Coil discography

The discography of Coil, the influential British experimental music group formed in London in 1983 by John Balance (Geoff Rushton) and Peter Christopherson, comprises 20 studio albums, alongside dozens of EPs, singles, compilations, live recordings, and collaborative projects released between 1984 and 2008, with several posthumous, remastered, and reissue editions appearing up to 2025.^[1][2] Emerging from the post-industrial scene as a side project of Psychic TV, Coil's releases evolved from raw, abrasive industrial soundscapes to more ambient, occult-infused electronica, often self-released via their independent label Threshold House and distributed through labels like Some Bizzare and Chalice.^[2] The catalog reflects the duo's core membership—later expanded with contributors like Stephen Thrower, Drew McDowall, and Danny Hyde—until Balance's death in 2004 and Christopherson's in 2010, after which archival material continued to surface.^[2] Key studio albums include early milestones such as Scatology (1985), blending punk energy with ritualistic noise, and Horse Rotorvator (1986), a provocative exploration of death and sexuality that solidified their reputation in avant-garde circles.^[1][3] The 1991 release Love's Secret Domain marked a commercial peak, incorporating acid house and guest vocals from artists like Marc Almond, achieving broader recognition for its psychedelic depth.^[1][4] Later works like Musick to Play in the Dark Vol. 1 (1999) and The Ape of Naples (2005, posthumous) shifted toward haunting, minimalist drone and lunar-themed ambiences, influencing subsequent ambient and darkwave genres.^[1][2] Beyond core albums, Coil's output features extensive side projects under pseudonyms (e.g., Black Light District, ELpH), soundtrack contributions for Derek Jarman films like The Angelic Conversation (1994), and remix collaborations with acts including Nine Inch Nails and Current 93.^[2] Compilations such as the Unnatural History series (1990–1997) and Stolen & Contaminated Songs (1992) compile rarities and outtakes, while live albums like Live Two (1998) capture their improvisational performances.^[1][2] Recent remastered editions, such as Moon's Milk (In Four Phases) (2024) and the reissue of Black Antlers (2025), continue to make Coil's extensive catalog accessible. With over 120 total releases including compilation appearances, Coil's discography remains a cornerstone of experimental music, celebrated for its esoteric innovation and thematic intensity.^[1]

Primary releases as Coil

Studio albums

Coil's studio albums form the foundation of their primary output, featuring original full-length recordings that evolved from gritty industrial experimentation to ethereal ambient and drone compositions, often laced with occult symbolism, personal introspection, and sonic innovation. Beginning with their 1985 debut and extending to posthumous and reissued works through 2025, these releases highlight the core duo of John Balance and Peter "Sleazy" Christopherson, frequently augmented by collaborators like Stephen Thrower, Drew McDowall, and Danny Hyde. Production ranged from raw analog synthesizers and tape manipulations in early works to digital processing and field recordings in later phases, with thematic emphases on mortality, sexuality, and altered states. The band's output includes approximately 15 core studio albums, excluding live captures, compilations, and short-form releases. Early albums like Scatology and Horse Rotorvator established Coil's reputation for provocative industrial soundscapes, with the latter's exploration of mortality earning enduring praise for its thematic boldness during a turbulent era.^[5] Mid-period works such as Love's Secret Domain introduced broader appeal through danceable rhythms and guest vocals, influencing subsequent electronic genres while maintaining esoteric undertones.^[6] Later releases, including the Musick to Play in the Dark series and posthumous efforts like The Ape of Naples, shifted toward introspective ambient, often drawing from personal and occult rituals, with Black Antlers' 2025 reissue underscoring the band's lasting impact on experimental music.^[14]

