Clive Barker most definitely wanted to use it, but the studios went another - more traditional - way with the film and score.
Which is ironic because Young's traditional score ended up influencing a lot of gothic metal and alternative bands. It seems to get a lot of praise from the metal community.
Yes, Thirlwell was quite a collaborator. He also contributed vocals to the "Scatology" album (he sings "Circles Of Mania"). Aaaand there is a new Foetus album on the horizon :-))) Also, Marc Almond (of Soft Cell) sang several songs for Coil.
I saw Coil live twice, once in London (as Time Machines - their first true concert ever, not counting the Balance/Gosling performances in '83) and once in Zürich. Very very nice ;-) But just to let you know, some of the "Colour Sound Oblivion" DVDs are quite amateurish recordings, released for "archival reasons". I can also recommend Derek Jarman's "The Angelic Conversation" - in the end the only full-length film Coil finally DID do the score ;-)
@ scoresalot
That's true - and even being the biggest Coil aficionado i much prefer Young's score in the film *as it is*. But i would have loved seeing the film Barker first had in mind with a score by Coil.
I was at a "brutal metal" or death brutal grindkill or whatever core gig and they played the full Hellbound main title AND Beltrami's Omen between tracks. Quite funny - i think the band didn't realise there was someone in the audience recognising this "strange music", as a fellow audience member remarked ;-)
Hindsight is 20/20. We've only known Barker's Hellraiser for the past three decades with the brilliant score from Christopher Young. Even Barker himself has said it was the wrong score when he made the film. So I don't think anyone would disagree with your opinion. But it is great to know of the music that could've been. Because music can operate outside of a picture too. And this Coil rejected score is still one that I pull out occasionally around the month preceding Samhain, for some spooky chills and fond memories.
Hindsight is 20/20. We've only known Barker's Hellraiser for the past three decades with the brilliant score from Christopher Young. Even Barker himself has said it was the wrong score when he made the film. So I don't think anyone would disagree with your opinion. But it is great to know of the music that could've been. Because music can operate outside of a picture too. And this Coil rejected score is still one that I pull out occasionally around the month preceding Samhain, for some spooky chills and fond memories.
I really don´t hear what they say is so spooky about Coils music at all. It sounds cheap and I really don´t think Hellraiser would get that big recognition with Coils music like it did with Youngs. i do agree that it is great to have it out there as an alternative score thou and it would have been cool to watch the movie with Coils music. It sounds like a cross between something from Badalamenti and Alan Howarth (great composers).
"Spooky" or "scary" is always different to everyone, it is a subjective experience. I think I always dug in this Coil score because it sounded incredibly contemporary. And in a very positive way because Christopher Young himself often draws upon this sound in his recent Horror scores like Sinister and The Empty Man. His talent and foresight is remarkable.
