]

Sometimes I help myself
["Sometimes I hate myself" backwards sample distortion]
[Previous page taken from live versions. This page taken, firstly, from the introductory loop
found in an earlier version of the song from 1999 (released on the compilation "Hate People
Like Us") and, secondly, the main lyrics from Coil’s “Black Antlers” version]
255
Sex With Sun Ra (Part One – Saturnalia)
(Jhonn Balance)
Sun Ra was here in his element

He invited me back for a ride
I smiled, agreed, and we left for the place
That is full of the reasons for time and for space
He said he was leaving last tide

I agreed and left for the places
He said he was leaving last tide
In a spaceship powered by natural sounds

I smiled, agreed, and we left for the place
That is full of the reasons for time and space
He said, "I dream of colour music
And the intricacies of the machines that make it possible"
I said, "You are nothing if not inconsistent"
He said, "I rely upon being insistent

I'm almost never forever, I'm almost never for now
I implore you, explore all the people you meet
I implore you, explore all the people you meet"

He said, "I will be all right if you kiss me
And I will be all right if you hold me
It will be all right if you kiss me
It'll be all right if you hold me"
256
He said, "Now is the time to relaunch the dream weapon"
He said, "Now is the time to relaunch the dream weapon
Relaunch the dream weapon
We worship at the shrine of the thylacine
We worship at the shrine of the thylacine
We worship at the shrine of the thylacine"
And we worshipped at the shrine of the thylacine
I thought, priceless, bloody priceless

Priceless, bloody priceless
Petals pleated
Tear droplets repeated
Sepalsssss... separate
We hydrogenerate in the basin of a black pan
I see acid free, not an ideal homeland for you or me

With desert venom and military temples
Black wings flying over without management
Without management or plan
Where resonators rub against the delinquent and the compliant
I will be all right if you kiss me

I will be all right if you hold me
When I see the great black light
When I see the grey-black light
That shines in the eyes of animals
When I find you I will remind you
Most accidents occur at home

Or in Harry Smith's room in the Chelsea Hotel
Or in Harry Smith's room in the Chelsea Hotel
257
Where we relaunch the dream weapon
All will be forgotten, all will be forgotten

All will be forgotten, and all will be well
Priceless, bloody priceless

I'll be all right if you kiss me

In Harry Smith's room in the Chelsea Hotel
(Harry Smith's room)
In Harry Smith's room in the Chelsea Hotel
[Harry Smith (1923-1991); artist and occultist who lived in Room 731 of Hotel Chelsea, New
York from 1968-1975 and various times afterwards. Dependent on alcohol, legend states that
he died in the hotel whilst in the arms of a poet friend, "singing as he drifted away"]
258
Sex With Sun Ra (Part Two – Sigillaricia)
(Jhonn Balance)
I see acid free

Not an ideal homeland for you and me
Desert venom
Military temples
Black wings flying out without management or plan

Where the resonated rubs
Against delinquent and compliant

I said "Next time I see you, I'll remind you

Most accidents occur at home"
["saturnalia et sigillaricia"; a traditional roman winter celebration which includes the making
and giving of small presents]
259
Wraiths And Strays (Compiled Version)
(Jhonn Balance)
Ra, bai, be, om, uyi, ucha, beyom, om…

Ra, bai, be, om, uyi, ucha, beyom, om...
For I will follow you in...

For I will follow you in...
For I will follow you - and shoot!
Shoot!
Shoot!
Shoot!
Shoot!
Shoot!
Shoot!
Shoot!
Shoot!
[compiled, in order, from "...Of Paris" and Montreal live versions]

[The Tibetan Buddhist mantra is repeated in "A Slip In The Marylebone Road"]
260
All The Pretty Little Horses
(Trad.)
Hush-a-bye, don't you cry

Go to sleepy, little baby
Go to sleepy, little baby
When you wake, you shall have
All the pretty little horses
Blacks and bays, and dapples and greys
Way down yonder in the meadow
Lies a poor little lamby
Bees and butterflies flit around his eyes
Poor little thing is crying "mammy"
Go to sleep, don't you cry

Rest your head upon the clover
In your dreams, you shall ride
While your mummy watches over

Go to sleep, don't you cry

261
[aka "All the Pretty Horses" and "Hush-a-bye", a traditional American lullaby from the USA,
thought to be of African American origin]
262
Black Antlers (Where's Your Child?)
(Chris Westbrook)
Where's your child?

Do you know where they are?
Where's your child?
Look around… They are nowhere to be found
They don’t know right from wrong
No-one likes to be left alone
Especially when… They don’t know right from wrong
Where's your child?
[repeated]
Feed the birds

Feed the birds
Are they in the trees?
Oh, feed the birds
[repeated]
Don’t leave the birds

Do you need the birds?
Oh, feed the birds
Where's your child?
Oh, where's your child?
[repeated]
Where's your child-ah?

Where's your child-ah?
Oh, where's your child?
[repeated]
Can you feed the birds?

[repeated]
263
Bang Bang (Compiled Version)
(Sonny Bono)
I was five, and he was six

We rode on horses made of sticks
And he wore black, and I wore white [I wore black, and he wore white*]
And he would always win the fight
Bang bang, he shot me down

Bang bang, I hit the ground
Bang bang, that awful sound
Bang bang, my baby shot me down
Seasons came and changed the times

When I grew up, I called him mine
And he would laugh, and he would say
Remember when we used to play
Bang bang, I shot you down

Bang bang, you hit the ground
Bang bang, I used to shoot you down
Music played and people sang

Just for me, the doorbell rang [the church bells rang*]
And now he's gone

I don't know why
Until this day, sometimes I'd cry
He didn't even say goodbye [He wouldn't even say goodbye*]
He didn't take the time to lie
Bang bang, he shot me down

Bang bang, I hit the ground
Bang bang, my baby shot me down
264
I'm lying on the ground
If you ever come around
And if you come back to me
I'll show you how sweet a boy can be
I'll show you how sweet a boy can be
Bang bang*
[* Last verse and alternate lines from Coil's "Selvaggina, Go Back Into the Woods" version.
Majority of words taken from Coil's "Live Four", "Bang Bang (My Baby Shot Me Down)" was
the second single by singer-actress Cher, written by Cher's then-husband Sonny Bono and
released in 1966]
265
I Am Angie Bowie / Sine Waves (Compiled Version)
(Jhonn Balance)
I am Angie Bowie
I am Angie Bowie – No!
[repeated]
No, no, no, no

That I am Angie Bowie
No, no
I am Angie Bowie
I am Angie Bowie
I am Angie Bowie – No!
I am Angie Bowie—I know
I am Angie Bowie—No
William Burroughs told me so
[repeated]
I met him at a party in Soho

Where the New York artists used to hang out
In the Bowery
Laurie Anderson tried out
Where Laurie Anderson used to try it out
She ended up with Lou Reed - ha!
[repeated]
The thing is I’ve heard this story

So many times now
From the artistic communities
In Soho, oh no
Not again
Another fucking story from the artistic communities
In Soho
In Soho
266
It’s time to stop repeating these stories
It’s time to stop repeating these stories
It’s time to stop repeating what Lou Reed said
It’s time to stop repeating what Lou Reed said
About John Cale talking about Stirling Morrison
Oh European Son, your time is done
You killed your European Son?
Well, another one’s been born
Families are pro-formed
Families have been malformed
But I am Angie Bowie
I am Angie Bowie
[repeated]
I have Angie Bowie’s story

I am Angie Bowie’s story
I have Angie Bowie’s story
[Compiled from live performances during 2002, especially October 5th in Greece, when this
song merged with ‘The Last Rites of Spring’. It's worth noting that Angie Bowie has been
historically seen as a one-time troubled ‘hanger-on’ to a musical genius; someone derided
and famous for being brutally 'honest' about her failed relationship with said performer. It is
up to the reader to decide if Jhonn Balance is making a self-loathing reference to himself,
and a projected music fan's point of view of him, linked to his freshly-ended relationship with
the esteemed Peter Christopherson at that time. Putting this song into historic context, a
revised version of the "Backstage Passes" expose written by Angie Bowie came out in 2000,
her solo album "Moon Goddess" came out in 2002 - the year this Coil song was performed
live - and the film loosely based on her life with her partner, "Velvet Goldmine", found a cult
audience on dvd in the early 2000s]
267
An Unearthly Red (Compiled Version)
(Jhonn Balance)
God told me to do it
He said God told me to do it
An unearthly red
I had a vision of a burning bush
Of a burning George Bush
[repeated]
He said his father said God told him to do it

He said; “Oh, my father told me to do it”
He said God told me to bring it all down
He said God has told me to do it
He heard messages from God
He heard messages from God
Oh, he heard messages from God
And God told him to do it
He says my father is God
He says my father is God
God is my father
My father is God
So he said God told me to do it
My father is God
My father is God
268
My mother is a whore
[repeated]
My father is God
My father is God...
But my mother is a whore...
But my mother is a whore
She is the mother of all whores
And the President of America wakes up
With something dripping from his hands
Dripping an unearthly red
And is it dripping or only tripping?
Is he screaming or is he dreaming?
Is he screaming or is he dreaming?
Or is he tripping or is he ripping?
Is he tripping or is he ripping?
I don't know — no!
Because God told him to do it
An unearthly red
An unearthly red...
He's a liar, liar, liar, he's a liar, he's a liar
[repeated]
'Cause he said God told me to do it
'Cause God told me to do it
Swallow the Bible, swallow the Bible
Swallow the Bible
Tear a page out and swallow the Bible
He said, he said God told me to do it
Oh yes, he said God told me to do it 269
She is the mother of all wars
She said God told me to do it
She said God told me to do it
She said God told me to do it...
My father is a whore
He caused the mother of all wars
She poured war milk on it [repeated]
My father is God
Oh what a burden: my father is God
But my mother is a whore
She is the mother of all battles
She'd infanticide for cattle
She'd infanticide for cattle
She should be locked inside with cattle
Yes, my mother...
My father is God
My father is God...
But my mother is a whore...
She is the mother
[repeated]
[Compiled from several live performances, including the inflammatory version from Italy, July
2002. George W. Bush; "[I was] chosen by the grace of God to lead at that moment”, Time
magazine, immediately after 9/11.] 270
Snow Falls Into Military Temples
(Jhonn Balance)
Snow falls, slow falls

Snow... slow falls
Into military temples
Snow falls
Snow falls into military temples
Snow falls
Snow falls
Snow falls into military temples
With a light pauses
We're the light forces
Oh no...
Temples… Temples...
271
A Slip In The Marylebone Road
(Jhonn Balance)
Ra, bai, be, om, uyi, ucha, beyom, om