Live albums

Coil's live performances represented a significant evolution from their early industrial roots, emphasizing heavy improvisation, site-specific rituals, and atmospheric immersion that transformed venues into temporary sacred spaces. Beginning with sporadic shows in the early 1980s alongside Zos Kia, the duo of John Balance and Peter Christopherson initially focused on raw, confrontational energy drawn from punk and industrial influences. By the late 1990s, following a hiatus, Coil revived their stage presence with an expanded lineup, incorporating Thighpaulsandra on keyboards and synthesizer in 1997, alongside collaborators like Rose McDowall and Ossian Brown, which allowed for more layered, psychedelic explorations. These performances often blended pre-recorded elements with spontaneous sonic manipulations, evoking occult themes through projected visuals, incense, and altered states induced by the music itself, distinguishing them from their meticulously crafted studio work.^[15][16] The group's live recordings capture this improvisational ethos, with sets frequently diverging from studio versions into extended drones and ritualistic crescendos. Early efforts like Transparent document nascent experiments in noise and performance art, while later releases from the early 2000s highlight the peak of their collaborative intensity. Posthumous albums, released after Balance's death in 2004, preserve the final iterations of these rituals, underscoring Coil's enduring influence on experimental electronica. Nine principal live albums chronicle this trajectory, including limited-edition and unofficial bootlegs that circulated among fans. Transparent, originally released as a cassette in 1984 by Nekrophile Rekords and reissued on CD and LP by Threshold House in 1997 and 1998, compiles rehearsals and a live set from December 5, 1983, at the Magenta Club in London. This early document features the core duo augmented by Alex Fergusson on guitar, showcasing abrasive tracks like "Sicktone" and "Baptism of Fire," which blend punk aggression with emerging electronic textures; the CD edition adds "Rape" and "Here to Here (Double Headed Secret)." Its raw energy reflects Coil's transitional phase from Zos Kia collaborations, marked by minimal structure and high improvisation. Track listing: 1. Sicktone; 2. Baptism of Fire; 3. Rape; 4. Poisons; 5. Truth; 6. Sewn Open (Rehearsal 5.XIII.83); 7. Sicktone [Live]; 8. Silence & Secrecy (Section) [Live at Magenta Club, London 5.XII.1983]; 9. Truth (Version); 10. Stealing the Words; 11. On Balance; 12. Here to Here (Double Headed Secret). Formats: Cassette (1984), CD/LP (1997/1998).^[2] Coil Presents Time Machines, issued in September 2000 by Eskaton on CD, captures a ritualistic improvisation under the Time Machines alias at the Royal Festival Hall in London on April 2, 2000. This 39-minute piece unfolds as four extended drones—"Time Machines I-IV"—utilizing analog synthesizers and minimal percussion to create hypnotic, time-dilating soundscapes, emblematic of Coil's interest in altered consciousness during their post-Musick to Play in the Dark era. The performance, part of a larger event tied to Queens of the Circulating Library, emphasized site-specific immersion with low lighting and incense. Track listing: 1. Time Machines I; 2. Time Machines II; 3. Time Machines III; 4. Time Machines IV. Formats: CD.^[17] The Live series, released in 2003 by Threshold House, documents Coil's rigorous touring schedule from 2000 to 2002, featuring the expanded lineup including Thighpaulsandra, Drew McDowall, and guest vocalists. These albums highlight the band's shift toward glitchy, drone-heavy rituals, with sets often lasting over an hour and incorporating visual projections of occult imagery. Live One, a double CD released in June 2003 (LOCI CD18), records the June 17, 2000, performance at Sonar Festival in Barcelona, marking Coil's de facto live resurgence after nearly two decades. Spanning 93 minutes, it features immersive drones like "Everything Keeps Dissolving" evolving into ritual chants, with Balance's vocals weaving through Thighpaulsandra's analog manipulations. Track listing (Disc 1): 1. Everything Keeps Dissolving; 2. Queens of the Circulating Library; 3. Chasms Pt. 1; 4. Chasms Pt. 2. (Disc 2): 1. I Don't Get It; 2. The Universe Is a Haunted House; 3. Pocket Vibration; 4. Recoiled. Formats: 2xCD (2003), 2xLP reissue (2025 by Retractor).^[18] Live Two (LOCI CD19, May 2003, CD) originates from September 15, 2001, at DK Gorbunova in Moscow, lasting 52 minutes and emphasizing Eastern European tour improvisations with tracks like "Amethyst Deceivers" stretched into trance states. The ritualistic close-quarters setup amplified the performance's intimate, ceremonial feel. Track listing: 1. Amethyst Deceivers; 2. Something; 3. Higher Beings Command; 4. Free Base Reels; 5. A Slip in the Marylebone Road; 6. The Universe Is a Haunted House. Formats: CD, DVD, LP.^[19] Live Three (LOCI CD20, March 31, 2003, CD) derives from April 6, 2002, at Teatro delle Celebrazioni in Bologna, Italy, a 65-minute set blending industrial percussion with ethereal vocals, including the extended "Broccoli?" ritual. This show exemplified lineup dynamics, with Thighpaulsandra's contributions adding cosmic flourishes. Track listing: 1. Anarcadia: All Horned Animals; 2. Amethyst Deceivers; 3. Slur; 4. A Cold Cell; 5. Broccoli?; 6. Paranoid Inlay; 7. Sick Mirrors; 8. All the Pretty Little Horses; 9. Are You Really a Lizard?. Formats: CD, DVD, LP.^[20] Live Four (LOCI CD21, February 24, 2003, CD) combines segments from October 27, 2002, at Palac Akropolis in Prague (tracks 1, 10) and October 29, 2002, at Flex in Vienna (tracks 2-9), totaling 70 minutes of glitch-drone rituals like "Egyptian Basses," showcasing seamless transitions across shows. Formats: CD. Track listing: 1. Intro/Amethyst Deceivers; 2. The Wraiths and Strays of Paris; 3. All the Pretty Little Horses; 4. All Discs; 5. A Slip in the Marylebone Road; 6. Egyptian Basses; 7. Pocket Vibration; 8. Recoiled; 9. The Universe Is a Haunted House; 10. Buzz knockdown.^[21] Megalithomania!, a limited CDr released in July 2003 by Threshold House, records the October 12, 2002, appearance at Conway Hall in London for the Megalithomania festival, centered on a 40-minute rendition of "The Universe Is a Haunted House" infused with pagan ritual elements, aligning with the event's ancient monument theme. Track listing: 1. The Universe Is a Haunted House. Formats: CDr (limited edition).^[22] Selvaggina, Go Back into the Woods, a CD-R limited to 230 copies released July 25, 2004, by Threshold House, captures June 11, 2004, in Jesi, Italy—one of Coil's final shows before Balance's death. The 50-minute set revisits Backwards material with improvisational twists, evoking woodland rituals through layered synths and vocals. Track listing: 1. The Gimp (Sometimes); 2. Sex with Sun Ra; 3. All the Pretty Little Horses; 4. Tattooed Man (The Dark Age of Love); 5. Teenage Lightning (10th Birthday Party Version); 6. Fire of the Mind; 7. The Broken Wheel. Formats: CD-R.^[23] ...And the Ambulance Died in His Arms, released April 2005 by Threshold House on CD, posthumously documents the April 4, 2003, All Tomorrow's Parties set at Camber Sands, England—the band's last major festival performance. This 63-minute ritual closes with elegiac drones like "Snow Falls Into Military Temples," foreshadowing Balance's fate; it features the full late lineup in a meditative, improvisational farewell. Track listing: 1. Triple Sun Introduction; 2. Snow Falls Into Military Temples; 3. A Slip in the Marylebone Road; 4. Triple Sons and the One You Wear; 5. And the Ambulance Died in His Arms. Formats: CD.^[24] Unofficial bootlegs, such as early 1983 Berlin tapes circulated among fans, further illustrate Coil's improvisational origins, though these lack formal release details and are noted for their historical value rather than sonic polish.^[25]

