INFLUENTIAL ALBUM - L.A.Y.L.A.H. ANTIRECORDS, THE FIGHT IS ON

Compilation albums can be a bit like buffets in that there's usually a few things you really like, but a lot of stuff you just gotta pass by.  But the advent of the independent label culture in the wake of the punk/industrial/new wave movements of the late 1970s energized the concept of the compilation album as a critical means of exposing new talent and artists who may have otherwise had too much niche appeal to justify their own dedicated releases to start. 

During an era of abundant notable experimental music compilations, one of the most influential for me remains the 1985 release from L.A.Y.L.A.H. Antirecords, The Fight Is On.  L.A.Y.L.A.H. were a Belgian boutique indie label ran by Marc Monin from 1983 until 1989.  The label was responsible for the initial promotion of a number of renowned experimental artists including Nurse With Wound, Coil, Current 93, The Hafler Trio, Organum, Robert Haigh and and others.  The Fight Is On gave me some of my first exposure to several of those artists, nearly all of which subsequently became collecting obsessions. 

L.A.Y.L.A.H. releases always presented themselves with extremely high production values and refined design aesthetics.  Seeing that imprint on any piece of vinyl or CD was generally a guarantee that you'd be getting your hands on something unusual and distinctive for collectors with the most discerning tastes. 

The Fight Is On, as a collection, has never seen a reissue of significance since its initial release, which is unfortunate as it does offer an invaluable cross section of the prime movers of the post industrial experimental music scene at that time.  The intersection of "noise" music with Neo-classicism and Neo-folk's early tendrils provides an essential foundation for comprehending the roots of where these genres would develop in the ensuing decades.

INFLUENTIAL ALBUM - COIL, HOW TO DESROY ANGELS

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".