Ra, bai, be, om, uyi, ucha, beyom, om
A slip was made on Marylebone Road

A slit was made on the Marylebone Road
A slit was made on Marylebone Road
A slip was made in the middle of the road
I sat down in the middle of the road
My bags were too heavy
They were full of medication I didn't wanna take
They were full of medication I didn't wanna take
I left them in the middle of the road
In the middle of the road, in the middle of the road
And a precious green notebook
In the middle of the road
A slit opened; I fell
A...kiss from your angel
Your angel, your angel, an angel, an angel
And two people came up to me
Two people came up to me
They asked, was I all right?
And they asked me was I all right?
I said no, I was all wrong, you were wrong for asking me
272
Oh, and a slit opened, a slit opened
A chink, a chink opened, a whole slit
And I slipped inside of it
I slipped inside of it
And a slit opened on the Marylebone Road
The Marylebone Road, the marrowbone road
And a slit opened up the Marylebone Road
And I left my bags there
Slit, cut, slit, cut, open
cut, slit, slit, slit, slit
And somewhere, nowhere, in a hospital
Was a horse, ill
And somewhere, in a hospital
Was a horse that was ill
And I tried to find my way there
And somewhere, in a wood
There are two friends waiting, two friends waiting
In air...
And I got lost in the wood
And I got lost in the wood
So someone left a biscuit trail
No-one left a biscuit trail
No-one left a biscuit trail
273
No-one left a list of betrayals
Someone left a list of betrayals
Has someone left a list of betrayals?
And a fracture occurred in a fracture

A dislocation, a dislocation appeared, a fraction
A fraction of what I should have had happen to me
A fraction of what is in my handbag
A fraction of what should have happened to me
A fraction of what should have happened to me as I lost it
I was all tied up in a green valuable notebook

On the Marylebone Road
[Whilst this song famously describes the very real loss of Jhonn Balance's notebook on a
street in London, the lyrics also portray a state of confusion, betrayal, and a journey to a
hospital with a horse. The Horse Hospital is a famous arts exhibition venue in London and
Balance had started a relationship with artist Ian Johnstone at this time (who has exhibited
at the Horse Hospital) after ending his long-term relationship with Peter Christopherson]
274
Triple Sons And The One You Bury / Triple Sun
(Jhonn Balance)
Triple sons
Triple sons
Triple sons
Triple stones
Triple sons
Triple stones
Triple stones
As they skiff across the water

Triple stones
Necrodisiac, necrodisiac; someone in love

With the dead things in their lives
And you're gonna bring them home
And you're gonna bring them home
Are you gonna bring them home?
Are you gonna bring them home?
With a triple son?
With a triple son?
With a triple son?
I look into whatever I look into (it just confuses the issues)
The desert fern in a pool, in a black pool of desert fern
There's triple sons, there's triple sons, there's triple sons
There's triple sons, there's triple sons, your triple sons
And how are you gonna bring them home?

275
In the shape of a melted gun
Triple sons, triple sons, triple sons

Triple sons, triple sons, triple sons
Triple sons with a resonance to rub against the delinquent

With a resonance to rub against the delinquent
With a resonance to rub against the delinquents
Oh, those triple sons
The one you bury; the one bright red yew berry
If you're gonna bury them, bring them home first

If you're gonna bury it, bring it home first
And we swallow each new red berry

And we swallow each red yew berry
And we swallow each dead yew berry
And we swallow each red you buried

[repeated]
The one you bury, the one you bury

The single one you bury
276
And I drank a cup of mercury this morning
[repeated]
And I drank a cup…
I took a cup from a sip of mercury
And a sip from a cup of mercury

And then I...
I took a sip from a cup of mercury
[repeated]
And I swallowed one new red berry

And I swallowed the one you bury
And then I swallowed the one you bury
Then I swallowed the one you bury
[repeated]
Then I took a sip from a cup of mercury

I took a sip from a cup of mercury
I swallowed the one you bury
...
And then I swallowed the one you bury
[Italicised lines taken from Coil’s “The Ape of Naples” version]

277
The Somnambulist In An Ambulance
(The Dreamer is Still Asleep)
(Jhonn Balance)
Now the dreamer is still dreaming

The dreamer is still asleep
The dreamer is somnambulising
The somnambulist in an ambulance
A somnambulist in an ambulance
A somnambulist in an ambulance
Somnambulist in an ambulance [repeated]
Somnambulist in an ambulist
Pissed a somnambulist...
Pissed a somnambulist...
Kissed a somnambulist in an ambulance, in an ambulance
I kissed a somnambulist in an ambulance, in an ambulance...
I kissed an ambulance
I kissed an ambulance, I pissed an ambulance
I killed an ambulance, I killed an ambulance
I killed an ambulance, I killed an ambulance
Then I killed my doctor
I said; "Physician, heal thyself:
You're in no position to heal thyself
You're no position to kill yourself"
The somnambulist in an ambulance
I kissed and killed an ambulance

Somnambulist in an ambulance
[repeated]
I, I, I, I...
I kissed and killed an ambulance
[repeated]
278
Hush, may I ask you all for silence?
May the goddess keep us from single visions
And beauty sleep

He's inventing landscapes in their magnetic fields
Working out a means of escape, he says
We'll cut across the crop circles
The seer says no

There's not much time left for these escape attempts
Look at it this way
In ten years' time
Who'll even remember? Who'll care?
Who'll even remember? Who'll care?
One dies like that, deep within it
Almost inside it
It's there for a reason
I'll cut out my old address

Attack the little book
To tear and cut the paper
To care and touch the paper
The beginning is also the end

Time defines it
Time unwinds it
It will end
Like close friendships
Nothing could be further
279
We forget the space between people and places
Is empty
We forget, and don't notice the loss
And don't notice the loss [repeated]
Crossing into venerable degenerations

Such radiant pollution
The god with the silver hand surveys this vast,
Surveys these vast contaminations
In the heart of your heart

Your eye remains
Is the hurt you? Is the blister you call loveless?
...Take a little time

To track the shabby shadow down
The pissy mists of history
Down the pissy mists of history
Take a little time

To track the shabby shadows down
The pissy mists of history
The dreamer is still dreaming

Hush; may I ask you all for silence?

May I ask you all for silence?
[repeated]

280
Make Room For The Mushrooms
(Jhonn Balance for Aural Rage)
Make room...
Make room...for the Mushrooms
See those trees?

See those trees?
See those trees?
They make more sense than me
Sex is an epidemic
Sex is an epidemic
Sex is an epidemic
Sex is an epidemic
Over there (over there)

Over there (over there)
[repeated]
Seemed like a horrible week to me

Seemed like a horrible week to me
Ooooooh - Ooooooh
...I wanna live faster
Bah-bah-bah
Bah-bah-bah
Bah-bah-bah
You're gonna let me in now?

You're gonna let me in now?
281
Unhappy Rabbits
(Jhonn Balance)
Unhappy rabbits [rapid x15]

Yowwwwww... Un-happ-y rabbits
Yowwwwww... Yowwwwww...

Unhappy bunnies [rapid x3]
Unhappy bunnies [rapid 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 shiny

And I'm happy and I'm dead
I've broken the code of youth in my head
I'm clean / I'm shiny

I'm happy / I'm dead
I've broken the cult of youth in my head

I've broken the oath of youth in my head

I'm happy and I'm dead

282
I'm happy / I'm shiny




Hallelujah
Hallelujah
Hallelujah

283
Stranded With Gifts
(Jhonn Balance)
Stranded with gifts, I'm stranded With gifts

I'm stranded With gifts, I'm stranded With gifts
For 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 as we all want the universe to save our innocent life
The Queen watches a scale model of the universe descend over Slough
[speaking in tongues section]
Slough
The… Queen
Ah-ah-ah-ah-ah-ah-ah-ah-ah
284
I Want The Bells To Whistle
(Jhonn Balance)
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 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
285
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...

For the hunted, for the hunted

For the hunted... Here they come
286
Tom's Radio Weston
(Jhonn Balance)
[summoning chants]
The amethyst in the woods...

The amethyst in the woods…
Pick the amethyst in the woods?

The amethyst in the woods...
It's the amethyst in the woods…
The amethyst in the woods?

It's the amethyst in the woods...
287
Tattooed Man (Compiled Version)
(Jhonn Balance)
There's a man lying down in a grave somewhere

With the same tattoos as me
And I love him, I love him, I love him, I love him, I love him
There's a man lying down in a bed somewhere
With a different set of sex aspects
And I hate him, I hate him, I hate him, I hate him, my eyes
This is me here now
Pining like a dog
Whining like a dog in a thick harbour fog
Waiting for a ship that will make him sick
And when the ship comes - big trouble
His trouble will begin
And the church bells chime the colour of wine
And the angels devil fight to snatch back the last time
And there's a man lying down with a blade somewhere
With the same taboos as me
There's a man lying down in a bed somewhere
With a different set of sex aspects
And I hate him, I hate him, I hate him, I hate him, my eyes
[repeated]
This is the dark...
288
There's a man laying down
[repeated]
There's a man laying down somewhere

Somewhere

This is the dark age of drug
I'm shiny, I'm happy, I'm dead
I'm shiny, I'm laughing, happy
And I'm dead
I'm shining, laughing, happy, dead
There's a man lying down in a grave somewhere
With the same tattoos as me
And I hate him / I love him
I love him / I hate him
[repeated]
[Italicised lines; The first time "Unhappy Rabbits" was performed live was a burst of lyrics
during the above final section of “Tattooed Man” at The Ocean, London, July 25 th 2004]
289
Going Up
(Jhonn Balance, Ronnie Hazlehurst, David Croft)
Are you ready to go now?

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
Whoa, going up
Going up
It just is.
290
291
A List of Wishes
(Jhonn Balance for Black Sun Productions)
bababababababor
dibidibideeeoohhhdibidibiohwowowowowowow
Of joys the unweighed

Of skins the unflayed
Of stories the incomprehensible

Of suggestions the indispensible
Of youths the new

Of lovers the true
Of orgasms the unco-ordinated

Of enmities the reciprocated
bababababababor
Of aborts the impermanent

Of partings the uncelebrated
Of arts the unexplateable

Of teachers the forgettable
Of pleasures the unsurreptitious

Of aims the adventitious
Of enemies the delicate

Of friends the unsophisticate
292
Of beings the emerald
Of messages the herald
Of the elements fire

Of the Gods the fewer
Of the stricken the deferential

Of the seasons the torrential
Of lies the sin

Of deaths the rapid
Of deaths the rapid

Of deaths the rabbit
bababababababor-babababador
diohbidibideeeoohhhdibiohwowowowowowow
diohbidibideeeoohhhdibiohwowowowowowow
Diohbidibideeeoohhhdibiohwowowowowowow
293
Christ’s Teeth
Zimmer frames can kill you

They'll get you in the end
Oh, you can never trust them
You'll never be their friend

You can never trust them
They'll never be your friend
Oh, Zimmer frames can kill you


Christ's teeth!
Christ's teeth!
We have an announcement
An announcement, we have an announcement
We have an announcement to make
294
Thighpaulsandra is aching
Thighpaulsandra is aching to bake a cake
Christ's teeth!
We have an announcement to make
Thighpaulsandra is aching
He's aching to bake a cake
He is aching to bake a cake
Christ's teeth!
Christ's teeth!
295
Beast Boxes & Milk Splashes
(Jhonn Balance)
[A list of inspired alt. Moon’s Milk titles and “Beast Box” phrases from Coil’s history,
including original spellings]
As I Lay There, It just Blow Away