Short-form releases

Extended plays

Coil's extended plays represent concise, often experimental forays into ritualistic, ambient, and thematic soundscapes, typically featuring 4-6 tracks and limited production runs that emphasize their occult and pagan influences. These releases, spanning from their early industrial phase to later drone explorations, were issued on independent labels and frequently reissued in remastered forms due to their rarity and cult status. As of 2025, select early EPs like How to Destroy Angels have been made available digitally via Bandcamp through Threshold House estate releases.^[26] The debut EP How to Destroy Angels marked Coil's entry into ritual ambient music, featuring a single extended drone composition performed by core members John Balance and Peter Christopherson, with locked grooves and B-side variations adding to its experimental nature; original pressings remain highly sought after for their collectible quirks, such as included posters and unplayable surfaces.^[27] The Snow EP served as a promotional companion to the 1991 album Love's Secret Domain, compiling remixes of the title track featuring contributions from Jack Dangers of Meat Beat Manifesto, blending ambient house and techno elements; limited to 1,000 copies initially, it exemplifies Coil's mid-period shift toward dance-influenced electronica.^[28] The Solstice/Equinox series, released seasonally between 1998 and 1999, embodies Coil's fascination with pagan rituals and celestial cycles, each EP limited to 1,000-2,000 copies on their Eskaton imprint and featuring drone-heavy compositions by Balance, Christopherson, Thighpaulsandra, and vocalist Rose McDowall; Spring Equinox evokes lunar unease through repetitive motifs, Summer Solstice incorporates field recordings of insects for a vibrant, organic feel, Autumn Equinox delves into dream states with layered vocals, and Winter Solstice closes the cycle with stark, northern-inspired minimalism.^[31] These EPs were later compiled and remastered as Moon's Milk (In Four Phases) in 2002, with a deluxe vinyl box set reissue in 2024 by Dais Records enhancing accessibility while preserving their thematic integrity.^[33]

Singles

Coil's singles era spanned from the mid-1980s to the early 2000s, primarily featuring limited-edition vinyl releases that highlighted their industrial and experimental roots, often incorporating influences from Throbbing Gristle through members John Balance and Peter Christopherson. These standalone singles, typically in 7-inch or 12-inch formats, included unique B-sides, remixes, and covers, with production emphasizing occult themes and sonic innovation; few achieved mainstream chart success. Many were pressed in small runs, appealing to collectors, and several tracks later appeared in album versions, such as on Scatology (1984). Limited editions, including colored vinyl and picture discs, were common, underscoring the band's cult following. By 2025, digital reissues of select singles, like "Panic/Tainted Love" and "Windowpane," became available via platforms such as Bandcamp through Threshold House estate releases, broadening accessibility without altering original analog formats. The following table lists key singles, focusing on their original releases:

