Coil made so much good stuff when making their 1991 album Love’s Secret Domain, there were enough outtakes of sufficient quality to make another album. That album was 1992’s Stolen & Contaminated Songs. The album shows Coil’s ability to balance experimentation with tradition and give abstract ideas widescreen scope.
CD £11.49 CSR276CD
CD on Cold Spring, housed in a 6-panel digipak.
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Limited Vinyl Double LP £27.99 CSR276LP
Indies only bone coloured vinyl 2LP on Cold Spring, housed in a glossy 350gsm gatefold sleeve. Edition of 800 copies.
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Vinyl Double LP £24.99 CSR276LP
180g black vinyl 2LP on Cold Spring, housed in a glossy 350gsm gatefold sleeve.
There’s no arguing that Coil weren’t prolific. Not when 1992's ‘Stolen & Contaminated Songs’ was just the off-cuts from the previous year's ‘Love’s Secret Domain’. I would love to produce enough music that I can have over an hour’s worth of off cuts, but I’m not Coil.
Nor could I, say, turn a warm conversation into a beat as whirling and intense as the one that holds ‘Furthur’ together. And I probably couldn’t follow that up with ‘Original Chaostrophy’, a delightfully demented classical interlue. And that’s just Coil getting warmed up.
‘Stolen & Contaminated Songs’ goes wherever John Balance and Peter Christopherson wanted it too. And theirs is such a clarity of psychedelic thought that it all sits very happily together. ‘Omagus Garfungiloops’ is built on a sleazy jazz groove with all dub trumpets buzzing around it. Meanwhile the horns on the wonderfully named ‘The Original Wild Garlic Memory’ are wheezing and sick, certainly not in any state to be sleazy. They also find space for an alternate take on ‘Love’s Secret Domain’ which, between its messy production and gleefully depraved vocal performance, sounds like ABC after a few days trapped in a cave.
The sheer variety here means my biggest takeaway is that I’m listening to two musicians having a blast flexing their creativity. Though that title does beg the question. Stolen by who? Contaminated by what?
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