Side A - ME AND MY SHADOW
Side B - UNDERNEATH ALL THAT EVER WAS
Initial copies came with The Wheel/The Wheal 7" single.
One source says the colored edition was limited to 900 copies: some on red vinyl and some on clear. A second source states that it was limited to 650 copies, 150 on red vinyl and 500 clear. Some copies had blank boxes on the front and back of the sleeve where text appeared on the regular edition.
A third LP edition was released in 1990 with blue lettering for the cover text. There were no viny etchings on this version.
The limited boxed edition (cover, opened) was sold as a mail order item for #55 each. The catalog number LOCI 3 was given to this release according to the credits insert, but the same number was later used for the Windowpane 12". The box contained the following items:
All CD copies and CD editions have indexing problems with the last three tracks. This has never been corrected.
1996 reissue was sub-titled "Returning to the Purity of the Current."
From the liner notes: "This release is not the follow-up to Horse Rotorvator... but a completely seperate package - a stopgap and a breathing space - the space between two twins. Presented here are thoroughbreds that escaped the Horse Rotorvator - discarded shards, distortions, disappointments, scrambled and disassembled stages. Remnants of what once was. This record is a chance for us to release some otherwise placeless pieces of music."
This album is basically a collection of odds and sods that did not make it onto Horse Rotorvator, as well as some tracks from elsewhere (including stuff intended for The Dark Age of Love which became Love's Secret Domain). Despite the fact that it is a compilation, it manages to come together as a cohesive whole quite nicely.
The album opens with "The Last Rites of Spring" and ends with "The First Five Minutes of Violent Death". The former sounds like the dark forces are banging on the door, forcing it open to run manically around screaming and chanting. The later is about the most resigned sounding Coil track, the corpse being well and truly gutted. In between we have premium late 80's Coil, that combines a flair for esoteric melody with chaotic noise and seemingly random samples. As a link between Love's Secret Domain and Love's Secret Domain it is perfect. Stand out tracks include: "For Us They Will", a Scatalogical digging, and one of the more intensely atmospheric tracks on the album. John Balance (I think) rambles on a bizarre rabid monologue concluding that "You have to burn to shine". Reminds me of "Tenderness of Wolves". "Boy in a Suitcase" is perhaps the best track on the album. It is a relic of early Coil sessions and features a rare performance by Peter Christopherson. It sounds quite reminiscent of Psychic TV, and features a nice quirky brass insert by Andrew Poppy. Unfortunately it is too short. "Cardinal Points" is a fantastic film score that evokes images of lakes, fog and towering Monoliths rising out of the gloom. Very filmic, sweet yet driving at the same time. This tracks points towards the Hellraiser score, as well as "Chaostrophy". "...Of free enterprise" and "Aqua Regalia" include the live takes of the Acapulco brass band heard on "Herald", mixed in with a minor key reversion of "Greensleeves". This works really well as ominous Orwellian theme music. "Either His or Yours" is an alternative mix to a John Giorno/Coil collaboration and becomes a rather groovey little tune as it slowly builds steam. "The Wheal", with a rather unCoil-like fuzz guitar improvisation courtesy of Alex Fergusson (PTV). It reminds me of a New Order outake and is quite sweet. Overall, I'd say that, while it doesn't have the greatest tracks, it is perhaps the most cohesive sounding of the Compilation Coil stuff. Rather like a soundtrack to some piece of Inner Cinema, motifs and sounds revolve, disappear and return. Essential for the completists and a good intro to their soundtrack stuff as it is a little more abrasive than Hellraiser. 3 1/2 out of 5 - Jonathan Barrett
There is a song on Horse Rotorvator titled "Herald" and there is a song on Gold is the Metal titled "...of Free Enterprise." The Herald of Free Enterprise was a passenger ferry belonging to one of the various ferry lines that provide daily services across the English Channel. On March 6th, 1987 in the early evening just outside of Zeebrugge the ferry sank. 193 people died on that night. The accident was put down to the bow doors having not been totally closed (they were in the process of doing so) and an unusual current caused a relatively small amount of water to come on board. A capsize occurred - the crew didn't make a habit out of anything.... they were under unbearable pressure from the company (then Townsend Thoreson - now amalgamated into P&O Stena Line) over timetabling and this was how they were expected to shave off a couple of minutes in their turn around time - close doors as you set off. Inevitably, one man was found as the one who should have actually physically closed the door on that trippage - the captain is always ultimately responsible as the one in charge of the vessel - however the verdict was one of corporate manslaughter - i.e. practices encouraged by the company had caused the thing to turn over, not an individuals negligence. Associations were set up for the families to try to come to terms with things. The annual service that was held was discontinued after 10 years to try to help people get on with life.
Sometimes abbreviated as GITMWTBS (more often shortened to Gold Is The Metal), this is a "stop-gap and breathing space" between proper albums, which is noticeable as it doesn't have the obvious unity that Scatology and Horse Rotorvator have. It features unreleased tracks from the Horse Rotorvator era, including alternate versions and unreleased tracks. GITM also continues HR's "Herald" with it's sister track, "...of Free Enterprise". "Cardinal Points" and "Hellraiser" are also otherwise unreleased demo versions of the main theme from Clive Barker's Hellraiser film. Various versions of this album have been released on LP and CD: five different LP versions and two CD versions, all with different artwork. Several of the LPs editions include with deluxe packaging and bonus 7" single(s) (originally "The Wheel" b/w "The Wheal", then "Keelhauler" b/w "The Wheal" -- making this particular release a pain in the ass for collectors. The title comes from an early work of a favorite poet of Balance's. The disc is also worthwhile for the liner notes, which include details and insights regarding some of the origins of the songs. Also of note is one of Sleazy's rare vocal turns on "Boy in a Suitcase". - Dave Piniella