Compilation and retrospective releases

Compilation albums

Coil's compilation albums primarily aggregate tracks from earlier sessions, limited-edition releases, and collaborations, often curated to highlight thematic elements such as occult imagery, industrial experimentation, and ambient soundscapes. These releases, issued through their own Threshold House label or affiliates like World Serpent and Eskaton, served as retrospectives of the band's evolving sound from the mid-1980s onward, distinguishing themselves from full studio albums by focusing on rarities, remixes, and outtakes rather than new compositions. Unlike period-specific compilations that emphasize a singular aesthetic phase, such as drone-focused works, the retrospective series like Unnatural History provided chronological overviews of Coil's contributions to various samplers and EPs.^[2] The band's compilations often featured limited formats, including numbered CDs and vinyl pressings, reflecting their boutique approach to distribution. Track selections typically drew from 1980s sessions, incorporating unreleased demos and alternate mixes that explored occult themes, as seen in groupings around ritualistic or apocalyptic motifs. Below is a selection of key compilation albums, emphasizing their curation and historical context.

Posthumous and reissue compilations

Following the deaths of Coil's core members John Balance in 2004 and Peter Christopherson in 2010, a series of posthumous compilations and reissues emerged, primarily archival in nature and overseen by former collaborators such as Thighpaulsandra, Danny Hyde, and Drew McDowall, with involvement from the band's estate to preserve and remaster unreleased or earlier material from the 1990s and 2000s.^[44][45][33] These releases, issued post-2010 by labels like Cold Spring and Infinite Fog Productions, often feature expanded formats including alternate mixes, live recordings, and restored tracks drawn from private studio archives, emphasizing Coil's experimental electronic legacy without introducing new studio compositions.^[46][47] One early posthumous compilation was Recoiled, released on February 24, 2014, by Cold Spring Records in CD and digital formats. Authorized by Coil associate Danny Hyde, it compiles remixes of Nine Inch Nails tracks produced by Coil during their mid-1990s collaboration, including reworked versions of "Gave Up," "Closer," and "Eraser" that blend industrial rhythms with Coil's signature occult-infused electronics, sourced from original session tapes.^[44][46] The release spans 40 minutes across five tracks, highlighting the duo's influence on industrial music during Christopherson's lifetime.^[44] In 2019, Infinite Fog Productions issued Swanyard, a double-CD and triple-LP archival compilation of 23 unreleased tracks recorded between 1993 and 1996 at Danny Hyde's studio, totaling nearly 150 minutes of material.^[45][48] Drawn from Hyde's personal archives, it includes demos, alternate mixes, and improvisations such as "Spastiche," "Heaven's 98 Horror mst," and "Siminon Master Backwards," capturing Coil's transitional phase toward more ambient and IDM-influenced sounds amid lineup changes including Thighpaulsandra's involvement.^[45] The package features commissioned artwork and was limited to 1,000 vinyl copies, underscoring the estate's efforts to unearth and contextualize forgotten sessions from the band's Weston-supper-Mare era.^[48] Persistence Is All (Live at Royal Festival Hall), released on November 13, 2022, by Retractor Records in CD and digital formats, documents Coil's September 19, 2000, performance at London's Royal Festival Hall, remastered in August 2022 by Thighpaulsandra.^[47] This 54-minute, seven-track archival live compilation features extended renditions of pieces like "Something," "Higher Beings Command," and "Titan Arch," sourced from a stereo desk recording that preserves the venue's atmosphere and the band's ritualistic stage presence shortly before Balance's death.^[47] Limited to 500 copies initially, it reflects estate-approved efforts to release high-fidelity captures of Coil's late-period concerts.^[47] The 2024 remastered edition of Moon's Milk (In Four Phases), originally a 2002 compilation of four EPs, was reissued on March 15 by the band's official estate via Bandcamp and Dais Records in formats including a limited orange triple-LP box set (500 copies), clear vinyl, CD, and digital.^[33] Remastered by Josh Bonati under Drew McDowall's supervision, the 147-minute collection restores 19 tracks from 1998–2001 sessions at Coil's Somerset studio, such as "Amethyst Deceivers" and "Queens of the Circulating Library," with enhanced clarity revealing layered field recordings and drone elements tied to the Black Antlers Film Archive project.^[33] The silver-foil embossed slipcase and download code emphasize its role in revitalizing Coil's lunar-themed ambient works for contemporary audiences.^[33] Marking the 10-year anniversary of its 2015 original, Cold Spring Records announced a vinyl reissue of Backwards in October 2025, set for release on January 23, 2026, in gatefold double-LP editions including black, fire red, and cold white variants (limited to 500 copies each).^[49] This remastered posthumous compilation revisits 2015's blend of archival and reconstructed tracks from 1980s–2000s sessions, such as "Depression" and "Fumble," with improved audio fidelity drawn from estate-held tapes, packaged in a matt-laminate sleeve with silver hot-foil detailing.^[50] The reissue underscores ongoing archival preservation without altering the original's conceptual focus on reversed-time motifs.^[49] Scheduled for November 22, 2025, via Infinite Fog Productions, the Astral Disaster (Definitive Edition) is a deluxe box set compiling the 2001 album's original and Touch Tone Home (TTH) versions alongside alternate mixes and unreleased tracks from late-1990s sessions.^[51] Available in a wooden box with 5LP gatefold and 4CD artbook formats (the latter in a 12-inch vinyl-sized book), it spans over five hours across tracks like "The Avatars," "The Mothership & The Fatherland," and restored choral drones, remastered to highlight Coil's psychedelic industrial experiments during Thighpaulsandra's tenure.^[51] Limited editions include download codes, with the release coordinated by the estate to provide the most comprehensive presentation of this era's material to date.^[51] On June 27, 2025, Dais Records issued the first official reissue of Black Antlers, originally a limited 2004 CD-R from posthumous sessions overseen by the estate. Remastered by Josh Bonati, this 82-minute collection features 18 tracks of lunar-inspired drones and field recordings, such as "The Gimp (Sometimes)," "Sex With Sun Ra (Part One - Saturnalia)," and "The Wraiths And Strays Of Paris," drawn from 2003–2004 experiments tying into the Moon's Milk series. Available in black double-LP, CD, and digital formats, it marks the vinyl debut of this esoteric ambient work, enhancing accessibility to Coil's late-period archival material.^[12]

