Among the many groundbreaking releases put out by Belgian lable, L.A.Y.L.A.H. Antirecords, one of the most unusual and controversial was the debut release by the Psychic TV offshoot project, Coil. Originally conceived as the inaugural release for the newly established Temple Ov Psychick Youth label, Temple Records, plans for its release via that outlet were scuttled when relationships between Genesis P-Orridge & Coil founders, John Balance (Geoff Rushton) and Peter Christopherson soured when the pair became increasingly concerned that TOPY was becoming too much of a "cult of personality" around P-Orridge. Amid a somewhat acrimonious parting of ways, John & "Sleazy" decided to pursue Coil as their main creative outlet and took the recording of How to Destroy Angels with them.
Intended to further the work begun with the PTV release, Themes, which was intended as practical accompaniment for ritual practices, How to Destroy Angels was recorded under a very strict set of guidelines to abet very specific intents. Conceived around the symbolism relative to the Martian element, it was designed to facilitate the accumulation of masculine sexual energies. To this end, all care during the recording process was taken to ensure these energies were intensified, even so far as to ensure the entire building was cleared of any conflicting elements or energies. Those who do not understand basic principals of ritual may not comprehend the value of such acts and may interpret them as potentially sexist, but this is not in any way meant to disparage or denigrate other types of energies. It is merely and experiment in focusing on a particular type of force.
The result of this effort was a 17 minute abstract tonal piece consisting of various gongs, bells, cymbals and certain other acoustic sources. The B-side of the album was left, ostensibly, blank, though there are several pressing variants, one with a constant tone throughout, another with the side appearing to have been sanded down to destroy whatever sound was pressed there (which I had), another had some layered tones and another had a series of locked grooves. One pressing had completely blank grooves, which was the original intent. All variations on this were called Absolute Elsewhere.
I picked this up shortly after the first Coil full LP, Scatology, in 1985. Personally, it has always been and remains one of my all time favorite releases by this project. It's a clear example of how music can be created for practical application, beyond mere "entertainment", with abilities to aid certain processes. I've had several practical experiences of using it which were extremely efficacious. On the other hand, I've played this for people who were completely unable to comprehend it as anything but a bunch of rattling noises with no intent or purpose. It certainly doesn't exist for "easy listening".
Intended to further the work begun with the PTV release, Themes, which was intended as practical accompaniment for ritual practices, How to Destroy Angels was recorded under a very strict set of guidelines to abet very specific intents. Conceived around the symbolism relative to the Martian element, it was designed to facilitate the accumulation of masculine sexual energies. To this end, all care during the recording process was taken to ensure these energies were intensified, even so far as to ensure the entire building was cleared of any conflicting elements or energies. Those who do not understand basic principals of ritual may not comprehend the value of such acts and may interpret them as potentially sexist, but this is not in any way meant to disparage or denigrate other types of energies. It is merely and experiment in focusing on a particular type of force.
The result of this effort was a 17 minute abstract tonal piece consisting of various gongs, bells, cymbals and certain other acoustic sources. The B-side of the album was left, ostensibly, blank, though there are several pressing variants, one with a constant tone throughout, another with the side appearing to have been sanded down to destroy whatever sound was pressed there (which I had), another had some layered tones and another had a series of locked grooves. One pressing had completely blank grooves, which was the original intent. All variations on this were called Absolute Elsewhere.
I picked this up shortly after the first Coil full LP, Scatology, in 1985. Personally, it has always been and remains one of my all time favorite releases by this project. It's a clear example of how music can be created for practical application, beyond mere "entertainment", with abilities to aid certain processes. I've had several practical experiences of using it which were extremely efficacious. On the other hand, I've played this for people who were completely unable to comprehend it as anything but a bunch of rattling noises with no intent or purpose. It certainly doesn't exist for "easy listening".
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