The underground collaboration “Caged” by Ian Boddy and Chris Carter returns on 28 November 2025 via The Grey Area of Mute in a newly remastered edition, expanded with two reimagined pieces built from the original session files: “Claustrophobia” (reworked by Chris Carter) and “Uncaged” (reworked by Ian Boddy).

“I can’t believe it’s been 25 years since we got together in each other’s studios and recorded ‘Caged’… The new vinyl edition sounds even better than our original incarnation,” says Chris Carter. “They say opposites attract and although Chris & I come from different ends of the electronic music spectrum ‘Caged’ just gelled,” Ian Boddy explains.

The 25th anniversary edition arrives as limited double red vinyl, CD, and digital. A pre-order is live now, with “Uncaged” available to stream.

First released in 2000 as DiN 5, “Caged” united Chris Carter (Throbbing Gristle; later Chris & Cosey / Carter Tutti) and Ian Boddy (composer, sound designer; founder of DiN). The original credits include Cosey Fanni Tutti (vocal samples) as well.

About Ian Boddy & Chris Carter

Boddy began composing in the late 1970s in Newcastle-upon-Tyne, working with analogue synthesis and tape at a local arts studio before releasing early cassettes and LPs. He founded DiN in 1999 to document ambient/electronic works and collaborations; “Caged” followed in 2000 as one of the label’s earliest titles.

Carter, from Islington, London, co-founded Throbbing Gristle in the mid-1970s and later recorded as Chris & Cosey / Carter Tutti and Carter Tutti Void, alongside solo and collaborative releases. Carter is also credited with innovative instruments and effects (including the Gristleizer).

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Today Throbbing Gristle have announced “TG Berlin”, a box set chronicling their previously unreleased work in Berlin around a special series of live events at the Volksbühne in 2005/2006, set for release on December 6, 2024. This is the latest release in an ongoing collaboration with Mute.

The event, curated by Throbbing Gristle, saw the band perform a live set on New Year’s Eve and an improvised live soundtrack to a new 16mm print of Derek Jarman’s “In The Shadow of the Sun” (1981) on New Year’s Day. While the band were in Berlin, they also recorded two final songs alongside a 48-minute piece of new music.

The box set, which is comprised of 4 CDs, a Blu Ray, a 10” vinyl and a booklet featuring unseen photographs from the time by Paul Heartfield as well as new sleeve notes by Scottish visual artist Lucy McKenzie, collates both of these performances, alongside the “TG Berlin Studio Session”, which includes the final Throbbing Gristle single (two unreleased tracks, “Scabs & Saws” and “Wotwududo”) and an unreleased 48-minute piece titled “TG Berlin Studio Session 2005 – 2006”, recorded at Planet Roc studios during the time they were in the city.

Listen to the previously unreleased track “Scabs & Saws” below.

“TG Berlin” will also include the ‘rehearsal’ for “In The Shadow of the Sun”, recorded on New Year’s Day at the Volksbühne (“people’s theatre”). The performance of “In The Shadow of the Sun” was improvised, so the two documents offer a different perspective on the soundtrack to Jarman’s work.

The New Year’s Eve show previewed five songs from the band’s first album in 27 years, “Part Two: The Endless Not”, several years before its release, on a set list that included “Convincing People”, “Slug Bait”, and “Hamburger Lady” (their first encore in 25/26 years), plus the released track, “Splitting Sky” and more. The performance is also included as a Blu-ray.

About Throbbing Gristle

Throbbing Gristle formed in 1975 and for the next six years they fully delivered on punk’s failed promise to explore extreme culture as a way of sabotaging systems of control. During that time, they released records such as “The Second Annual Report Of Throbbing Gristle” (1977), “D.O.A The Third And Final Report Of Throbbing Gristle” (1978), and “20 Jazz Funk Greats” (1979) and were also named “wreckers of civilisation” by the Conservative MP Nicholas Fairbairn in 1976.

In 2004, Throbbing Gristle, Chris Carter, Cosey Fanni Tutti, Genesis Breyer P-Orridge (1950-2020) and Peter ‘Sleazy’ Christopherson (1955-2010), regrouped and the following six years became a period of renewed creativity for the band which returned back in the studio after 20 years.

They also embarked on a series of live performances that included the Coachella and Primavera festivals, Tate Modern, and Heaven, and produced several albums, including “TG Now” (2004), and “Part Two: The Endless Not” (2007), as well as a 3-day “studio installation” at the ICA before disbanding in 2010.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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(Interview by Janos Janurik) Ever since I got into online music journalism, I’ve always been interested in the background characters around my favourite musicians’ releases that add something important to the product we, the fans end up with.