Side projects and aliases

Releases under aliases

Coil members frequently employed pseudonyms and alter egos to explore experimental and thematic facets of their work, distinct from their primary output under the Coil name. These aliases allowed for focused investigations into noise, drone, glitch, and occult-inspired soundscapes, often serving as outlets for ritualistic or ambient explorations. Key examples include Zos Kia for early industrial noise, Sickness of Snakes for collaborative industrial experiments, and later electronic aliases like ELpH and Time Machines.^[37][52]

Zos Kia

Zos Kia emerged as a pre-Coil project in 1982, founded by John Gosling, John Balance, Peter Christopherson, and associates including Min and Raymond Watts, emphasizing raw industrial and noise elements drawn from occult and performance art influences.^[53][54] The primary release, Transparent (credited to Zos Kia / Coil), compiled live and studio recordings from 1982–1983, initially issued as a cassette in 1983 on Nekrophile Rekords (reissued on CD by Cold Spring in 2017). Formats include cassette, CD, and limited LP editions. This work served as an early experiment in visceral, confrontational sound design, blending tape manipulation, percussion, and vocals to evoke ritualistic intensity.^[55][56] Additional Zos Kia material appears in compilations like 23 (2017, Infinite Fog Productions, 3xLP), aggregating early tapes and live recordings for archival purposes, highlighting the alias's role in Coil's foundational noise aesthetics.^[57]

Sickness of Snakes

Sickness of Snakes was a short-lived alias used by John Balance, Peter Christopherson, and Boyd Rice (NON) in 1984, functioning not as a Coil pseudonym per se but as an extension of their shared industrial ethos, focusing on abrasive, minimal electronic textures.^[58] The sole release, Nightmare Culture (1985, L.A.Y.L.A.H. Antirecords), is a split 12" EP with Current 93, available in vinyl and later CD and vinyl reissues (2013, Soleilmoon Recordings). It explores themes of psychological unease through stark, looping drones and spoken elements, recorded in a single nine-hour session.^[59][60] These tracks were later included on Coil's Unnatural History compilation, underscoring the alias's ties to their evolving sound.^[61]

Black Light District

Black Light District served as a Coil alias for ambient and drone explorations in the mid-1990s, emphasizing ethereal, light-manipulated soundscapes inspired by visual and psychedelic themes. The main release, A Thousand Lights in a Darkened Room (1996, Chalice 8), was issued as a CD on Prescription Records, featuring extended, immersive pieces built from processed guitars and synthesizers.^[37][62] This work conceptually probed illumination and shadow, aligning with Coil's interest in sensory alteration.