Witches Dance In Colours Through My Dreams
Urban Legends Discussed Over Higuids
Sleepiness And The Dazed State Combined (In The Dream Of The Flightless Turkey Bird)
Celestiographical geology
The Sound Of The Waves Lulled Him
Into A Deep Blue Revery
My Demon Brother
Never Sits Down Nor Sleeps At Night
Bright Lights and Cats with No Mouths
A Procession of possessed infants and Mothers
All colours of the disease were beautiful!
Care Should Be Taken Not To Give A Second Dose
We Marvelled At The Moss Under The Pier
The Foremost pursuit
Moons, Suns, Planets, Scorpions (Earthware)
The Glitter Dance of the Murmaid
Dreams Before Bedtime
When Everything Seems To Go Round
Telephone Calls
Chinese Mountain Range
Marakesh Mouthfulls
Fantastic And Ants - Naturalistic
Careful What You Wish For (Black Sun Over Vesuvius)
296
The Ghost of You (Mother)
The Ghost Of A Carrier Pigeon
An Un-Earthy Disaster
Hallucination Mass, Hallucination
The Owl Service
Skull sockets See Owls aka (The Zombie Vegetarian)
Is Nichola Bowery Pregnant Again?
Molly Parkin's Undercarriage - Don't Tell Me (The Keen Observer)
The Emperor's Old Clothes
The King Is Dead
Astrid Bauer Rides Out
It Just Is…
Spirits Of The Whispering Forests Or A Place To Bury Strangers
Ploughed Fields Of Benzedrine
My Bloodstream
Standing Stone, Whirling Dervish
Manoeuvering To Extract The Unique Mineral
Car Crash On Ilkley Moor
Coach-Crash near the Summit of Mount Etna
A Fast Dream of Dead Friends
Falling Spirits (Descent From Hell)
You Can't Let Go
Offshot And Register And Still
The Desert Sea (Turkey)
Scooby-Doo Skinned & Nailed To An Oak Tree
Red Speed Rabbit (Lapin Agile)
The Bells impose the Regime
An Ideal Christmas Gift (Overdone)
Festival in Peril
297
Green Grows The Rushes oh! (In Peter Warlock's Garden)
Off The Coast Of Northern California, Kelp-Storms
By Tropical Waters Amazon Vision Photograph
Parakeets In Barcelona (1;30am, Friday)
Dense Might of The Piercing Atoms of Air
Preparing Their Soul
The Enemies Sideways Glance
Who would dare to blame Judy (Judy Blame)
Klimpt - (Land of the Secessionist Opulence and Decoration)
Coil's "The Key of Joy is Disobedience" live box-set 'Beast Box' titles;
Lipstick eyes meat
Arse doctor lense haircut
Spilt guilt
Decadent + symmetrical
Fear of the bee means the honey is for me
Why is a mouse when it spins
Lake big nay ions lays
Feral evidence animal reverence
When sycophancy was in its infancy
We cure the unacceptable
Animals dream differently in winter
Sipping birdsong through bedsprings
Offending team north division
The word that light unites is space
Extra-terrestrial antelope
A bigger bucket
A murder of crows
They all told lies beautifully
298
Fj Nettlefold
(Jhonn Balance for Aural Rage)
The hundred sons of FJ Nettlefold

Parachuted in behind enemy lines
Then the trainables came on beds of pain
And wheeled them all away (all away)
They know
They practise bad magnetics
(bad magnetics, they know)
(they practice, bad magnetics)
Parapatetic emergencies thwarted
A malevolent mass
Channelling Mothman entity names
A malevolent mass
A malevolent mass
A malevolent mass
A malevolent mass
A malevolent mass
A malevolent mass
I say we pull out the plug

Stick toffee in the socket
‘Til the silver bridge collapses
299
Confusions unite the vast white
Confusions unite the vast white
You're one twisted mystic

With your stone vase of Qing
With your afts of T'ang
Radar rings and lion angels

Radar rings and lion angels
[repeated]
That's what happened

[repeated]
(mal-evo-lent mag-net-ics)

A malevolent mass
[repeated]
[Italicised line (mentioning another Chinese dynasty) from original vocal recording session. FJ
Nettlefold was a composer and UK film producer from the 1920s-1930s, often utilising words
from the 19th Century Romantics. Also, a certain Frederick Nettlefold (1833–1913) was a
British industrialist, leader in the Unitarian Church (lay president of the international
organisation), and chairman of the London-side of his family business. The Nettlefold family
dominated the British wood-screw market becoming "Guest, Keen and Nettlefolds" - now
GKN.]
300
301
302
Going Up (Compiled Version)
(Jhonn Balance, Ronnie Hazlehurst, David Croft)
"It's incredible... It's incredible... It's incredible..."*

"Are ya ready, are ya ready, are ya ready, are ya ready"*
Are you ready to go now? [x6]

Are you ready to go? [x2]
Are you ready?

Are you ready?

Are you ready?

Are you ready? +
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
303
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
It just is [repeated] +
It just is.
Thank you very very much. We hope to see you again soon.
Thank you very much for coming and enjoy your evening.
Night night. +
* CSO version intro samples.

+ Live DEAF version.
304
The Final Days of Jhonn Balance
"we're going under... we're going under..." Coil's final interview, for Dublin's Rattle-
bag radio arts programme on the 22nd of October 2004 began ominously with an
extract from Coil's "Summer Substructures", no-one really knowing at the time
what would follow, though perhaps one person had a subconscious sense of the
finality of everything around him.
In the months and years prior to Coil’s arrival in Dublin, Jhonn Balance's life had
become totally unbalanced by his alcohol addiction, ill health and erratic behaviour;
Coil - as a creative entity - adapting as much as they could to their leader's personal
demons and the fallout from his actions in dealing with them.
To say that Coil had become frazzled and damaged by that point is a total under-
statement. Tales of Jhonn trashing hotel rooms in explosive self-hatred and drinking
his band's profits away in each hotel room's minibar were spoken about with a
shaking head and closed eyes in Peter's interviews at the time.
Yet they carried on - strangely enough, managing to make some of their most
powerful work in the process. Take one of Coil's last songs for example. Debuting
live in Ireland for the Dublin Electronic Arts Festival at their final concert, "Going
Up" is seen by most Coil fans as one of the very best tracks Jhonn and Peter ever
recorded, and it was indeed a fitting finale to end all finales. In the weeks leading up
to their final gig, Jhonn had recruited the singer and actor Francois Testory to sing
the song - a take on the lyrics from the cheesy 1970s UK sitcom Are You Being
Served?
Peter; "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."
So it came to be that Coil's curtain-call live appearance was at Dublin's City Hall,
Ireland, for the Dublin Electronic Arts Festival, on 23rd October 2004 (only 21 days
before his young life would come to an end, aged just 42).
Coil debuted several songs that evening, with "Unhappy Rabbits" in particular
becoming a firm fan favourite, though the audio recording of the gig only exists as
camera audio taken from three audience member's video devices. This patched-
305
The domed ‘Rotunda’ ceiling of Dublin City Hall
together low quality recording of such a momentous performance (found on the