With this in mind, over the years I have interviewed personalities such as Anton Corbijn (photographer of Depeche Mode and many other music greats), Gareth Jones and Mark Saunders (producers and mixmasters of Depeche Mode and Erasure amongst others).

About eight years ago I had the honour of helping to promote Vince Clarke’s then newly founded mini-record label (VeryRecords) and his releases. In addition to the artists whose albums have been released there in recent years, I also got in contact with Mat Smith, who, like me, is a freelancer – readers of Electronic Sound and Clash know him well – and works as a publicist for VeryRecords as well as being commissioned by Erasure and Mute for a number of press pieces. He also wrote the sleevenotes in the booklet of the new “Cowboy” Deluxe-Edition.

In addition to his journalistic work, he also has his own project “Mortality Tables”, which has just released a new mini-album on cassette and as a digital download. Last November, at the premiere of Vince Clarke’s solo album in London, I had the pleasure of meeting Mat in person and we had a lively chat about our shared passion for music. Knowing how important this project is to him, I approached him and asked him a few questions about it. 

But then life, or rather death, intervened. I didn’t mean this as a cheap shot, but it was indeed a sad event that forced me to make changes to the interview I had with my friend and colleague almost three weeks ago. Now that the aforementioned label is going on holiday, and before I do the same, I would like to bring this exciting musical venture (“The Engineer”) to your attention – and this interview with the man behind it.

SL: Tell us briefly about how you became interested in music. Have you had any musical training, have you learnt to play any instruments? Do you remember the first record you bought?

I grew up in a house where music seemed to always be playing, either on the radio or on my parent’s stereo. My mother listened to a lot of ABBA. Nothing about that was exceptional, particularly. When I used to go to friends’ houses, they always seemed to have the TV switched on, which felt strange to me. My family chose music, and I’ve surrounded myself with it ever since. 

I tried to play the recorder, which was the instrument that most of us learned as kids. My parents gave me a blue one for Christmas one year. I couldn’t play a single note. I briefly learned the basics of notation at school but very quickly forgot all of it. In early high school music classes I was more interested in recording real-life sounds into the Casio keyboard and using those to make compositions. Not long after that, I started making sample-based electronic music on my Amiga 500.

The first album I owned was Nik Kershaw’s ‘Human Racing’. I was given for my birthday the year it was released, along with a Sanyo portable cassette player. I played that album constantly. I wore out the cassette player after two weeks but I still have the ‘Human Racing’ tape and it still sounds incredible to me. 

SL: When did you discover electronic music? And who was the first electronic artist who introduced you to the world of electronic music?

My father is responsible for switching me on to electronic music. There were three pivotal events, and they all relate to times I was with my father.

The first was one evening when my mother was at her restaurant job, and my father was looking after me. I was playing with Lego in the lounge and Gary Numan was performing ‘Cars’ on TV. That performance completely captivated me.

The next was driving around in my father’s car while he did his second job as a debt collector. A friend at work had recorded two tracks from OMD’s ‘Architecture & Morality’ album onto a cassette for him. The songs were ‘Joan Of Arc’ and ‘Maid Of Orleans’, and we’d listen to them over and over.

The third was Soft Cell’s ‘Non-Stop Erotic Videotape’, which he brought home from work one day. That was pretty mind-blowing for a five-year old, and I can only imagine he didn’t realise what it was. It was definitely not suitable for a kid of my age, but, looking back, I don’t remember the imagery – I only recall the music. 

So I owe my father a huge debt for how he shaped my music tastes at a very early age. He was also the one who brought home a cassette copy of ‘The Innocents’ by Erasure and gave it to me. He had no idea quite what he started that day. 

SL: When did you start writing journalistic texts for Mute Records and its artists? What was your first article for Mute and about which artist, which release?

I began a blog called Documentary Evidence in 2003, which was focused on my personal Mute Records collection. I’d just write about the releases from a mostly non-musical perspective, explaining how they made me feel. I still write reviews like that today for Electronic Sound. I also got really interested in telling the stories of specific releases or artists, and that led me to interview people who released music through Mute, or were somehow connected to the label. I have a natural curiosity and inquisitiveness, and that seems to mean people like talking to me and opening up. 