ELpH

ELpH, an alias blending "elephant" and "LSD" references, was used by Coil for glitch-oriented electronic music in the 1990s, delving into digital errors and fragmented rhythms as a counterpoint to their analog roots. The key release, Worship the Glitch (1995, Eskaton 006), appeared as a CD, compiling tracks that manipulate skips, loops, and noise to create a sense of technological ritual.^[37][63] It reflects Coil's fascination with imperfection in sound design, often tied to occult numerology (e.g., 23 Enochian calls).

Time Machines

Time Machines functioned as a Coil pseudonym for time-stretched ambient compositions, extending minimal motifs into hypnotic durations to simulate temporal expansion. The release Time Machines (1998, Eskaton 015) was distributed as a CD, containing four tracks derived from slowed-down sources, originally intended as a 10-inch but expanded for broader release.^[37][64] This alias underscored themes of eternity and meditation, with pieces like "Tape 1" lasting over 20 minutes each.

Black Sun Productions

Black Sun Productions, involving Coil affiliates such as Thighpaulsandra and Rose McDowall, emerged in the early 2000s as an alias for occult-themed performance and ritual soundtracks, incorporating extreme electronics and field recordings. A notable collaborative release, The Plastic Spider Thing (2002, Coil with Black Sun Productions, Brainiak 001), was issued as a CD on Brainiak Records, remixing Coil material for a performance art piece involving bodily and symbolic rituals.^[65] Formats include CD with accompanying video documentation. The alias explored alchemical and solar eclipse motifs, evident in tracks like "The Spider Now Sucks Everything," evoking transformative decay.^[66] Independent Black Sun Productions outputs, such as A Small Faith (2003, World Serpent Distribution), further this ritualistic purpose but maintain close ties to Coil's esoteric legacy.^[67]

Side-project collaborations

Coil members engaged in several side-project collaborations outside their core band activities, often partnering with industrial and experimental artists to explore noisier, more abrasive territories than the group's typical ambient and ritualistic sound. These ventures highlighted the versatility of John Balance and Peter Christopherson, who contributed vocals, instrumentation, and production while diverging into raw industrial noise and rhythmic techno elements.^[2] One prominent collaboration was Coil vs The Eskaton, pitting Coil against Rice's Eskaton project in a 1994 12" single titled Nasa-Arab / First Dark Ride, released on Eskaton Records (ESKATON 001) in the UK. Limited to 2500 copies at 45 RPM, the A-side extended "Nasa-Arab" (originally from Coil's Stolen & Contaminated Songs) with Balance's ethereal vocals amid pulsating synths, while the B-side "First Dark Ride" delivered a hypnotic, acid-tinged techno groove. This release marked a rhythmic, dancefloor-oriented shift, contrasting Coil's usual introspective drones with high-energy experimentation.^[68][69][70] These collaborations underscored Coil members' willingness to push boundaries through external partnerships, often amplifying noise and rhythm to challenge their primary output's subtlety.^[2]

Additional contributions

Compilation appearances

Coil frequently contributed tracks to various artists' compilation albums, especially in the 1980s and early 1990s, providing exclusive material that highlighted their experimental industrial aesthetic and aided their integration into the underground music ecosystem through samplers from niche labels. These appearances often featured early demos, alternate mixes, or thematically aligned pieces that complemented the compilations' focus on avant-garde, post-punk, and ambient sounds. Post-1990s contributions grew scarce, with no significant new appearances in the 2000s or 2020s identified, underscoring the rarity of such inclusions after the band's active period ended in 2010. The table below presents a chronological selection of over 20 key compilation appearances, drawn from discographical records.^[2]

Productions, mixes, and remixes by Coil

Coil, particularly members John Balance and Peter Christopherson, along with frequent collaborator Danny Hyde, contributed significantly to the industrial and electronic music scenes through their production, mixing, and remixing work for other artists. Their external credits often infused tracks with dense, atmospheric textures, ritualistic elements, and experimental sound design, bridging underground experimentalism with mainstream electronic acts. This work, spanning the early 1990s to the mid-2000s, highlighted Coil's influence on genres like industrial rock and dark ambient, as seen in their collaborations with major labels and artists seeking to expand sonic boundaries.^[71] While many of these efforts were commissioned for remix albums or singles, they frequently pushed original material into more abstract, immersive territories, emphasizing Coil's signature occult-inspired aesthetics. Notable examples include their transformative remixes for Nine Inch Nails, which integrated glitchy electronics and looping drones to underscore themes of alienation and intensity, impacting the evolution of industrial remixing techniques. Similarly, their contributions to neofolk and post-industrial projects reinforced ties within the esoteric music community. Below is a selection of key credits, focusing on verified remixes and productions. These credits, drawn from Coil's extensive external output, often remained semi-obscure due to their placement on remix compilations, yet they solidified the group's reputation as innovators in sound manipulation. For instance, the Nine Inch Nails remixes not only provided commercial exposure but also inspired subsequent industrial crossovers, with elements of Coil's approach echoed in later electronic productions. Lesser-known works, such as those for Scorn and Psychick Warriors ov Gaia, further disseminated Coil's ritualistic style within niche underground circuits.^[71]