Colour Sound Oblivion boxset) adds a further strangeness to the whole event, with
Jhonn's yelps and screams sounding truly ungodly through the wall of lo-fi muffling
and, for those who weren't there, it poses the question, "what the hell did the
actual gig sound like? Did it really sound like that?" It sounds like a medieval band
tumbling down a cliff with their instruments, banging each ledge in tandem on the
way down, before landing in the pits of hell (meant in an astoundingly positive
way). From the moment the recording begins to the last sound of echoed clattering,
it sounds like no other bootleg recording, of any band, ever.
Then there's Jhonn himself. Looking particularly troubled and painfully lost on the
concert film (wide-eyed and neck craning throughout), it's a testament to Balance
himself that he gave such an impassioned performance on the night. His frequent
stares up to the heavens during that final performance begs the questions; What
was he looking at? What was he searching for? Or, more chilling, what was looking
down at him that evening? Taking a look around Dublin City Hall today, via the ven-
ue website's 360 degrees virtual tour, you are first stuck by the strangeness of the
venue layout, indeed how odd the acoustics would've been that night. And then
you see the domed roof, the unique sight of which goes some way in explaining
what Jhonn was looking at through the stage fog and illuminations; circles of hexag-
onal windows providing glimpses of the stars and moon (fact fans; the moon was in
its first quarter that night). A mesmerising domed “rotunda” indeed.
Peter on Jhonn's state of mind leading up to the Dublin show; "With hindsight it's
easy to 'spot' Geff's precognition of what was about to happen - though off-stage
he never mentioned it. In Dublin he seemed transfixed by Visions of Death."
Now over ten years since that unearthly night in Dublin, the final Coil performance
of darkest blue/green illumination, echoing cries around that domed venue and the
medieval-esque bedlam of sound has to go down in the history books as one of the
most funereal and strangest concerts ever realised. Especially given Coil's history of
transition and transformation, alongside such cataclysmic background to Jhonn's
life at the time, it is impossible to guess how Coil could've progressed beyond this
point.
306
Whilst editing the Colour Sound Oblivion dvd boxset of live Coil concerts years later,
Peter admitted that he put off the editing of the Dublin concert until the last
moment as he found the footage "too painful" to work through, saying this about
Coil's future, if Jhonn had lived;
"I can't say if the largely abstract form of the music that day 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."
Jhonn Balance's "Night Night" to the crowd in Ireland would be his final living words
to his audience.
Upon return to his beloved Oak Bank house in Weston-super-Mare (South-West
England), a large rambling abode which he still shared with ex-partner Peter (who
had become an unofficial carer to Jhonn by that time), Jhonn soon retreated back
into his room and quickly shut-off from the outside world once again. Being a
reclusive, introverted person, the dire seriousness of his alcohol dependency was
often hidden away from the outside world, an illness he had suffered from for well
over a decade.
Over the next three weeks Jhonn would venture out of his room on only a handful
of occasions, going down to the house studio to contribute vocals to future projects
by Thighpaulsandra and Danny Hyde. The final vocal tracks that Jhonn recorded,
mere days before his death, were for Thighpaulsandra's "Christ's Teeth" and Danny
Hyde's "Fj Nettlefold".
Danny Hyde remembers; "I pestered Geoff (Jhonn) for [ages] to do vocals and I sent
him over loops and stuff and he was all up for it, but nothing would ever happen. I
subsequently now know that he was going through his own demons and it would
have been very hard. Pete finally managed to pin him down and got him to sing the
'Fj Nettlefold' song. Pete put them on a CD and sent over all the vocal takes. Before
I finished the track I heard Geoff was dead and so I never even got to play it to
him."
Thighpaulsandra's track "Christ's Teeth" went on to appear on the memorial
compilation album released in 2005 ...It Just Is (In Memoriam: Jhonn Balance).
307
On November 10th it was officially announced that Jhonn Balance had contributed
new vocals/lyrics to the Danny Hyde track, the announcement also mentioning
"Make Room for the Mushrooms", a track that used historic vocals from Jhonn.
Also on November 10th Coil officially announced two live festival appearances for
December. On the weekend of 3rd-5th December, they were to appear at ATPs'
"The Nightmare Before Christmas", once again performing at Camber Sands Holiday
Resort. They were then planned to head straight over to Bilbao, Spain for a
performance at the MEM Festival on December 6th. Both of these events would
obviously be cancelled soon enough.
Intriguingly, on the 12th November (the day before Jhonn's death), Coil officially
announced that the "Seed Records 4th Birthday" event at Aldwych Disused Tube
Station, that Coil was scheduled to play that evening, had been cancelled. Coil had
originally planned to present a "short and low-key set" on that Friday night.
On the morning of November 13th 2004 Jhonn ventured out of his room for the
final time, in an attempt to clean himself up a little. Peter Christopherson later
recounted the tragic incident that happened that evening;
"On the early evening of November 13th 2004, Jhonn and I were at home. Jhonn
had been in the oblivion of vodka for a couple of weeks although that day he had
eaten some soup and had a bath and was not quite as insensible as he had been. I
was watching TV (The Adventures of Sherlock Holmes) when I heard a noise in the
hall. Jhonn was lying face down on the wooden floor breathing noisily. He was
deeply unconscious. Apparently he had tipped over the banisters and fallen some
12ft to the floor below onto his head. I called the ambulance and they were at the
house in 7 minutes. Jhonn was rushed to hospital, but despite the best efforts of
the doctors in A&E, he did not regain consciousness. His condition deteriorated
over the next few hours, and at 9.20pm he was pronounced dead.”
The news filtered through to the Coil List by late evening the following day; many
people devastated, having initially thought that the Brainwashed website had
turned all its pages black because of an upgrade or redesigned site.
The first official notice soon appeared;
308
The Thresholdhouse Website;
“We are greatly saddened to have to tell you that at about 5.30 pm Saturday Nov
13th, Jhonn Balance, was killed in an accident at home. Under the influence of
alcohol he fell from the first floor landing, hitting his head on the floor some 15 ft
below. Peter/Sleazy who was in the front room heard the noise, came out to
investigate and found him unconscious, though still breathing. Balance was rushed
to hospital, where his condition deteriorated, and he died soon after, without ever
regaining consciousness. There is no suggestion that this event was in any way
deliberate, in fact, anything other than a tragic accident. Unusually, Balance had
been cheerful during the day, and was looking forward to seeing Ian at the week-
end, and working on new recordings this week.”
***
Peter Chistopherson;
“Our awareness that physical death is not an end, but merely a transition to a
whole different part of existence, a new adventure, should by now be clear to
everyone.
Jhonn has simply crossed over the Threshold...
As Thomas Olson wrote this morning: "Listening to some Coil songs now,
and they are all sounding to me now as if they were written for this
moment...."
Nevertheless the parting will be hard for us all. Fortunately there is
much to be done that will keep us busy in the next few difficult weeks."
***
The Brainwashed website;
“IN MEMORIAM
GEFF RUSHTON (JOHN BALANCE) 1962-2004
We are sad to report the untimely passing of Geff Rushton (a.k.a. John Balance),
founder of Coil, occasional member of Zos Kia, Psychic TV, Nurse With Wound,
Current 93, Death in June, and friend to many. He will be sadly missed in this world.
A Book of Condolence is being established at thresholdhouse.com”
309
The Coil List;
[coil] regarding a gesture
Jhonn Balance john at loci.demon.co.uk
Mon Nov 15 23:18:33 EST 2004
Hi all
Just a brief note at this difficult time - Ian and I both, and I'm sure John also, feel
about financial donations, flowers etc this:
Rather than send us anything - we have too much already - do one of the following:
1. Write the words "Jhonn Balance" on a small piece of paper, put it in a hole in the
ground or a pot, and plant a vegetable or tree over it.
Some people might want to anoint the paper with their own seed as well.
When you see the plant grow or even better when you eat the resulting vegetable,
know you have him beside (or inside) you.
OR
2. If you see someone that needs some kind of small help or kindness, do so, but
say "there you are Jhonn Balance", if only for the pleasure of seeing the startled
look on their face.
(It was a running joke between us that Jhonn (like Blanche Dubois from Streetcar
Named Desire) "often relied on the kindness of strangers")
And to everyone that has sent messages so soon - thank you SO so much -
They are a massive comfort and help and mean a lot, even though sometimes it IS
hard to read emails through the tears!!!! B^) What is the emoticon for that I
wonder?
We will try to write back to everyone personally when Jhonn's Dust has settled...
Love to all
Sleazy and Ian
310
Over the following days and weeks, lots of people began to write their own
heartfelt condolences and post their Balance memories online, many still on the
internet for you to seek out, such as a great piece by William Breeze.
However, perhaps only Peter can officially sum up the whole after-effect of the
tragedy;
“Although we all certainly knew that something like this might happen if Jhonn
continued to use alcohol in the way that he did - and much of the work of Coil,
Jhonn's Life's Work in fact, described or addressed that Very Moment, nevertheless
it came as a great shock to all of us.
In the days that followed, Ian - Jhonn's partner for the last year or so - and I
struggled to keep ourselves together and to begin to organise both public and
private arrangements. The response to the news on the website was overwhelming
and very touching, and brought immense Solace in a time of need.
Friends of Coil over the years, particularly Ossian Brown, Bill Breeze, David Michael,
Geoff Cox and Marilyn, our housekeeper, were also incredibly supportive, and they
were among the 100 or so guests at the Funeral Celebration, which was held on
November 23rd at Memorial Woodlands near Bristol."
We all continue to have bad days from time to time, but slowly as the numbness
begins to recede, the possibility of enjoying new sights, smells, flavors, the possibil-
ity of new life, returns. I still find it hard to say the words "Geff's dead" or "when
Geff died" out loud, and the process of mixing and editing Jhonn's last Work "The
Ape of Naples" has been almost unbearably emotional, to say the least.
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, 11th March 05ev - the Last Days of the North Tower."
Peter, himself, would pass away peacefully in his sleep on November 25 th 2010 -
the potent and turbulent legacy of Coil passing away with him.
[Lengthy quotations from Peter Christopherson taken from the CSO booklet, together with sources such
as the Rattlebag interview and CSO scans - all found on Archive.org] 311
312
313
Chronology of monolithic events
1962 - February 16th - Geoffrey Laurence Burton (Jhonn Balance) is born.