From there I started writing for Clash, and then Electronic Sound and some other places. In 2017 I got asked to chair a panel discussion with Anton Corbijn, Daniel Miller, Paul A. Taylor and Steve Claydon (Add N To (X)) at Rough Trade East in London, about the visual identity of Mute. The first written Mute commission I got was to write a press biography for Chris Carter’s ‘Chemistry Lessons Vol. 1’. I couldn’t believe they asked me to do that, and I couldn’t believe I was being paid to write for the label I loved so much. The team at Mute liked what I did and I’ve been given a few more things to do since then, as well as with the team at BMG who look after the Erasure reissue programme, and Erasure themselves. 

SL: Did Vince Clarke’s VeryRecords label and the associated promotion give you any impetus for your own project, which you called “Mortality Tables”?

Indirectly, yes, but perhaps not in the way you might expect.

My task with VeryRecords was to assemble the press releases. It was the first time I’d worked behind the scenes of a release, where I’d often get involved before the album was even mastered, or before the artwork had even been considered. So I’d be talking to the artists – Reed & Caroline, Alka and Brook – at a very early stage, generally when Vince felt that the album was finished enough for me to listen and for me to start engaging the artists.

It took a while for me to realise this, but the process of working with the artists to write a press release became a collaboration – between all of us, and between my words and their music. I wasn’t just a writer but part of the collective effort to put this music out into the world. I did the same with Nick Hook’s Calm + Collect label, working on releases by Gareth Jones, Spiritual Friendship and others.

In 2019, when I began forming Mortality Tables, I envisaged it as a creative community of collaborators. You can definitely draw a line between that and the ideas that began to form as I worked with VeryRecords and its artists. I also took a lot of inspiration from Vince, who didn’t feel that he needed to only focus on the music that people would expect him to release. That sense of freedom, which Daniel Miller also brought to Mute, directly fed into what Mortality Tables has become. I wanted something where I could work with people making sound art as well as people making images. It had to have artistic breadth. 

I wanted Mortality Tables to be like a gallery, with a portfolio of artists in vastly different disciplines. That’s why Neil Coe deigned the first sleeve image to look like the description of an artwork on the wall of a gallery.

SL: The name of the project refers to the work of actuaries who measure the statistical probability of life insurance payouts. You do something like this in your everyday working life, don’t you?

That’s right. I work with insurance companies all around the world, and have done for over twenty years. I find lots of parallels between the worlds of insurance and electronic music, and the kinds of people I engage with in both of my jobs.

The story goes that I was meeting a friend in a café in Bloomsbury in London one morning. He runs a record label, which is another big inspiration for Mortality Tables. He wishes to remain anonymous, but he is actively involved, in the sense that he must approve anything we decide to do. I call him the Creative Consultant.

So I was meeting him and he had an LP of one of his releases to give me. He asked me if I had a bag to put it in, and I reached into rucksack and retrieved a tote bag. It was from the Institute and Faculty of Actuaries and had been given to me by an actuary a few years before. The Creative Consultant saw the bag with its logo and Latin inscription (‘e peritia ratio’ – ‘reason from experience’) and asked what it meant. I replied, “It’s all mortality tables and shit like that.” The name stuck.

We created our first Mortality Tables Product that morning. It’s called FORKTALK and is a conversation between two friends. We do not publish the details of our conversations. Its entry in the Mortality Tables Catalogue is MTP0.

SL: Dave Clarkson, who is mostly active in electronic and experimental music and Wonderful Beasts, a sound art/electronic music duo consisting of the anonymous Xqui and Carl Knott (boycalledcrow, Spacelab) were your first artists, right? How did you get in touch with them?

The release that moved Mortality Tables from something conceptual to something ‘real’ was ‘Two Meditations For Freya’ by Goodparley (whose name has now changed to Please Close Your Eyes). That was in 2022. It signalled what I wanted Mortality Tables to be: I would come up with ideas and hand them to someone to ‘respond’ to.

That concept has stayed consistent through the first two years of Mortality Tables. I’ll come up with an idea and pick someone to get involved. At the last count, there are at least fifty people who are collaborators. And it isn’t just sound projects – Mortality Tables encompasses sound, art, and words. And insurance. 

However, all rules in creativity are there to be broken, and I broke my own rules in 2023 with the release of Dave Clarkson’s ‘Ghosts Of Christmas Past (Music From Vintage Toys)’. I had nothing to do with the concept of that album, so I guess that’s a bit like Mortality Tables acting like a traditional record label, which is a description I never want to use. The same is true of Andrew Brenza and Alka’s ‘pod’ and boycalledcrow’s ‘Kullu’. However, all these releases only existed because of an earlier collaboration, and that’s how I got myself comfortable with releasing these projects. You’ll see a few more of those types of projects from Mortality Tables over the next few years. 

