- Vinyl (26 Mar. 2012)
- Number of Discs: 1
- Label: Mute Artists
- ASIN: B006UTJ6UK
- Other Editions: Audio CD | Vinyl | MP3 Download
- Average Customer Review: 4.5 out of 5 stars See all reviews (6 customer reviews)
- Amazon Bestsellers Rank: 313,210 in Music (See Top 100 in Music)
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Transverse (CD Included) [VINYL]
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Mute are pleased to announce the release of CARTER TUTTI VOID’s Transverse, a unique collaboration from Chris Carter & Cosey Fanni Tutti (Throbbing Gristle) and Nik Void (Factory Floor), out on vinyl, CD and download on 26 March 2012.
Transverse is a unique collaboration, created especially for the legendary Short Circuit presents Mute festival at the Roundhouse, London in 2011.
The tracks were prepared in the studio and then performed and recorded live in front of an audience. Outside of the trio, these recordings were unheard prior to the festival and the popularity of the performance left many being turned away at the door.
Mute is proud to make this groundbreaking recording available and to be working again with two of electronic music’s true pioneers and one of its new trail blazers.
Said The Quietus of the performance: “…a warm embrace, creating a deep connection… Carter at the back manipulates the electronics while on either flank, Void scratches noise with bowed guitar and Tutti plays while singing vocals that she mangles and distorts… there is no nihilism in this noise, nothing but a deep and wonderful sense of love.”
Cross-generational collaborations are generally dispiriting, vampiric affairs, with the haggard elders attempting to suck the lifeblood of credibility from young flesh, and the naive youth thinking a blessing from the old guard will somehow validate their contemporary flimflam. Madonna’s recent cavorting with M.I.A. and Nicki Minaj is a case in point, and the less said about The Doors vs Skrillex the better.
However, Chris Carter and Cosey Fanni Tutti, artists with more integrity than the national debt of Greece, can be trusted not to choose their sparring partners for the wrong reasons. For a start, they’re currently enjoying something of a public reappraisal. Following the sad demise of Throbbing Gristle in 2010, a series of performances under the Carter Tutti moniker have been received with rave reviews, as were the reissues of TG’s back catalogue late last year.
If it’s only now that their legacy as pioneers of electronic music is being recognised, then it’s apt that it has coincided with the arrival of London trio Factory Floor, one of the few groups who have come close to picking up the gauntlet set down both by Throbbing Gristle and Carter and Tutti’s later work together.
Factory Floor’s Nik Colk Void was asked by Carter and Tutti to join them for a live performance deep in the bowels of the London Roundhouse as part of the Mute label’s Short Circuit festival in the spring of 2011. Transverse is a recording of that packed performance (queues of fans desperate to get in stretched around the building), yet it should not be approached as a standard live album. Those usually are doomed by their very nature: gigs are an attempt to capture something mastered in a studio against the technical odds, and live recordings generally fail to capture the intangible spirit of being there.
Carter Tutti Void have achieved the exception. These four tracks – perhaps movements would be a more appropriate term – feel entirely alive, a spontaneous weld of anxious beats, the odd squirl of guitar and distortion, corrupted vocals and deep, chasmic bass. The motif that recurs throughout is that of pace, propulsive forward movement, the creative interplay between the three artists almost tangible in the listener’s ears. Prosaically, Transverse would make for a fine album to walk or run to, such is the energy contained within. Aside from that, it captures a wonderful sonic conversation between like-minded souls.
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Top Customer Reviews
captures a live set recorded at London's Roundhouse last year. The management
of raw noise doesn't get much better than this. Against a cardiac rhythmic
pulse, the four numbers ('V1, V2, V3 & V4') weave startling industrial soundscapes
from the metronomic/hypnotic foundations of the basic thematic elements. A solid
percussive framework underpins the performances, decorated with layer upon layer
of grinding electric guitar, electronic turbulence and occasional distorted vocals.
If this all sounds a bit arcane don't despair! There's enough colour, texture and
dynamic variation on offer to keep us engaged and enthralled from top to tail.
Despite the unrelenting mechanical nature of the music it manages to appeal to
both the body and the mind. 'V4', in particular, with its almost cheeky syncopated
beats, is just about danceable in a happy-robot-in-a-silicon-scrapyard kind-of way!
I rather wish I'd been there to experience this dark rite for myself!
Listening to it recreated here is, nonetheless, a very close second best.
V1. Starts off like a metronomic burping rhino that is treading as carefully as he (or she ) can over milk bottles, (NB gender of aforementioned beast is ill-defined). Some of the bottles are damaged in the process. Meanwhile birds twitter overhead as a giant bee is trapped in one of the milk bottles. There appear to be a troop of monkeys generally chattering and playing with their light sabres (for the purposes of this review I will assume ownership is not in doubt.). Track gradually fades out to the sound of tennis balls .
V2. Bit if a thumper this one. Nice rhythm going on , low end piano by the sound of it plus a bit of heavy comb & paper action. Suddenly Cosey blows her nose and is seemingly desperate to sneeze - alas unsuccessful . Grief and panic follows. The piano-man is however pretty constant and is soon joined by gratuitous sandpaper-woman. Shakers appear frequently and hark back to those first days in the Primary School Orchestra (happy days!). Just when you think it couldn't get any better , someone decides to finish the last drops of cola through a straw (not sure who, as this is a niche instrument and no-one is listed. ) This is swiftly followed by group handkerchief use - pretty glad I wasn't in the front row for this one. Around the 8 minute marker all hell breaks loose and most of Dr Who's 1960's sound effects are used up at once. The cola bottle later reappears to finish the track off nicely.
V3.Read more ›
Most Recent Customer Reviews
This is a great album but I have a problem with every online purchase being followed up with requests to review stuff, have a good dayPublished 12 months ago by Laica
Hypnotic pounding electro beats given the "special" treatment by two former throbbing gristlers - composing, evoking and conjuring the electronic sounds to work their... Read morePublished on 22 April 2013 by Dr. Delvis Memphistopheles