1978 - Forms the experimental group Merderwerkers (arguably one of the first dark ambient
groups).
1979 - Releases "Blue Funk (Scars for E)" on Sterile Records compilation “Standard
Response” under the Merderwerkers moniker - an instrumental track.
1980 - Under the Stabmental moniker (the name of the underground fanzine he had been
writing and distributing at the time) Jhonn releases another instrumental track, called "A Thin
Veil of Blood", which is included on the "Deleted Funtime" cassette compilation. Meets Peter
Christopherson at the Throbbing Gristle “Heathen Earth” event.
1982 - Autumn - Jhonn starts to contribute lyrics for the post-punk band Cultural Amnesia at
the same time as writing lyrics for his own use, saying goodbye to the group A House after
being in that line-up for a brief time. After Jhonn quits university he moved into rented
accommodation in Chiswick, London with Peter Christopherson.
1983 - Spring - Jhonn creates the very first Coil track, “On Balance”; a solo creation using
keyboards and drum machine. On May 11th he creates a further three tracks; “S is for Sleep”,
“Red Weather” and “Here to Here”. Balance writes the Coil Manifesto.
1983 - A busy year for Balance, being a member of Psychic TV (and TOPY), performance
troupe Zos Kia, the proper starting stages of Coil, and would go on to also form The Sickness
of Snakes - all groups involving Peter Christopherson. Jhonn appears in bondage in Psychic
TV’s Transmissions series of transgressive films, getting urinated on by a masked David Tibet
as a form of magickal initiation. Work begins on Coil’s seminal album "Funeral Music for
Princess Diana” (the album title, of course, changed before release under Peter's advice, to
"Scatology").
1983 - August 4th - Coil performs live for the first time, in London. They would soon stop
performing live as a group for over 16 years.
1986 - After releasing several singles the band record and quickly release the legendary
album “Horse Rotorvator”.
1988-1991 - A major part of both the rave and drug cultures of London, Coil found them-
selves taking years to finish “Love’s Secret Domain” (previously known as “The Side Effects of
Life”). As Jhonn approached his 30th birthday he increasing sought solace in alcohol to
weather the coming-down effects from the range of chemicals the band and associates were
swamped under at the time. Tales of excess during the studio sessions became legendary,
summarised by Steve Thrower; "There were very few options left: after the LSD sessions. I'd
say death was a very real presence at the end of that particular feast."
1992 - Autumn - Coil meet up with William Burroughs in Kansas (on one of around half-a-
dozen times Jhonn would meet Burroughs), and recorded various spoken phrases by him for
possible use in the future (including "bring it all down" for a Ministry track that Jhonn had
314
written the video treatment for, and "Colour Sound Oblivion" which can be heard over the
dvd menus for the Coil CSO dvd boxset).
1988-1993 - Peter had referred to these years as “the lost years” due to the continuing
drink and drug excess mainly effecting Jhonn during long and lonely stretches whilst Peter
travelled around the world directing videos to keep bringing the money in to support Coil
projects (and their personal lives). Plans, however, were afoot for a virtual album-by-album
side-project reinvention of Coil that would take them right up to the abrupt end of their
creative life as true musical pioneers with their own intense mix of left-field experimentation,
surreal classicism, baroque stylings and emotionally honest lyrical content.
1993 - After completing all promotional engagements for "Love's Secret Domain", Coil
optimistically begin recording the Coil follow-up album "Backwards” (subsequently known as
“International Dark Skies", “God Please Fuck My Mind For Good” and “The World Ended A
Long Time Ago”). Plagued by the band's shell-shocked and drug-frazzled mindset, these
studio recordings are also referred to as the “New Orleans Backwards" sessions. These epic
sessions would go on throughout the 1990s and beyond, recorded both in the studios of
England and at Trent Reznor's recording studio in New Orleans, USA, culminating in several
leaked demos under various album and track titles. The sessions would continue, on and on,
until 2008 - when the eventual release of the somewhat underwhelming "The New Back-
wards" remix album of the original tracks appeared. A Threshold House Newsletter from
1993 states that William Burroughs "guests" on two songs from the "Backwards" sessions.
1994 - Jhonn ingests a large amount of 'snowballs' (a potent mix of synthetic drugs) in a club
in Islington, collapses into convulsions and is catatonic for three days.
1995-2000 - Whilst Coil grew from strength to strength as a pioneering, hugely influential
force (even beginning touring again in 1999), Jhonn becomes more and more withdrawn
from the world, suffering occasional fits, violent emotional outbursts, self-harm and breath-
ing difficulties which leads to several attempts to detox and attendance at expensive AA
clinics for a desperately-needed recovery. Whilst Jhonn tries as hard as he could, the relapses
would push him further and further out into the wilderness. As Peter mentioned in a much
later interview; “He could cope with the drugs – if we had them he'd take them, if we didn’t
he wouldn’t — but after a while he couldn’t cope without a bottle of wine for breakfast.”
1997 - Jhonn, increasingly suffering from chronic alcoholism, checks into The Grange
behavioural treatment centre in Surrey, UK. Undergoing the Residential Alcoholism Treat-
ment Programme, he suddenly abandons the treatment half-way through and returns to his
home in Chiswick. He describes his condition; "For many, the drug alcohol can offer comfort,
sociability & solace but, for the alcoholic, it eats away at the creative spirit. It traps and
possesses it, petrifying and rotting away any human potential. I am an alcoholic... It is my
demon. My ugly spirit. I suspect I am locked in a lifelong struggle with it. Over the last few
years my experiences have intensified and darkened." It was in 1997 that Jhonn's friendship
with artist Ian Johnstone gets closer, with the pair stating via a Threshold House Newsletter
that they plan on an art installation collaboration called "One".
315
1997 - Jhonn hears about the wide range of talents of a keyboard player named Thighpaul-
sandra, makes enquiries and 'Thighps' joins Coil. Together with Coil's move to the West
Country the following year, Thighps’ influence helps usher in the Moon phase of Coil's legacy.
1998 - For a fresh start, and in a bid to escape the many vices of London, Coil move to the
comparably tranquil Weston-super-Mare, UK, into an impressive victorian mansion embed-
ded into the west coast clifftops beside the Bristol Channel. The house has an imposing stone
staircase, working elevator and a long banister that swirls up 15ft to the first floor. The
address is; Oak Bank, 31 South Road, Weston-super-Mare, Somerset BS23 2HD and, from
2005, holds facilities for residential care, registered to "provide accommodation and personal
care for people with learning disabilities and complex needs". There are also Activity Rooms
for patients - the tenants in this former Coil house encouraged to be creative with such things
as sensory exploration, sand drawing, and creating art with carpet tiles. In February 2010 Oak
Bank was inspected after a death of one of the patients there.
1999 - For a break away from recording "Musick to Play in the Dark (volume 1)”, Balance and
Peter visit Aleister Crowley's crumbling Abbey Of Thelema at Cefalu, Sicily.
2000 - April 2nd - Coil's first major live appearance for around 17 years was at Julian Cope's
Cornucopea event at London's Royal Festival Hall, billed variously as "Coil Presents Time
Machines", "Time Machines from the Heart of Darkness", and "The Industrial Use Of Semen
Will Revolutionise The Human Race" (the latter also apparently the proto-title of the
"Circulating" track). Balance appears with a massive black eye (the others apply makeup to
their faces to match his beaten look). Jhonn's bruised eye is referred to only as a "drunken
incident". Whether this was self inflicted, a result of misadventure, or even a bar-room
"disagreement" at his local pub "The Captain's Cabin" in Weston-super-mare (which he rarely
visited) is not publicly known.
2000 - Summer - Jhonn's drinking continues to seriously blight his health, he suffers a break-
down, and is rushed to Weston General Hospital with a suspected heart attack. In private,
Jhonn begins discussing via email to fans about the excess amount of bile produced from his
liver, amongst other major physical ailments related to his alcoholism. Jhonn's drinking gets
ever-more extreme during Coil's first tour of Europe, to the alarm of everyone involved with
the shows.
2000 - September - During a violent episode at home, Jhonn begins to cut himself, bleeding
all over several blank album sleeves (subsequently sold as special 'Trauma Editions' of
"Musick To Play In The Dark - Volume 2").
2002 - Drew McDowall remarks in interview; "The thing about Coil is everything is really
lived. There isn't much separating Balance from the world - he's like a very porous mem-
brane, whatever is going on around him ends up in his music. I wouldn't even call it an ability
because I don't think he can help it - it's a trait - it makes for really amazing shit, but I really
don't know how healthy it is in the end."
316
2002 - October 22nd - The second major Coil tour is increasingly affected by Jhonn's drinking.
On route to Poland, via the latvian port of Riga, Peter recalled that, at dawn, Jhonn passes
"out cold in the car park, waiting for the bus to pick us up, and couldn't, or wouldn't, be wok-
en."
2003 - March 1st - The release of “England’s Hidden Reverse” by David Keenan, which
includes details of Coil’s history up to that point including Jhonn’s struggles with alcohol,
though the book’s first edition arguably had more focus on Current 93 than either Coil or
NWW. Now overweight and bearded, Jhonn is spotted wandering around London - entering a
cafe to subsequently laugh at his dessert. Balance's surreal humour peeps through the bleak-
ness as he remarks to an enquiring waitress, "It's cake. I find cake funny".
2003 - October 6th - After a powerful emotive performance in Greece, Jhonn disappears
from his hotel room the next morning, missing the band's flight home (the band being forced
to leave without him). His whereabouts are not known for days, his low-key return to Oak
Bank looking "very spaced out" before his unhinged performance at Megalithomania sealed
the lid on his long-term relationship with Peter.
2003 - May 29th - Jhonn "bails" on three Coil live dates, refusing to perform on these long
scheduled dates, leaving just Peter and Thighps to perform the dates instrumentally.
2004 - July 25th - London. At Coil's penultimate gig in London a female member of the
audience shouts jibes at a drunk-sounding Jhonn in between songs, including "Take your rags
off" and "Go and fuckin' die, yeah?" Jhonn's response was as dry as ever; "you don't want me
dead...If you kill me, I'd have to live forever. Don't do that."
2004 - October 23rd - Dublin, Ireland. Jhonn Balance would perform his last Coil concert at
Dublin City Hall.
2004 - November 10th - Coil officially announces Jhonn’s vocal performance has been
recorded for Danny Hyde’s “Fj Nettlefold” track (along with notice of planned December Coil
concerts). Balance also records vocals for Thighpaulsandra’s song “Christ’s Teeth” around this
time. It would be the last time he ever contributed his lyrics and vocals for any collaborator.
2004 - November 13th, 5.30pm - Jhonn Balance falls 15ft from the balcony of his home in
Weston-super-Mare and is rushed to hospital. His death is officially recorded by Weston
General Hospital at 9.20pm, aged 42.
2004 - November 23rd - Balance's memorial service is held near Bristol, UK, attended by
close friends and family only.
2005 - Mar 20th - Jhonn's ashes are scattered around a Hawthorn tree by Bassenthwaite
lakeside in Cumbria. The place is somewhere he loved, with the peaceful expanse of the lake
and Dodd summit towering high above it. There is a memorial plaque and grove post ded-
icated to Jhonn in a small woodland called Church Plantation, near the hawthorn tree. Direc-
tions to the plaque and more details are given by Ian here;
http://www.arktodd.com/page19.htm
317
2005 - December 2nd - “The Ape of Naples” released. Seen by most as the last major release
of original material by Coil, certainly its last masterpiece, even though it contains songs orig-
inating from the troubled "Backwards" sessions.
2008 - April 18th - "The New Backwards" released, containing Peter's re-interpretations of
tracks from the infamous Backwards sessions, containing many previously unheard lyrics by
Jhonn.
2010 - July - "Colour Sound Oblivion" released - a 16-dvd box-set of Coil live video recordings
from 1983 - 2004 along with 2 disks of backing tracks/projections. A third disk of backing
tracks called “The Barcelona Aural Backdrop”, along with a couple of uncollected backdrops
would soon also surface.
2010 - Summer/Autumn - The compilation of "Moon's Milk (Final Phase)" begins in earnest,
with Balance-penned tracks from the original bonus disk to be included alongside a
remastered set of all the original Moon's Milk EPs material with additional 'complimentary'
tracks created by Peter Christopherson and Danny Hyde in Thailand.
2010 - November 25th - The death of Peter Christopherson in Thailand, reported as having
passed away peacefully in his sleep. Plans for the release of "Moon's Milk (In Final Phase)"
subsequently abandoned, though not before recording is completed on the complimentary
"Moon's Milk" material days before Peter's death - posthumously released years later under
the Aural Rage moniker with Danny Hyde, without lyrics/vocals/presence from Jhonn.
2014 - November 8th - Hardcover book of Jhonn’s artwork is released; “Bright Lights and
Cats With No Mouths” (the title taken from a personalised title for the “Moons Milk (In Four
Phases) Bonus Disc”).
2015 - September 24th - The widespread release of the revised edition of David Keenan's
"England's Hidden Reverse" book, containing a lot more focus on Coil in comparison to
previous editions, particularly Coil’s "Moon" phase and subsequent deaths of both Coil
members.
[Alongside my own research, the CSO booklet, the EHR book and other online Coil sources such as Brain-
washed were all used to compile the above timeline]
318
For Learning, Not For Show:
Esoteric Books From The Coil Estate
By Phil Legard
Following the death of Jhonn Balance in November 2004 materials from the
Threshold House library were offered to the occult book dealer Ben Fernee, of
Caduceus Books. Although Fernee only took a portion of the books in the library,
the catalogues that Caduceus published from February 2005 onward make
fascinating reading for any Coil obsessive. There were, naturally, many other
threads to Jhonn’s
literary interest: his collection of Burroughs works, for example, is entirely absent
from these catalogues, which generally focus on the magical and mystical volumes
belonging to the pair.
Fernee notes that there were unoffered rarities, such as books by Ralph Chubb: a
visionary poet associated with what Timothy d’Arch Smith called the ‘Uranian’
movement of gay poets (among them Lord Alfred Douglas and Montague
Summers). Chubb’s books (often published in extremely limited runs) combine
stunning lithographic work in the style of Blake and visionary poetics with the erotic
worship of adolescent boys - possibly a buyer had already been found: in Altered
Balance, Jeremy Reed mentions that during his last visit to Jhonn that he was
“broke at the time, [...] attempting to sell part of his Ralph Chubb collection, after an
altercation with Peter on the phone about finances […]” Fernee also procured a
number of Austin Osman Spare works from the collection, although notably the
small, storm-darkened landscape that Jhonn described having visionary
engagements with in his essay on Spare was absent from these.
Fernee’s catalogues list around 570 volumes previously owned by Jhonn Balance,
which hold a wealth of detail about the occult influences on the band and have
been treated here as a representative sample of their esoteric interests. None of
the books are identifiably Sleazy’s, but a substantial number of them have
acquisition dates and notes by Jhonn: a number of those from the early 80s are
inscribed with Jhonn’s TOPY alias ‘Eden 2’, and often seem to have been purchased
on excursions with David Tibet (indicated as ‘w/ 93’ in his inscriptions) - amongst
these purchases are several works by Crowley on the title pages of which Jhonn has
inscribed the maxim “For learning, not for show.”
It’s interesting to see just how ubiquitous Crowley is in the collection: around 210 of
the books Fernee handled are by or related to Crowley, many of them first editions.
Only half as many titles are related to Spare, although obviously Crowley’s relative
popularity and notoriety has something to do with this, since – as a literary
completist – Jhonn’s collection actually contained almost everything published
about Spare and contemporaries such as Frank Letchford.
319
Of the Crowley volumes one also has an inscription to Jhonn from Genesis P-
Orridge: it is a copy of Clouds without Water, dedicated "Dearest Geff Eden 2
[psychic cross] with thanks for inspiration and encouragement before, now and after
Gen [psychic cross] 23 5 June 1983”, evidently an affectionate gift marking Jhonn
and Peter’s departure from Psychic TV (n.b. both Clouds without Water and Eden 2
were tracks on PTV’s Dreams Less Sweet).
Other personal dedications proliferate and emphasise the standing of Coil within
the occult subculture of the late 20th century. There are a number of works, chiefly
on runes and Norse themes, that are ex libris David Tibet, as well as several books
personally dedicated to Jhonn by Tibet. Several books were also gifted from Coil’s
friend, collaborator and OTO head William Breeze, as well as from Kenneth Anger.
While the UK OTO is represented by several gifts from Clive Harper of various
editions of his Notes Towards a Bibliography of Austin Osman Spare. With regard to
Spare, there are many affectionate dedications to Jhonn from his friend and
authority on AOS, Gavin Semple, most enigmatically “For Geoff - with darkest
benisons, fox brother of mine!” in a copy of Semple’s classic book on Spare’s
magical system, Zos-Kia. Other dedications include Andrew Chumbley, Hakim Bey
and Kenneth Grant.
Crowley and Spare are perennial themes in the collection, with acquisitions
spanning Jhonn’s lifetime from the early 80s to the early years of the millennium.
Chaos magick and earth mysteries seem less so. Many of the classic periodicals and
publications of the 80s chaos magick scene are represented, naturally trailing off as
the scene waned - of particular note are Jhonn’s copy of the first imprint of Liber
Kaos, issued to novices and members of the IOT only, and the collection of
materials relating to the Esoteric Order of Dagon. The EOD is most closely
associated with Michael Staley and Peter Smith, the latter of whom was responsible
for Coil’s striking Threshold House logo. One copy of the EOD’s Pylon journal
contains a certificate of honorary EOD membership addressed to “Frater Coil”.
Although the interest in chaos magick tails off toward 1990, as did the scene itself,
an interest in earth mysteries begins to emerge from around 1993 and throughout
the 90s, with acquisitions of copies of the Ley Hunter journal, and books on mythic
Albion, dowsing and trees.
320
Obviously this aligns with the duo’s shift toward “moon musick”, but they also
provide a tantalising glimpse of what may have been had Jhonn remained on the
mortal coil: in what may be the his final interview (conducted by Michael
Moynihan), he talked of cultivating an organ to propagate “PAN ideas and beliefs.
These include organic gardening and food production, growing and working with
medicinal fungi, establishing and encouraging private press editions, public poetry
readings, performances and events, reducing and making people aware of light
pollution, reducing consumption of everything, buying locally, helping establish
woodlands with native species of trees, reactivating old ceremonies and traditions.”
Jhonn often mentioned shamanism in his interviews, although in anthropological
terms shamans engage with and show concern for community, which sits uneasily
with Coil’s famed insularity: although perhaps the above quote indicates a re-
alignment with concerns with community and well-being. It is evident too that he
was deeply sympathetic to his friends: perhaps even doing some minor magical
workings - one of his postcards to Jeremy Reed is complemented by magical sigils
after the style of Spare and the quote “I send the blue cloak of Isis to comfort and
help you heal.”
Undoubtedly the shamanic vision was also there, evidenced in abundance in
Jhonn’s lyrics, most strikingly The Coppice Meat, an astonishing animistic, ancestral
and visionary poem in its own right. Combined, these factors seem to indicated an
emerging alignment toward a more traditional type of shamanhood and, perhaps,
they help to crystallise a vision to be carried forward in his memory.
References
Balance, Jhonn; Barrington, Phil (ed.). 2014. The Golden Age of Bloodsports. Barrington Arts
Buckley, Joshua & Moynihan, Michael. 2004. “Fermenting Moon Musick: A Conversation with
John Balance of Coil” in TYR: Myth, Culture and Tradition, Volume 2. Ultra.
Fernee, Ben. 2005. Caduceus Books catalogues, February 2005 – April 2005.
Fernee, Ben. 2014. Personal communication.
Reed, Jeremy & Urbaniak, Karolina. 2014. Altered Balance. Infinityland Press.
321
An indicative chart of esoteric subjects in Coil’s library, based on 566
entries from the Caduceus Books catalogues. © Phil Legard
322
A List of wishes
Primary, Full-length Coil Albums By Phase