In answer to your question about how I find artist, it’s actually really straightforward. Anyone involved with Mortality Tables is someone whose music I’ve written about. As for how I choose an artist for a particular project, that’s mostly a case of matching a collaborator to an idea that feels aligned to what they would usually do. However, some of the most enjoyable projects are where the artist is working a long way outside of what they might normally do.

SL: After artists like Andrew Spackman, Rupert Lally, Simon Fisher Turner and Veryan, two years ago you released a strange and experimental piece called “On Mortality, Immortality & Charles Ives”. The piece is a spoken word piece in which you read out the Mortality Tables’ manifesto: “In life, our one true certainty is death.” This narration, recorded by Gareth Jones, was then sent to Vince Clarke who recorded a musical response to the text, which forms the soundtrack to the release. How did you come up with this, somewhat absurd, idea?

I had bought a copy of a book by Alex Danchev called ‘100 Artists’ Manifestos – From The Futurists To The Stuckists’ at the Scottish National Gallery of Modern Art in 2021. I read each of the manifestos from groups like the Surrealists, Dadaists and Situationists as if they were short stories, and it became a really profound experience. On the back of ‘Two Meditations For Freya’, people had started to ask me what Mortality Tables was all about, so it seemed completely natural (and not absurd at all) to write a manifesto.

Mostly it was designed to help me understand why I was doing this, and then I decided to explain it to everyone else. That’s when I asked Gareth to record my narration. At the same time I approached Vince and an anonymous sound artist called venoztks to create sound pieces to accompany it.

The listener can judge whether it successfully explains what this is all about, or not. It does explain why the composer and actuary Charles Ives is so critical to the evolution of Mortality Tables. In fact, the second Mortality Tables Product to be made available was a postcard containing an illustration of Ives in front of a mortality table from 1874, the year of Ives’s birth. That piece was a collaboration with Savage Pencil who had illustrated a lot of the Blast First sleeves.

SL: Released on June 16th, the 40-copy limited edition cassette “The Engineer” is a charity project for Alzheimer’s disease featuring Vince Clarke, Penelope Trappes, Chris Illingworth, Barney Ashton-Bullock, Lara Jones, Simon Fisher Turner, Hattie Cooke, Gareth Jones, Veryan and others. The title character is your father, isn’t he? Is that why you chose Father’s Day as the release date? Tell us a bit about this project!

The title character, the engineer, is based on my father. This project dates back ten years, probably longer, a long time before Mortality Tables was an idea.

I wrote a short story that tried to deal with my feelings about my father as he approached retirement. He lived for work, had no hobbies or friends, and I envisaged him struggling to cope with the concept of stopping work. I was angry when I wrote it, but I was also scared for him. It’s fiction, but it’s rooted in his reality. His actual retirement was very different to what happens in the story. He was diagnosed with Alzheimer’s in 2018, and that’s why we’ll donate all profits from ‘The Engineer’ to the Alzheimer’s Society. Sadly he passed away shortly after ‘The Engineer’ was released. 

When I published the story on my blog, an electronic musician called Laica (Dave Fleet) offered to create some music inspired by the story. He composed a beautiful piece but the project never got completed. A few years later, I came up with a different idea, which involved someone narrating the story with a piece of music behind it. That version also never got off the ground at all, but I liked the idea of asking someone to narrate the story. That’s when I asked Barney Ashton-Bullock if he would do it. He has a brilliant speaking voice, and it was perfect for this story.

It was Gareth Jones who suggested the idea of having different artists respond to different sections of narration. He said it was a bit like the Surrealist game ‘Exquisite Corpse’. I think of Gareth as my spiritual guru. He has a way of unlocking ideas, and freeing you from obstacles that are only there because you’ve put them there. ‘The Engineer’ wouldn’t exist in this form if it wasn’t for Gareth. 

From there, it was a case of picking the collaborators and asking them to respond to a specific 30-second section of narration. No one heard the full story, and no one asked to hear the whole thing. The order the artists agreed to say yes determined which section they got. The only rule I gave them was that their sound response needed to last exactly thirty seconds. 

There are two editions of ‘The Engineer’. One is a digital file that combines the narration and sound responses. The other is a cassette that splits the narration and responses apart. That means the only place you can hear Vince Clarke’s sound response without Barney’s narration is on the cassette, which has now sold out. 