Remixes of Coil by other artists

Remixes of Coil's original material by external artists and collaborators have appeared across promotional singles, compilation releases, and posthumous tribute albums, often emphasizing ambient expansions, electronic reinterpretations, and ritualistic atmospheres that align with the band's occult and experimental ethos. These works frequently extend the source tracks' durations and introduce new sonic elements like breakbeats, techno pulses, or field recordings, while preserving Coil's core sense of mystery and immersion. Early examples emerged during the band's active years, tied to singles from Love's Secret Domain (1991), whereas posthumous efforts, particularly those involving the Backwards label and international tributes, have proliferated since 2008, including digital editions up to 2025 that highlight ongoing cultural impact. A pivotal early instance is the 1991 promotional 12" remix EP for "The Snow" from Love's Secret Domain, where Jack Dangers of Meat Beat Manifesto delivered two versions: "The Snow (Answers Come In Dreams I)" and "The Snow (Answers Come In Dreams II)". These 5:48 and 5:54 remixes infuse the original's ethereal chill with rhythmic breaks and layered dream sequences, enhancing its wintery isolation for club and radio play on Wax Trax! Records.^[73] In 2001, electronic duo Autechre created a remix of "Teenage Lightning 1" from Constant Drift (2000), approved by Coil but shelved until partial leaks; it transforms the track's droning psychedelia into abstract glitch rhythms over 7 minutes, emphasizing fragmented electronics. Similarly, Surgeon (Anthony Child) remixed the same track that year, adding anxious techno chatter and skittering percussion to the 6:52 piece, officially released in 2012 as a 12" single that captures Coil's influence on British techno.^[74] Danny Hyde, Coil's longtime engineer and Black Sun Productions collaborator, produced several posthumous remixes of Backwards (2001/2008) tracks for the 2020 EP A Prison Of Measured Time on Old Europa Cafe. This 30-minute mini-LP includes "Amber Rain (Remix)" (6:20, elongating the original's brooding synths into vast ambient washes), "Paradise Of Replica's (Remix)" (5:45, with subtle rhythmic pulses amid echoing vocals), "The Walled Garden (Remix)" (5:30, focusing on isolated field recordings and drones), "Vortex (Remix)" retitled as the title track (6:10, intensifying spatial reverb), and "Titan Arch (Remix)" (6:15, a glacial extension evoking cosmic isolation). These alterations clarify the Backwards sessions' intent, originally withheld to avoid misleading fans during Coil's lifetime.^[75][76] Posthumous tributes have yielded extensive remix collections, notably the 2022 box set edition of The World Ended A Long Time Ago on Ici d'Ailleurs, which pairs covers with a remix disc Twisted By Love – Remixes. This features reworkings, including Aho Ssan's "Dark River (Aho Ssan Remix)" (6:54, from Love's Secret Domain, layering icy synths with modern electronica for a glacial flow), Third Eye Foundation's "Tattooed Man (Third Eye Foundation Mix)" (5:31, from The Ape of Naples, adding trip-hop beats and distorted samples to heighten unease), Geins't Nait's "Magnetic North (Geins't Nait Remix)" (8:58, from Musick to Play in the Dark Vol. 1, with pulsating bass and noise bursts), Hypnoskull's "The Sea Snake (Hypnoskull Remix)" (5:50, from Stolen & Contaminated Songs, injecting hardcore industrial aggression), Oyaarss's "Vultures Rise (Oyaarss Remix)" (6:10, from The Ape of Naples, via ethereal pads and vocal manipulations), Akikaze's "Sex With Sun Ra (Akikaze Remix)" (4:55, from Black Antlers, blending jazz-infused drones with vaporwave haze), Empusae's "Fire of the Mind (Empusae Remix)" (5:40, from The Ape of Naples, using ritual percussion and feedback loops), Cindytalk's "The Dreamer Is Still Asleep (Cindytalk Remix)" (7:00, from Musick to Play in the Dark Vol. 2, creating sparse, haunting minimalism), and Thighpaulsandra's "Funderburk Prison (Thighpaulsandra Remix)" (6:25, from The Ape of Naples, former Coil member's orchestral swells and dark ambient swells). These digital and vinyl editions extend Coil's legacy through global artists, available up to 2025 platforms.^[77][78] Another significant posthumous effort is the 2021 compilation Channeling the Solar Lodge: A Coil Tribute on Crunch Pod, featuring interpretive remixes like Pyroclastic's "Backwards" (8:45, from the Backwards sessions, reimagined with sludge-doom riffs and occult vocals for a heavier ritual tone) and Theodor Bastard's "Love's Secret Domain" (6:20, title track remix, incorporating folk-electronica with Slavic chants to evoke esoteric domains). These tracks, part of a 12-artist lineup, appear on digital formats and emphasize Coil's influence on darkwave and neofolk scenes.^[79] Independent digital releases include Cenizacromada's "Batwings (Cenizacromada Remix)" (7:12, from Musick to Play in the Dark Vol. 2, 2000 original, extended into a liminal ambient hymn with sustained drones and subtle reverb tails for meditative depth). No notable official or fan bootlegs of remixes have gained widespread recognition by 2025, though digital platforms host verified tributes without unauthorized alterations.^[80]

