Threshold House is Coil's own label, and the Bureau files it at Tier III on that basis: a self-contained imprint of clear identity, filed for its role rather than for a roster. John Balance and Peter Christopherson set it up as one of several names through which the band issued their own work and the work of their affiliated projects, and its history is inseparable from theirs. The music itself is documented at the Coil file; what the label entry records is the channel, the catalogue and the mythology that grew around the name.
It began as a vanity label in the exact sense of the term. The records carried the Threshold House name, but they were manufactured and distributed by other companies, most prominently World Serpent, the distributor at the centre of the British experimental underground of the period. When World Serpent collapsed, Threshold House did not; the label continued independently, releasing directly, which is the point at which it became a working imprint rather than only an imprimatur. The LOCI catalogue prefix runs through the records issued while Coil were based in England, a small and exactly editioned sequence that included the 1993 Themes for Derek Jarman's Blue 7-inch, issued to mark the filmmaker's death.
From 1994 the band began releasing under other names, and several of these came out on Threshold House: ELpH, Black Light District, Time Machines and more, alongside the associated imprints Eskaton and Chalice. The catalogue that accumulated is Coil's self-released and self-controlled work, from live documents such as Megalithomania! and Live in Porto to late reworkings like The New Backwards. After Balance's death in 2004 and the end of the band, Christopherson built his solo project The Threshold HouseBoys Choir on the name, so that the imprint and its imagery outlived the group. The Bureau files Threshold House at Tier III as Coil's own channel and the home of records, and affiliated-project releases, that appeared under the band's direct control and often nowhere else.