Time Machines ‎– Time Machines

Label:
Eskaton ‎– Eskaton 010, Eskaton ‎– ESKATON 010
Format:
CD, Album
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Companies, etc.

Notes

4 tones to facilitate travel through time.

"When people jump through time they give themselves up to rhyme and reasons of the Heavens" - Julian Cope

Thanks to the following for their timely and invaluable help:
Thighpaulsandra, Bill Breeze, Louise Buxton, Steven Stapleton, David Tibet and Ann & Alex Shulgin.

Artifacts generated by your listening environment are an intrinsic part of the experience.

"Persistence is all"

Made in England. Via World Serpent (+44 181 694 2000).

CD comes in a cardboard gatefold sleeve.
The first 3000 copies come with the following 6 stickers, 110mm square each:
1) telepathine
2) hecate
3) phosphate
4) DMT
5) Persistence Is All (with monad)
6) Persistence Is All (without monad)

Barcode and Other Identifiers

  • Barcode (Text): 5 021958 497020
  • Barcode (String): 5021958497020
  • Matrix / Runout: ESKATON 10 10499621 01 & MADE IN UK BY PMDC
  • Mastering SID Code: IFPI L134
  • Mould SID Code: IFPI 0444

Other Versions (5 of 17) View All

Cat# Artist Title (Format) Label Cat# Country Year
ESKATON 28 Time Machines Time Machines(LP, Album, W/Lbl) Eskaton ESKATON 28 UK 2002 Sell This Version
DAIS 103 Time Machines Time Machines(2xLP, Album, Ltd, RE, RM, RP, Blu) Dais Records DAIS 103 Europe 2018 Sell This Version
ESKATON 028 Time Machines Time Machines(2xLP, Album, Ltd, Cle) Eskaton ESKATON 028 UK 2002 Sell This Version
none Time Machines Time Machines(Cass, Album, Ltd, Num, RE, Unofficial, C72) Keep Tapes Alive none US 2014 Sell This Version
DAIS 103 Time Machines Time Machines(2xLP, Album, RE, RM) Dais Records DAIS 103 US 2017 Sell This Version

Recommendations

Reviews Show All 9 Reviews

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iblackmovement

iblackmovement

September 2, 2018
edited 5 months ago
You enter a labyrinth, it swallows you up like an ivy wrapping around your body, spheres, tune in closely and you can see time engulfing you, an auditory passage, swim freely but don’t stray too far ;-)
Candy_Guru

Candy_Guru

June 2, 2018

Will you experience a subjective distortion of time? No.
Will this album make you feel drugged, as the titles may imply? No.
The most you'll get is possibly some vertigo while sounds swing between left and right channel.
But still - this is an absolute treat for any drone / experimental music connoisseur, even though some of the sonic effects which were new at that time have been used extensively by so many producers ever since, therefore may not have the appeal they had in the 90's.
Try this album out on a good pair of speakers, try it out with headphones, try it out sobber or under influence... and see what suits you best.
Lautreamont

Lautreamont

December 18, 2017
edited about 1 year ago
Dais records website lists a YELLOW vinyl version. Does this exist?

COIL
TIME MACHINES 2XLP
$27.99
Color

Clear
Red
Grey
Black
Yellow
technomek

technomek

May 6, 2016

Go listen to Edgar Froese's "Specific Gravity Of Smile" from 1983. It has to be the same drone instrument used. This LP explores that sound much more fuller.
AWW

AWW

February 18, 2014

TIME MACHINES II

‘Time Machines’ is the name of the 1998 album by the band and archangels of KHAOS ‘Coil’. It has four tracks, the names of which are taken from experimental new psychedelic drugs they had been sent by international chemists for their investigation and inspiration in their recreational work. At over twenty minutes “4-Indolol, 3-[2-(Dimethylamino)Ethyl], Phosphate Ester: (Psilocybin)” is the last track on the album.

The album was intended to distort time for the listener. Through trial and error with the manipulation of synthesisers, samplers and other assorted gizmos ‘n’ gear the band arranged sounds that would displace or ‘slide’ time. There are no melodies, beats or obvious structure to any of the four tracks, just sounds, drones to be precise (drone being a harmonic or monophonic effect or accompaniment where a note or chord is continuously sounded throughout most or all of a piece).

The album was released under the name ‘Time Machines’ to dispel any preconceptions of the listener.

The album was very well received and some reviews were even published years before its release it was so effective in its goals.

The band had not played live in any serious context until ‘Time Machines’ was released. Coil played London’s Royal Festival Hall in a show entitled “Time Machines from the Heart of Darkness” in 2000. The reaction to that show encourage more touring and live performances right up until The End.

Coil disbanded in 2004 after the untimely death of founding member Jhonn Balance.

As with a substantial amount of their output there is a harsh element to the ‘Time Machines’ album, yet Coil were a lot less ‘harsh’ than their predecessors ‘Throbbing Gristle’, and band member Peter Christopherson later solo work would be the antithesis of harsh. Christopherson’s final albums before his death in 2010 would be of an unparallel beauty of light and peace. His bizarre and intriguing arrangements and configuration of equipment and sounds would remain a constant but the sound being created was sheer love, be it forlorn, unrequited or an abundance of & indulgent feast, there was an innate harmony that evoked peace to his solo work.

It is during this period he wrote and recorded ‘Time Machines II’. Peter died suddenly in 2010 aged just 55.

‘TIME MACHINES II’ is released tomorrow, 31st January 2014.

http://amalgamatedwondersoftheworld.wordpress.com/2014/01/30/time-machines-ii/
bikefridaywalter

bikefridaywalter

February 20, 2007
edited over 12 years ago

Not to reiterate, but this is entrancing. Just as good as any hallucinogen, these tracks demand attention. In fact, it's hard to ignore them. Though apparently "background music" this is acidic and amorphous and atmospheric. I see this as one of Coil's grand achievements in that it's a technical masterpiece yet esoteric and abstract enough to make it totally enthralling, too. If I get rid of all my CDs, this one will stay.
perigoso

perigoso

February 27, 2004
Simply mesmerising. A work that in fact is much more than it seems at a glance. Its reverberating synth drones can fill a room with low bass frequencies which kind of hypnotise you and really take you away. The louder you listen to it, the stronger the effect it has on you... beautiful, haunting and uncanny. (if you´re high, listen to it at your own risk)