[discarding pseudonyms for clarity]
Mars Phase
Transparent [w. Zos Kia] (1984)
Sun Phase
Scatology (1984)
Horse Rotorvator (1986)
Gold Is The Metal With The Broadest Shoulders (1987)
Love's Secret Domain (1991)
ELpH vs. Coil: Worship the Glitch (1995)
Black Light District: A Thousand Lights in a Darkened Room (1996)
Moon Phase
Time Machines (1998)
Astral Disaster (1999)
Musick to Play in the Dark Vol. 1 (1999)
Musick to Play in the Dark Vol. 2 (2000)
Constant Shallowness Leads to Evil (2000)
Lunar Eclipse Phase

Black Antlers (2004)
The Ape of Naples (2005)
The New Backwards (2008)
323
All Major Coil Releases
[discarding pseudonyms for clarity]
Albums
Transparent (w. Zos Kia - Cassette) (1984)
Scatology (12"/Cassette/CD) (1984)
Horse Rotorvator (12"/Cassette/CD) (1987)
Love's Secret Domain (LP/Cassette/CD) (1991 July)
Worship The Glitch (10"/CD) (1995)
Time Machines (CD) (1998 January 26)
Astral Disaster (12"/CD) (1999 January/2000 January)
Musick to Play in the Dark Vol. 1 (CD/12") (1999 September)
Queens of the Circulating Library (CD) (2000 April)
Musick to Play in the Dark Vol. 2 (CD/2X12") (2000 September)
Constant Shallowness Leads to Evil (CD) (2000 September)
The Remote Viewer (CD-R/2XCD) (2002 May)
Black Antlers (CD-R/2XCD) (2004 June)
The Ape of Naples (CD/3X12") (2 December 2005)
The New Backwards (CD/12") (2008)
Compilations
Gold Is the Metal with the Broadest Shoulders (12"/CD) (1987)
Unnatural History (CD) (1990)
Stolen & Contaminated Songs (CD) (1992)
Unnatural History II (CD) (1995 January)
Unnatural History III (CD) (1997 June)
A Guide For Beginners: A Silver Voice (CD) (2001 September)
A Guide For Finishers: A Golden Hair (CD) (2001 September)
Moons Milk (In Four Phases) (2XCD) (2002 January)
The Golden Hare with a Voice of Silver (2xCD) (2002)
ANS (3xCD & 1 DVD) (2004 May)
Demos
Scatology-Era Demos (1985)
The Side Effects of Life / Love's Secret Demise (1990)
First Dark Ride Demos (1994)
Protection Demos (1994)
The Backwards Demos (1995)
New Orleans Backwards (1996)
324
Singles & EPs
How to Destroy Angels (12") (1984)
Panic/Tainted Love (12"/CD) (1985)
The Anal Staircase (12") (1986)
The Wheel/The Wheal (7") (1987)
The Wheal/Keelhauler (7") (1987)
Wrong Eye/Scope (7") (1990)
Windowpane (12"/CD) (1990)
The Snow (12"/Cassette/CD) (1991)
How to Destroy Angels (Remixes and Re-Recordings) (CD) (1992)
Airborne Bells/Is Suicide a Solution? (7") (1993 November)
Nasa Arab (12") (1994)
pHILM #1" (10") (1994)
Born Again Pagans / Protection (CD) (1994)
Windowpane & The Snow (CD) (1995)
Spring Equinox: Moon's Milk or Under an Unquiet Skull (7"/CD) (1998 March)
Summer Solstice: Bee Stings (7"/CD) (1998 June)
Autumn Equinox: Amethyst Deceivers (7"/CD) (1998 September)
Winter Solstice: North (7"/CD) (1999 January)
Zwölf (CD) (1999 December)
ANS (CD) (2003 May)
The Restitution of Decayed Intelligence (10") (2003 May)
Moons Milk (In Four Phases) Bonus Disc (CD-R) (2003 July)
Duplais Balance (Animal Are You) (CD) (2006 December)
Recoiled EP (CD/vinyl/digital) (2014)
Live Releases
Coil Presents Time Machines (CD) (2000 September)
Live In Moscow (VHS) (2001)
Live in NYC (CD / VHS) (2001)
Live Four (CD) (2003 March)
Live Three (CD) (2003 March)
Live Two (CD) (2003 May)
Live One (2xCD) (2003 June)
The Key to Joy Is Disobedience (box set) (2003 July)
Megalithomania! (CD-R) (2003 July)
Spoiler Talks DVD Series: Coil (DVD) (2003)
325
Live Releases (cont.)
Selvaggina, Go Back into the Woods (CD-R) (2004 July)
...And the Ambulance Died in His Arms (CD) (2005 April)
Live in Porto (CD) (2006)
Colour Sound Oblivion (16xDVD) (2010)
Soundtrack Releases
The Unreleased Themes for Hellraiser (10"/Cassette/CD) (1987)
Gay Man's Guide to Safer Sex (bootleg MP3) (1992)
Sarah Dale’s Sensuous Massage (bootleg MP3) (1992)
Themes for Derek Jarman's Blue (7") (1993)
Totally Fucked Up (bootleg MP3) (1993)
The Angelic Conversation (CD) (1994 release of a 1985 soundtrack)
Frisk (bootleg MP3) (1995)
Rasputin: The Devil in the Flesh (bootleg MP3) (2002)
Puffball (bootleg MP3) (2007)
Notable Bootlegs
Acid Jam (bootleg MP3) (1999)
Songs of the Week / Black Gold (bootleg 2xCD) (2000)
Barcelona Aural Backdrop (bootleg MP3) (2001)
Dutch Radio4 Supplement (bootleg 4xCD) (2001)
326
Concerts Performed By Jhonn Balance
[All concerts by Coil unless stated. Does not include appearances with bands
not originally formed by/with Jhonn Balance]
Mars Phase;
As Stabmental [two conceptual "non-appearances"]
1979 - Lord William's Comp. School, Oxon; "Non-Appearance One"
1979 - Lord William's Comp. School; "Non-Appearance With A Little Girl"
As Murderwerkers
1980 - Mar 14th - Lord William's Comp. Upper School Hall, Oxon; "Anti-Appearance"
As A House
1980 - Spring - Lord William's Comprehensive Upper School Hall, Oxon
1983-Aug 04th - Magenta Club, London, UK; "A Manifestation of the Will"
1983-Aug 24th - Air Gallery, London, UK; "A Slow Fade to Total Transparency"
1983-Oct 12th - Recession Studios, London, England; "Recession"
1983-Dec 03rd - Berlin, Germany; "Atonal Festival II"
Sun Phase; Non-Appearance Of A Band

