The latest episode of Electric Independence features an interview with Chris Carter & Cosey Fanni Tutti, the Chris & Cosey of Throbbing Gristle:
Not only did Carter and Tutti change the entire electronic music game as founding members of the legendary avant-garde industrial group Throbbing Gristle: they continued their love affair with music, gear and each other over the next 30-odd years with their mind-blowing, ahead-of-the-curve approach to drum machines, sampling, performance, and all manners of visceral electronic skullduggery. “It’s really good to get physical with sound,” says Tutti, “because it does reduce people to human beings, and their physicality, rather than them trying to intellectualize about it. The violence of the sound completely bypasses that.”
Between the electro-pop of Chris & Cosey, the spooky ambience of Carter Tutti or their continuing aural experiments under their mysterious ‘CTI’ moniker, the pair have left an indelible, beautiful bruise on the face of electronic music.
They took us for a spin around the home studio they’ve been recording in for 25 years, demonstrated some of the bits and pieces they’re using in their current incarnation, performed a special improvised track for us, and taught us how to give an asthmatic cat his daily dosage of medicine.
You can view other episodes in this series at the site Motherboard.tv.
Check out this gorgeous experimental sound box, via Chris Carter:
Cosey Fanni Tutti using her Tutti Box experimental sound generator for the first time.
Five oscillators, two effects units, a step sequencer, a joystick controller, a coil touch controller, an amp & speaker and a front mounted sound activated plasma display. It is powered by 9v PSU.
Chris Carter (Throbbing Gristle) tests out the Dirty Carter Experimental Sound Generating Instrument:
The Dirty Carter Experimental Sound Generating Instrument uses a dual 4-stage shift register. Each register is controlled independently. Two oscillators are used per register: one as a clock, the other as input data that is cascaded through the four stages. The outputs from the stages are mixed together. A fast clock rate produces a crude form of wavetable synthesis, whilst a slow clock rate creates audible pulses and clicks. The clock speed and the data input’s frequency are controlled by touch electrodes/pads. By tilting the instrument, sound from both the 4-stage shift registers can be mixed together. Glitchy noise, deep drones and percussive peeps!
The Dirty-Carter E.S.G.I. will be available for sale later this year.