Visual and multimedia releases

Music videos

Coil's music videos, primarily directed by founding member Peter Christopherson, embody the band's experimental ethos through surreal, occult-infused visuals that blend ritualistic imagery, homoerotic undertones, and psychedelic abstraction. These works often draw from Christopherson's background in visual arts and his collaborations with filmmaker Derek Jarman, emphasizing DIY production techniques and thematic explorations of desire, decay, and the esoteric. Released sporadically to promote singles, the videos were typically distributed on VHS formats in the 1980s and 1990s, with later availability through digital archives and limited DVD compilations like the bonus disc in the 2017 reissue of The Plastic Spider Thing.^[81][82][83] The following table lists key official music videos, highlighting their tracks, directors, release years, formats, visual themes, and availability: These videos reflect Coil's commitment to low-budget innovation, often utilizing Super 8 film, basic effects, and personal iconography to create immersive, non-commercial art pieces that prioritize atmospheric immersion over narrative clarity. Christopherson's direction, informed by his Throbbing Gristle and Jarman experiences, infused the works with a raw, occult intensity, making them enduring artifacts of the band's multimedia legacy.^[81][82]

DVD and video releases

Coil's DVD and video releases primarily document the band's live performances and experimental visual aesthetics, reflecting their immersive approach to multimedia art. These releases, issued posthumously or during the band's later years, capture key moments from their evolving stage incarnations, often incorporating custom projections and animations created by Peter Christopherson (Sleazy). Unlike their extensive audio discography, video output is limited but influential among fans and experimental music collectors, emphasizing ritualistic and occult-themed presentations.^[98] One of the earliest video releases is Live in Moscow, a recording of the band's September 15, 2001, performance at DK Gorbunova in Moscow, Russia. Initially issued as a limited-edition VHS in 2002 by Feelee, it features an edited 60-minute set from their "Live Four" era, blending drone, ritual noise, and electronic improvisation with synchronized visuals. A PAL-format DVD edition followed in 2014 via Soleilmoon Recordings, preserving the original audio (later extracted for the Live Two CD) and offering enhanced accessibility for international audiences. This release highlights Coil's transition to more abstract, solar-themed live shows in the early 2000s.^[99][100] In 2003, Coil contributed to the Spoiler Talks DVD Series: Coil, a 110-minute lecture and workshop recording from their October 2002 appearance at the MuseumsQuartier in Vienna, Austria. Presented by John Balance and Peter Christopherson under the Sub Rosa/ Subetage label, it explores the band's creative processes, occult influences, and sound design philosophies through discussion and demonstrations, rather than a traditional concert. This educational video serves as a rare non-performance insight into Coil's methodology, bridging their musical output with conceptual art.^[101][102] The 2004 ANS box set, released by Threshold House, includes a DVD alongside three CDs, featuring synchronized digital animations by Christopherson for four tracks from the photoelectric synthesizer project. These visuals, abstract and waveform-based, accompany drone compositions by Balance, Ossian Brown, and Christopherson, evoking the ANS synthesizer's historical Russian origins. Limited to 1,000 copies, the DVD enhances the set's experimental focus on graphical sound synthesis.^[103][104] The most comprehensive video release is the 2010 Colour Sound Oblivion box set, a limited-edition collection of 16 DVDs curated by Christopherson via Threshold House. Housed in a wooden box with accompanying ephemera like postcards and a funeral program for Balance, it compiles 14 live performances spanning 1983 to 2004, plus two discs of standalone projections and a "Coil Reconstruction Kit" for remixing visuals. Key inclusions feature early industrial sets like How to Destroy Angels (1983, Air Gallery, London) and later solar rituals such as the 2004 Black Antlers era shows in Paris and Amsterdam. Editions vary (Patron's, Artist Proof, Open), with numbered mirrored discs and switchable audio/visual angles on select DVDs, making it a seminal archive of Coil's live evolution. Only 996 copies were produced across variants.^{[98][105][106]}