1984 –1998 - No performances were given by Coil
Moon Phase;
1999-Dec-14th - Berlin, Germany; "20' To 2000"
2000-Apr-02nd - Royal Festival Hall, London; "Cornucopea"
2000-Jun-17th - Barcelona, Spain; "Sonar Festival"
2000-Sep-19th - Royal Festival Hall, London; "Persistence is All"
2001-Mar-25th - Nantes, France; "Le Lieu Unique"
2001-May-30th - Antwerp, Belgium; "Cultural Center Luchtbal"
2001-Jun-01st - Amsterdam, Netherlands; "Paradiso"
2001-Jun-03rd - Leipzig, Germany; "Wave-Gotik-Treffen"
2001-Aug-18th - New York, USA; “Irving Plaza Convergence”
2001-Sept-15th - Moscow, Russia; DK Gorbunova
2002-Mar-30th - Limoges, France; “Artooz Festival”
327
Coil Concerts Performed By Jhonn Balance (cont.)
Moon Phase (cont.);

2002-Apr-02nd - Ghent, Belgium; “Vooruit”
2002-Apr-04th - Zürich, Switzerland; “Rote Fabrik”
2002-Apr-06th - Bologna, Italy; “Teatro delle Celebrazioni”
2002-Apr-07th - München, Germany; “Muffathalle”
2002-Apr-10th - Hamburg, Germany; “Fabrik”
2002-Apr-12th - Berlin, Germany; “Volksbühne”
2002-Apr-13th - Glauchau, Germany; “Alte Spinnerei”
2002-Apr-27th - London, England; “Play: Game On/Only Connect”
2002-Jun-07th - Den Haag, Netherlands; “New Forms III”
2002-Jul-13th - Dour, Belgium; “Dour Dour Festival”
2002-Jul-26th - Fano Corte Malatesiana, Italy; “Il Violino e la Selce”
2002-Sept-26th - Moscow, Russia; “Tochka Feelee”
2002-Sept-29th - Kaliningrad, Russia; “Vagonka Club Feelee”
2002-Oct-01st - London, England; “Royal Festival Hall”
2002-Oct-05th - Thessaloniki, Greece; “Ydrogeios Club”
2002-Oct-12th - London, England; “Megalithomania!”
2002-Oct-16th - Copenhagen, Denmark; “3rd Tsunami/Amager Kulturpunkt”
2002-Oct-17th - Oslo, Norway; “Betong”
2002-Oct-19th - Stockholm, Sweden; “Fylkingen”
2002-Oct-21st - Helsinki, Finland; “Tavastia Klubi”
2002-Oct-24th - Gdansk, Poland; “St. John's Church”
2002-Oct-25th - Gdansk, Poland; “St. John's Church”
2002-Oct-26th - Lódz, Poland; “Centrum Filmowe”
2002-Oct-27th - Prague, Czech Republic; “Palac Akropolis”
2002-Oct-29th - Vienna, Austria; “Flex”
Lunar Eclipse Phase;

2003-Apr-06th - Camber Sands, England; “All Tomorrow's Parties”
2004-May-23rd - Paris, France; “La Locomotive”
2004-May-31st - Leipzig, Germany; “Wave-Gotik-Treffen”
2004-Jun-03rd - Amsterdam, Netherlands; “Melkweg Electronation”
2004-Jun-11th - Jesi, Italy; “Violino el la Selce”
2004-Jul-25th - London, England; “Ocean”
2004-Oct-23rd - Dublin, Ireland; “Dublin Electronic Arts Festival”
328
Unreleased Jhonn Balance / Coil Projects
[All years given indicate the original planned release date for these projects]
Mars Phase
Stabmental - "Hidden Fears" [currently lost album of dark ambient and found sound
reel-to-reel collages, 1979]
“A House” EP [four unreleased demo tracks in the Balance archives, 1980]
Sun Phase
"The Black Light District" [the first BLD album, described as a "bad trip take on acid
house", 1989]
"Beautiful Catastrophe" [a duet 12" single with Rose McDowell, 1994]
"Coil Vs ELpH Vol. 2" [autumn 1997]
Moon Phase
"Wounded Galaxies Tap At The Window" [Coil collaboration with William Burroughs
et al. 2001]
"Queens of the Circulating Library (Repackaged Edition)" [2003]
Lunar Eclipse Phase

"Queens of the Circulating Library Vol. 2" [2003]
"Telesmatic Tree in the King Scale" [a Coil cd-r originally slated for purchase during
live concerts, 2004]
"The Dreamer is Still Asleep; The Lyrics of John Balance" [the authorised book of
John Balance's lyrics, originally planned for a 2003/2004 release, if not earlier]
I'd also suggest the following are created;

“Jhonn Balance; Collected Interviews” [illustrated with promo photos and sleeves]
“Jhonn Balance; The Biography” [unabridged, including photographs and letters]
329
Seemingly Random Appendix
Careful What You Wish For - “God please fuck my mind for good” [Don Van Vliet]
Sewn Open - "Right: pretend it's real so that we can get it down. Ok"
Dark Start - "...this dusty road again"
(I Can't Get A Word In) Edgeways - "I can't get a word in, I can't get a word in edgeways"
Feeder - "What fresh hell is this?"
Her Friends the Wolves... - "Her friends, the wolves, stripped naked… naked"
elph.zwölf - "elph...zwölf"
Things We Never Had - "Wise words from the..."
Chasms - "Every man and every woman is a star" [Aleister Crowley]
Princess Margaret's Man in the D'Jamalfina - "Okay, yeah"
Omlagus Garfungiloops - "Omlagus garfungiloops… You've been exploding frogs
again" [from the film "The Reflecting Skin"]
Who'll Tell? - "Who's to tell? Now John.. Never, never tell"
[from Laughton's narration of "Night of the Hunter"]
Homage To Sewage - "Mangia! Mangia!" [Pasolini/De Sade]
Currently Lost Words

The gossamer-like ghost voices you hear floating and echoing throughout the Coil
world are often samples of colleague conversations voyeuristically recorded in
social situations or, as Christopherson had mentioned, samples taken from British
TV - the sources of which are probably now lost and, if not originally stored in the
archives as raw samples, may never be known. Here’s a brief selection from the
many Coil songs that utilise word collage beyond comprehension;
Regel - Currently unidentifiable words audible between 0:39 -1:00

Departed - Currently unidentifiable repeated phrase throughout
Red Slur - Currently unidentifiable passages
Bad Message - Currently unidentifiable loops of phrasing
330
Jhonn Balance & Coil Links
www.thresholdhouse.com - The official Coil website

threshold.greedbag.com - The official Coil store
www.brainwashed.com/coil - A leading Coil site
www.facebook.com/groups/9068381069 - The Coil Facebook Group
www.discogs.com/artist/660-Coil - Detailed Coil release history
archive.org/search.php - Coil downloads inc. FLAC/MP3
www.hollyfeld.org/mailman/listinfo/coil - The Coil List
www.nachtkabarett.com/coil - A good review of Coil’s occult side
en.wikipedia.org/wiki/Coil_(band) - A starting point for many
en.wikipedia.org/wiki/Coil_Live - A great list of Coil’s concerts
www.discogs.com/artist/52098-John-Balance - Jhonn's release history

en.wikipedia.org/wiki/John_Balance - Collaborations starting point
www.timeless-shop.com/catid/john-balance-74.html - Jhonn’s art book
www.chaosmatrix.org/library/chaos/spare/caduceus.html - Jhonn’s archive of A.O.S. art
community.usvsth3m.com/2048/balance-edition - Jhonn as a computer game
sleazybkk.blogspot.co.uk - Peter’s Blog

twitter.com/unklesleazy - Peter’s Twitter Account
myspace.com/thresholdhouse - Peter’s Myspace Account
www.timeless-shop.com/catid/peter-christopherson-73.html - Peter’s photography book
331
The Guardian Obituary
John Balance - Joint founder of Coil, a focal point for English avant-garde pop music
In 1983, John Balance, who has died after a fall aged 42, founded, with his then
partner, Peter Christopherson, the band Coil. The original collective, briefly called
Zos Kia, also featured Marc Almond on vocals, and John Gosling. Coil's first release
was How To Destroy Angels (1984), 17 minutes of "ritual music for the accumula-
tion of male sexual energy".
John and Peter turned Coil into a duo in 1984. Alongside Genesis P-Orridge and Da-
vid Tibet, Coil became a focal point of an English avant-garde music. John was also a
member of Psychic TV, 23 Skidoo, Death In June, Current 93 and Nurse With
Wound. Coil was the only band based around a gay male couple and they delighted
in the "male sexual chemistry" this created. In the mid-1980s, gay pop was coming
out of the closet, but Coil were the first resolutely queer group; their words dealt
with desire, disease, dirt, death and drugs, and their collages sounded dark, dank
and dangerous.
They were aided in the studio by Stephen Thrower, and collaborated with the vocal-
ists Almond, Gavin Friday, Rose McDowell, Clint Ruin from Foetus, and Annie Anx-
iety from Crass. Their first album, Scatology (1985), was "a study in human degra-
dation". Inspired by Brion Gysin's literary cut-up technique, Peter was one of the
first musicians to use samplers, then a painstaking business involving 1/4 inch tape
loops and primitive Apple computers.
Coil funereally reworked Soft Cell's Tainted Love cover. Their album, Horse
Rotorvator (1987), made when many friends were dying of Aids, was darker still.
But Love's Secret Domain (1991) was informed by acid house and the psychedelic
guru Terrence McKenna.
Derek Jarman was an idol turned friend. Coil provided soundtracks for his The
Angelic Conversation (1985) - with Judi Dench reading Shakespeare's sonnets over
music - and for Blue (1993). Their music for Clive Barker's film Hellraiser was
rejected by its Hollywood producers, but they provided the soundtrack for the
Terrence Higgins Trust's The Gay Men's Guide To Safer Sex video.
332
John was a farmer's son, born Geoffrey Burton, in Mansfield, Nottinghamshire.
When his mother remarried, he took the surname Rushton. He attended an Oxford-
shire boarding school, but, diagnosed with schizophrenia, spent time in a mental
hospital. He took solace in Aleister Crowley's works, and, as "Stabmental", wrote a
fanzine and made music.
John met Peter - then playing keyboards for Genesis P-Orridge - just before his 18th
birthday. In 1981 John quit Sussex University after one term, and they became
lovers. Before Coil, they appeared on Psychic TV's albums Dreams Less Sweet
(1983), and the live NY Scum.
In the 1990s, Peter and John - now "Jhonn" - moved to an old Somerset school-
house, making commercials and videos for acts ranging from Ministry to Bjorn
Again. With programmer Danny Hyde, guitarist [sic] William Breeze, Drew
McDowell, and Spiritualized's Thighpaulsandra, they released ever more
experimental material as Coil and as The Eskaton, ELpH, Black Light District and
Time Machines. There were reissues of earlier work: the Unnatural History
anthology series and the stunning Musick To Play In The Dark.
People described John as lovable, but shy, moody and difficult. David Keenan's
book, England's Hidden Reverse: A Secret History Of The Esoteric Underground,
painted him as highly demanding and a heavy drinker. An album featuring Coil-
associated acts, Foxtrot, was released to help fund his 1998 rehab from drink and
drug problems. He recovered, but split with Peter, though they remained close
friends.
John is survived by his partner, the artist Ian Johnstone.
John Balance, (Geoffrey Burton), musician, born February 16 1962; died November
13 2004.
Written by Richard Smith, 10th December 2004.
333
The CURATOR’S GALLeRY
The front cover of the first & second edition of this book
334
The full version of the original front cover photograph,
from a Jhonn Balance-themed photoshoot for the book, November 1st 2014,
Eastern England, by Phil Barrington
335
A Jhonn Balance-themed photoshoot for the book, November 1st 2014,
By Phil Barrington 336
Photographs of the original printer’s proof version of this book (December 2014)
and a shot of the transcription process from Jhonn Balance’s notebook facsimiles (April 2015),
by Phil Barrington
337
A Funeral Ceremony
for
Geff
a.k.a
Jhonn Balance
1962 - 2004
338
Music from John Tavener - The Protecting Veil
Welcome and introduction by Sleazy
Dedication:
"Unto Geff, from whose eyes the veil of life hath fallen, may there be granted the
accomplishment of his True Will...
Whether he wills absorption into the Infinite, or to be united with his chosen and
preferred, or to be in contemplation, or to be at peace, or to achieve the labour and
heroism of incarnation on this planet or another, or in any Star, or aught else, unto
him may there be granted the accomplishment of his Will;
yea, the accomplishment of his Will."
The Dreamer Is Still Asleep by Coil

