My research of Carter, Tutti, Christopherson and P. Orridge continues with passion. The more I look, the more I to want to write about them and digest information. This isn’t helping my time-line for completing my book. Nonetheless, they are worthy of all the research I have put into them and still I have no regrets! To think I haven’t even reached out to them for an interview yet! What might happen then, I wonder!?! I just keep finding new media to share insights into their careers as artist and musicians. Yes, they make for that great of a subject. The endless media on them has become for me, like finding a rare record. Each discovery revealing new insight and adding to the adoration of this collector. You need not look further than some of the post on here, and on my Twitter feeds to arrive at the conclusion that I have become a devout follower.
My list of influences is immense. Yet, somehow they have managed to make their way to the top of it. Everything from their archetype to their visualizations has become vital and worthy of investigation. More importantly though, it is the music that matters to me most. Their use of synthesizers, handmade tone generators and instruments will be my focus, but their is much more to them than that. There is very little that is conventional about them. They fit no mold or trend. Their ability to defy norms and trends is perhaps why I find their music so compelling too. Listen to their music and see just how much they have, whether overtly or covertly influenced much of what has come after them.
So, here (below) is another bit of media to add to your list of research. This was conducted sometime this year in London at RBMA. This is Cosey Fanni Tutti. Enjoy.
Words from the Red Bull Academy… CTI, London, UK
“Cosey Fanni Tutti is a seismic force in cultural terms. Whether delivering confrontational performances in radical Dadaist art group COUM Transmissions, shaping the mould for industrial music as one quarter of Throbbing Gristle, constructing a prototype for techno and acid house with her partner Chris in Carter Tutti (nee Chris & Cosey), or discombobulating the bounds of art with her explorations in glamour modelling, her work has frequently been years ahead of its time. Cosey’s work has influenced thought across the creative spectrum. The seminal TG album 20 Jazz Funk Greats was so influential that Carl Craig directly referenced it in his 1991 EP under the 69 guise, 4 Jazz Funk Classics. Cosey has collaborated widely with artists including Monte Cazazza, Coil, Current 93, John Duncan, Erasure, Eurythmics, Boyd Rice, and Robert Wyatt, and always with a distinctly original and genuine approach to music. She continues to produce music, art and video work from the London studio she owns with Chris Carter.”
Here is a clip from Youtube where she is discussing 20 Jazz Funk Greats:
For the full interview, transcript, and MP3 Podcast, go to Red Bull Academy’s Video Archive: