UPC: 0683950558373 In the late-1990s, Peter "Sleazy" Christopherson moved with Jhonn Balance - his partner in life and in Coil - from London to the rural Weston-super-Mare, creating an environment for all things "musick, musick, musick!" with a revolving door of new members, including Thighpaulsandra. Coil's discography nearly doubled, and in the midst of this fruitful period Thighpaulsandra asked the simple question: why doesn't Coil play live? After a 16-year wait, thanks to the rapid technological advancement in the form of MacBooks, DAWs, VSTs and plugins, Coil were able bring their music to the stage as always envisioned. With performance, they could embrace the risks and freedoms of real time sonic manipulation, as noted by Sleazy: "Reshap(ing) the show minute by minute... the direction is very spontaneous, not so much in the way of like jazz improvisation but in a kind stream of consciousness... Thighpaulsandra brought us his wisdom, and he was able to convince us we could do it." Playing live, Coil was "like a snake shedding its skin," transforming into something "completely different" every six months; in preparing for 2004's "Even an Evil Fatigue" live series, Coil began work on their next period-defining masterpiece Black Antlers . Black Antlers showcases late-period Coil: stripped down, tighter, and leaner. The music became more rhythmic, with a greater emphasis on beats: "the songs we did tend to be more... not rock in any sense of a word, but you know, more conventional in terms of structure, but now what we're doing is sort of within an 'electronic' genre." Black Antlers's sound is an intoxicating energy, combining Thighpaulsandra's advanced synthesis, Balance's poetic lyricism and Christopherson's flirtations with jazz and Ableton-aided PowerBook maximalism. Rounding out the trio were renowned hurdy-gurdy player Cliff Stapleton on a "specifically commissioned" electric variant, to merge into the band's "strange and other-worldly music"; Royal A...