Review Summary: A diverse and enjoyable LP that might inhibit itself just a little too much.
When the Industrial pioneers of Throbbing Gristle had initially disbanded in 1981, member Peter “Sleazy” Christopherson had decided to create an Industrial project of his own. Along with his boyfriend, John Balance, the two formed the English musical duo known as Coil in 1982. By the time 1984 had ended, Coil had multiple works under their belt, but none more important than their mood oriented debut LP –Scatology.
To completely understand the background behind a large portion of their material, it’s best to understand that the members were in a homosexual relationship in a time where homosexuality was still largely seen as deviant. This influenced Coil’s lyrics heavily since they would often sing of their love as if it were taboo, secretive, and possibly even evil. This is exemplified on the track “Tenderness of Wolves” with lyrics such as: “My desires your kiss completed, but only now I can see the vicious joy when you took delight, behind each kiss your poison bite” about a homosexual encounter that ended in murder. Even the album’s title Scatology fetishes the deviant scat fetish and relates it to their homosexuality. The album cover makes the deviant anal/scat theme even more apparent since on the vinyl version, a staircase, dubbed “the anal staircase” (which would later be sung about on a track of the same name on Horse Rotorvator,) is front and center, and the CD version features buttocks inside of a upside down cross. Even the lyric “A moral mean majority who'd kill a queer for Christ “ from “Godhead=Deathead” criticizes religious people for poorly treating homosexuals. Mixing themes religion and deviance with themes of homosexuality serve as a cryptic political statement about how horrible the gay community of England was treated.
Musically, most of the tracks are absolutely fantastic. “Ubu Noir” is a repetitive sampling that may just serve as one of my favorite openers to an album ever. Its hypnotic string-esque lead paired with strange incomprehensible background babbling is hauntingly beautiful. Some of the tracks take on a more ambient feel, even those whom contain lyrics, mostly to invoke a passionate, yet dark atmosphere. Other tracks are more upbeat and possibly even commercial sounding, especially the track “Panic” which could almost be considered industrial rock with its deep bass line and playful drum machine. One unusual standout, “Clap,” is mostly just a repetitive dance beat that the album probably could have done without.
So primarily, the album has two moods: One of striking and beauty that paces itself, and one abrasive haste. In a way this symbolizes the two faces of Scatology: one of lust and passion and tenderness, and the other of anger, hate, and resentment. While this album could have been an unquestionable masterpiece, it lacks the focus to truly make it Coil’s definitive statement. Sleazy and Balance could have packed in even more politically charged lyrics to even more grandiose music than they had. It almost seemed like they were holding back, like they did not want to have their opinions too straightforward. This, however is okay since their next LP, Horse Rotorvator, would function as their more focused definitive statement. For all intents and purposes, Scatology is an enjoyable precursor to Coil’s later explorations.
Album highlights: “Ubu Noir”, “Tenderness of Wolves”, “Godhead=Deathead”
