[GR] Peter, I also have noticed that around the mid-'90s, Coil began using (what

was referred to as) "Sidereal Sound" Recordings. This was stated initially on the
"Nasa Arab"/"First Dark Ride" 12" in 1994, and on a few other Coil recordings
( i.e. Black Light District's A Thousand Lights in a Darkened Room). Though, I
believe that I have not seen it printed on any Coil releases since around 1996
or so. I was talking with Danny (Hyde) today and he said that you would be the
best person to ask about this process.

If I'm not mistaken, I believe the first Coil track to ever utilize this recording
process, known as "Sidereal Sound," was the 1993 track "Baby Food" (which is
one of my favorite Coil tracks), taken from the Sub Rosa compilation Chaos In
Expansion, then later added onto Coil's Unnatuaral History III.

Many people might not know that this term originated from the infamous occult
artist Austin Osman Spare (whom I know Coil, especially Jhonn, was very fond
of). I believe AOS originally used this "term," when he began painting
Hollywood actors/stars in his own "distorted" view of them, so to speak.

Did Coil use this Sidereal Sound process for The Ape of Naples, and if so, could
you please elaborate on this process? If the Sidereal Sound recording process
was NOT used in the recording of The Ape Of Naples, could you still please
explain this recording process in some detail: how it was used it on past
releases and how it basically works?

[PC] You are correct in all these assumptions. Jhonn and I had a substantial
collection of AOS works including several "hollywood portraits" in the style you
describe.

Our use of the term however did not refer to a specific device or process but
more to the INTENTION to make audio works that in some way came at you
from odd angles or from unexpected viewpointsfiltering and messing with the
quality of the sound to confound the listeners brain in subtle ways was the
priority, rather than the melody or even the song itself.

A further part of this process of 'confounding the listeners expectations' came

from the BELIEF listeners had that, since we had come up with this name, there

was in fact something scientific going on, whereas in reality it was entirely
subjectivethe result of using commercially available software and hardware,
albeit in unconventional ways.
Peter Christopherson: The Million Dollar Altar 29 agosto 2006 brainwashed.com
Interview with Peter (Sleazy) Christopherson [PC]
By Grant Regnaert [GR] and Paul Ferguson[PF]
http://brainwashed.com/index.php?
option=com_content&task=view&id=5456&Itemid=91

Strangers In The Night

Terrorizer, issue #110, June 2003
by Guy Strachan
You could be forgiven for thinking that Coil is a living, breathing example of the
laws of outside influence or indeed the maxim of 'if you play with fire you get
burned'. Coil are undoubtedly heavily influenced (and John Balance in particular
seems to be a frequent practitioner) with and by magic(k) in a multitude of
forms. For example, the upcoming special edition of the new series of live CDs
will feature "art objects loaded with magickal intention". But how much bearing
do such interests have on Coil's output?
"It's true to say that we are influenced by a lot of currents in the world that are
not immediately accepted or recognised or regarded as a part of so-called
Western reality, if you like, of which the occult is one thing," Peter reckons, "but
there are also a lot of other passages of energy, meaning and corruption and
decay that pass around through the modern world that have a tremendous
influence on us so in that case, yes."
So is Coil a vehicle through which you can channel those energies?
"Well, not all of those things are necessarily positive energies and quite often
we, in a small way, take on causes that we think are important that are not a
question of us supporting them but a question of us taking a stand against
them. For example, the campaign against light pollution (International Dark
Skies); against the prevalence of light in society, not only as a symbol but also
as a reality such as with street lights coming on at night and shining into
everyone's bedroom windows, so it's not just that we take up a series of wacky
or weird causes and treat them as our own."
And while Coil are in prolific mode, as well as an appearance at the upcoming
Capsule Festival in Birmingham on 12th July and the promised arrival of the

infamous 'Backwards' project (the album that Coil have been working on since
signing to Trent Reznors Nothing imprint back in 2002!), there is a brand new
album in the works that was recorded during Coil's recent trip to Russia. Yet
being Coil, it is unlikely to be a standard album in any shape or form.
We are still planning to do another Time Machines album but before then
we're hoping to do an album which will be entitled 'Coil ANS' which we recorded
in Moscow using an opto-mechanical device called the ANS which is the initials
of Scriabin, the Russian composer." Christopherson begins "In the fifties, he had
this device built for him. It looks like a huge printing machine; it's a weighty,
metal construction that has a large plate of glass that slides in the front of the
machine that is covered in a black oil or mastic and in order to make sound on
this machine you scrape thin, clear lines out of this mastic and as the glass
passes under a series of light-sensitive cells different pitches are made or
derived so by drawing on the glass and then moving the glass the different
sounds are produced so if one had the patience they could either be orchestral
sounding or completely abstract and so we spent a day recording the output of
this machine based on the drawings we had made on the glass."
http://www.brainwashed.com/common/htdocs/publications/coil-2003terrorizer.php?site=coil08

articulo https://es.scribd.com/doc/156082293/Arturo-Menendez-Musica-OcultaEsoterismo-pdf

P.K.: Do you think that your music is a very special magical creation? Is it
different, than traditional forms of magic?
P.C.: It's different than traditional forms of music.
S.N.: It's unique in a sense that we've created it.
J.B.: It's a new synthetic conjunction, a joining up of everything we know
between us. So, yes it is obviously new magical music.
P.C.: Most people think of magic as something that's outside their lives or
separate from their normal life, separate from the music industry, separate
from independent music makers like us, and that's a false idea. Everything is
joined, everything is one continuous existence.
J.B.: Churning, swirling chaos. None of us are fixed in one position. The person
who can control magic is able to understand this, and is able to slip like a fluid
between each state. This is why our music changes, this is why we recreate,
regenerate all the time. This is our magic. We're shape-changers and soundchangers.

INTERVIEW WITH THE COIL

Munich, Muffat Halle , 07.04.02
Peter Kecsks: What are your plans nowadays ?

http://web.archive.org/web/20050215233340/http://web.axelero.hu/lastexit/eng
_Coil-int.html

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