(from the album Musick To Play In The Dark, Vol. 1)
Lyrics and vocals by Geff.
During which you are invited to come forward and light a candle…
hush - may ask you all for silence
the Dreamer is still asleep
may the Goddess keep us
from single vision and sleep
the Dreamer is still asleep
he's inventing landscapes and the magnetic field
working a means of escape
we'll cut across the crop circles
the Seer says No - not much time left
for these escape attempts
look at it this way
in 10 years time - who'll care - who'll even remember?
one dies like that
deep within it almost inside it
it's there for a reason
i'll give you my old address
and take a little book
to tear and cut the paper
the beginning is also the end
time defines it - It will end
like close friendship
nothing could be further
we forget - the space people and things is empty
we forget and don't notice the loss
crossing into venerable degeneration
such radiant pollution
the god with the silver hand
surveys this vast contaminations 339
a Dreamer is still dreaming
in the heart of your heart
your eye remains
is the hurt you
is the blister you call loveless
your whole life is a cold slow shock
take a little time
to trap the shabby shadow
in the pissy mists of history
the Dreamer is still dreaming
hush - may ask you all for silence
will he wake in time to catch the sunset?
hush - May ask you all for silence?
Ian greets the Congregation, says a few words, and introduces:
The Valley by Jane Siberry
(from the album Bound By The Beauty)
i live in the hills
you live in the valleys
and all that you know are these blackbirds
you rise every morning
wondering what in the world will the world bring today
will it bring you joy or will it take it away
and every step you take is guided by
the love of the light on the land and the blackbird's cry
you will walk in good company
the valley is dark
the burgeoning holding
the stillness obscured by their judging
you walk through the shadows
uncertain and surely hurting
deserted by the blackbirds and the staccato of the staff
and though you trust the light towards which you wend your way
sometimes you feel all that you wanted has been taken away
i love the best of you
you love the best of me
though it is not always easy
lovely? lonely?
the shepherd upright and flowing
you see... 340
Jeremy Reed reads a Poem
Are You Being Served theme - Sung by Francois Testory

This song, a duet with Francois, was the last Geff sang in concert at the City Hall,
Dublin Oct 23rd.
Ground floor perfumery,
stationery and leather goods,
wigs and haberdashery
kitchenware and food...going up
First floor telephones,
gents ready-made suits,
shirts, socks, ties, hats,
underwear and shoes...going up
Second floor carpets,
travel goods and bedding,
material, soft furnishings,
restaurant and teas.
Going up!
Reading from Liber 106 - An Epistle of Baphomet
Every man and every woman is a Star.

It is Our Lady of the Stars that speaketh to thee, O thou that art a star, a member of
the Body of Nuith! Listen, for thine ears become dulled to the mean noises of the
earth; the infinite silence of the Stars woos thee with subtile musick.
Behold her bending down above thee, a flame of blue, all-touching, all-penetrant, her
lovely hands upon the black earth, and her lithe body arched for love, and her soft
feet not hurting the little flowers, and think that all thy grossness shall presently
fall from thee as thou leapest to her embrace, caught up into her love as a dewdrop
into the kisses of the sunrise.
For inasmuch as thou hast made the Law of Freedom thine, as thou hast lived in
Light and Liberty and Love, thou hast become a Free-man of the City of the Stars.
At First She Starts by Lal Waterson & Oliver Knight

(from the album Once In A Blue Moon)
first she starts and then she's startled I see that light in her eyes
didn't you realise you were a bird at dawn when you woke with air in your throat
so far doe-ray-me sing to me loudly
341
serenade me,
mess with the melody light and shade all my eyes can see
oh, but you are the phrase at the end of the bar a long and high refrain
hanging around for the choir to strike sound so's you can holler your joy and your
pain
David Tibet reads a poem
Live music from Cliff Stapleton (hurdy-gurdy) and Mike York (pipes)
...during which you are invited to write a message for Geff
and to place it with him in the coffin.
Closing words
followed by an excerpt from
Batwings (A Limnal Hymn) by Coil
(from the album Music to Play in the Dark Vol. 2)
Geff is singing all the parts - in a language that only he knows.
You are asked to stand for this last song and join in singing the last chorus:
We'll Meet Again performed by Johnny Cash

(from the album American IV: The Man Comes Around)
We'll meet again

Don't know where, don't know when
but I know well meet again some sunny day
Keep smiling though
just like you always do
till the blue skies drive the dark clouds far away
and will you say hello to the folks that I know
tell em that I won't be long
and they'll be happy to know
that as you saw me go
I was singing this song
We'll meet again
Don't know where, don't know when
but I know we'll meet again some sunny day
The Bearers come forward to prepare to the coffin
Then to Henry Mancini's score to Arabesque:
The coffin is carried from the chapel.
You are invited to follow the Coffin out to witness the departure of the
hearse. 342
s"ee microscopic
see world view
see the future leaking through,
see the person who once was you"
"Windowpane"
Jhonn Balance 1993
343
Assistance
If you are concerned about your alcohol intake, or the impact of your or someone
else's alcohol intake on your life, you can contact the following organisations;
FRANK
Contact FRANK for friendly confidential advice about addiction;
www.talktofrank.com
frank@talktofrank.com
0300 123 6600 [UK]
Alcoholics Anonymous
Find your local [UK] branch here;
www.alcoholics-anonymous.org.uk/Contact
help@alcoholics-anonymous.org.uk
0845 769 7555 [UK]
Samaritans
Find your local [UK] branch here;
www.samaritans.org/branches
jo@samaritans.org
08457 909 090 [UK]
344
"No, there's not much time left for these escape attempts.
Look at it this way - In ten years' time, Who'll even remember? Who'll care?
Who'll even remember? Who'll care?"
Jhonn Balance, "The Dreamer is Still Asleep"
Jhonn Balance
Jhon Balance
John Balance
Otto Avery
Louise Weasel
Eden 2
Geoffrey Laurence Burton
Geoffrey Rushton
Geff Rushton
16th February 1962 – 13th November 2004
345
THE GOLDEN AGE
OF BLOODSPORTS
___________________________
THE COLLECTED WORDS, LYRICS & PERFORMED SONGS
JHONN BALANCE
For the first time ever the large majority of the writings, lyrics and performed songs
of Jhonn Balance are collected into one book. Famous for leading the British band
Coil into uncharted musical and magickal territories from 1983 until his tragic death
in 2004, Balance was a cultural pioneer who blended the occult with heartfelt
emotional outpouring and experimental electronic sound with a medieval
sensibility.
An artist, lyricist, essayist, visionary, performance artist and inspiration to a great
many leftfield artists before his death and possibly the most mysterious,
traumatic and obsessive character in recent popular culture history after his
passing, this book identifies key lyrical themes embedded within his highly
personal vision.
From an abusive childhood nurturing occult promises of escape, to long chemical
journeys into the woodland wilderness of moonscapes, vegetation and displeased
rabbits, Balance's world is undeniably unique.
A potent tableau of wordplay, rhythm, repetition, nature, astronomy, magick, sex,
high emotion and psychedelic surrealism are all part of his writing, uncovered here
in this book.
A doomed romanticist making the most violent lyrics a very obvious fabricated front
for the hurt and disappointment the characters that populate his creative world
felt, these are Jhonn's words and visions.
Remember to say "thank you" for all the things he never had.
Based upon the principles of guerrilla curation,

this is a totally unauthorised collection of Jhonn
Balance's texts and ideas, salvaging and piecing
together scraps of words and lyrics from many
unofficial (and official) sources, together with
private research and exclusive transcriptions,
into one coherent and respectful tome. Please
refer to the various credits and copyright notices
within.
346
Published April 21st 2015, OOTB Publications

GoldenAge Bloodsports

Uploaded by

Copyright:

Available Formats

GoldenAge Bloodsports

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

GoldenAge Bloodsports

Uploaded by

Copyright:

Available Formats

THE GOLDEN AGE

THE COLLECTED WORDS, LYRICS & PERFORMED SONGS OF

Compiled by Phil Barrington

*except for the thumbnail photographs on the Memorial Service pamphlet

THE COLLECTED WORDS, LYRICS & PERFORMED SONGS OF

COMPILED BY PHIL BARRINGTON

Secondly, his Gysin-esque word experimentation. Especially during Coil's "Moon"

He was one twisted mystic.

Lunar Eclipse = 2003-2015, from the “Restitution of Decayed Intelligence” EP,

"Everything is now destroyed

Jhonn Balance, "The Coppice Meat"

[Written in 1975, aged 13]

Dedicated to Mother & Father

Proud, elegant and haughty

The sound echoes like the voice

To elicit the spirits

At the dawn of time

And caught the colours of the rainbow

And they've remained unequalled

[Written on 16th August 1975, aged 13]

It was mere folly… I didn’t mark it

50,000 wild flutes blow up a storm

Go down to the town, down to the town

Go down to the town, down to the town

Go down to the town, down to the town

He loves his little children, he waits in their bedrooms

He comes down, he comes down

Like babies in baskets, like rats in the rushes

Every night will be a death night

Blind man standing on her doorstep

She’s a fetish for today

A severe endeavour to sever the past

Scars for E, o' weeping sadness is blurred

A trust from me, a thrust from E

Video violence watch towers of silence

The scars for E that infest me

As he walked to her window she cried to his back

I can tell you nothing that you do not know

I can tell you nothing that you do not know

See what I say as well as I hear it

You are forced to obey the suggestions we are making

Stop this song

On a day like today we could all fade away

It’s all so so slow, you know

And it’s here come the damp rots to

It’s all so so so, you know I was talking

On a day like today we could all fade away

It’s all so so so, you know

On a day like today we could all fade away

Your eyes are two-way mirrors

It doesn't matter, 'cause the zebra's on fire

Fear holds me here

Fear, fear, fear, fear, fear...

I do not fuck around, I never fucked in my life...

And I believe it was truth…

They're persecuting themselves every time they go on the freeway.

I'm getting tired.

He's your boy in a suitcase

Checks in / Checks out

COIL is amorphous. Luminous and constant change. Inbuilt obSOLescence.