SL: Barney Ashton-Bullock (the creator of Andy Bell’s “Torsten” projects), Vince Clarke, as well as Reed Hays, Alka and Gareth Jones will be familiar to most of our readers, but who are the other contributors? 

Again, everyone involved is someone I’ve written about. When I came up with my collaborator list for this, it was important to me to achieve some sort of diversity. So a lot of the artists here are electronic, but you have artists covering everything from pop to sound art. That was deliberate.

I also wanted diversity of textures. That’s why I included Charlotte Keeffe, Chris Illingworth from GoGo Penguin and Luce Mawdsley. When you put all 29 sound responses together as a single piece, it sounds like a right fucking mess. As the responses were coming in over a 30-month period, I realised that the sprawling, messy quality was a lot like my father’s Alzheimer’s – ideas form, are quickly forgotten before they develop, and are then replaced by something else. That wasn’t planned, at all, but now I can see it was a subconscious idea that must have been there from the moment that Gareth suggested involving lots of artists. 

SL: What plans and ideas are currently circulating in your head? Will it be something journalistic or another Mortality Tables release?

I’m always writing, and I’ve got a few big things underway right now, including something for a label I’ve done a few pieces for before.

In terms of Mortality Tables, now that ‘The Engineer’ has been released, all activities will he paused until later in the summer. We’ve released a huge number of Products in just over two years and I need a break. We’ll return later in the summer with Season 03 of LIFEFILES, which is an ongoing project where artists respond to my really basic field recordings.

We’ll also release a single from Please Close Your Eyes, an album from Andrew Spackman and the full version of Andrew Brenza and Alka’s ‘pod’ collaboration. I’ve been working on one of several projects inspired by Charles Ives, ‘Central Park: A Picture-In-Sounds’, which will be issued as a ‘score’ in October, along with some additional performances of the piece. We’ll begin work on another large-scale collaboration called ‘The Impermanence Project’.

Other things will happen. Other things will not.

More information on Mortality Tables releases.

Use code janos for a 10% discount off anything in the Mortality Tables Catalogue. 

I would like to end this article with a personal message from Mat Smith, who asks the readers and the music listeners to support, if they can, the Alzheimer’s Society, which has received the proceeds of the tape release mentioned in the interview. If you feel able to, please donate to alzheimers.org.uk directly.

János Janurik

I began my career in online music journalism in 2001, writing about artists I had followed since the late ’80s and early ’90s, including Depeche Mode, Erasure and The Cure. I later edited the Hungarian Mute microsite for EMI Music Hungary. This led to interviews with Erasure, Nitzer Ebb and Alan Wilder, and some of those collaborations developed into lasting friendships. Since 2014, I have been part of the editorial team of depechemode.de. I also contribute interviews to Reflections of Darkness, Peek-A-Boo Magazine and Kaput Mag. I maintain a close connection to Mute Records artists and have also supported releases on Very Records. I am proud to collaborate with Side-Line Magazine, where I regularly publish interviews and features.

(Photo by Bira) Out on March 24th is a remastered limited edition vinyl series from Chris & Cosey, which will see many of their albums available for the first time, or for the first time in decades.

The series launches with “Elemental 7” on green vinyl, “Muzik Fantastique!” on pink vinyl, and “Feral Vapours of The Silver Ether” on yellow vinyl. The colour vinyl pressings are limited, and will include a printed inner sleeve of archival photos.

“Elemental 7″ is the soundtrack to the film of the same name (on Cabaret Voltaire’s Doublevision video imprint) that saw the duo working once more with John Lacey. Lacey had previously worked with Cosey in COUM Transmissions and introduced Chris Carter to the collective.

Listen to “Dancing Ghosts” from this album.

On “Muzik Fantastique!” The duo went for a more dynamic and melodic approach, Below is the video for the album track “Melancholia”.

“Feral Vapours of the Silver Ether” will be available for the first time on vinyl, and was the second release under the Carter Tutti name. On it, the duo mixed electronic and acoustic elements. Listen to the album track “Feral Vapours” right below.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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(Photo by Chris Carter) Out 16 September 2022 on Conspiracy International is “Delia Derbyshire: The Myths and the Legendary Tapes”, the all new album by Cosey Fanni Tutti. She now has shared an edit of “Cornet Lament”, the latest taste of what to expect from her forthcoming album.

Watch the video for “Cornet Lament (edit)” below.

Cosey Fanni Tutti’s newest album “Delia Derbyshire: The Myths and the Legendary Tapes” is her original soundtrack recordings for Caroline Catz’ film about Derbyshire. The release will be available on ultra clear vinyl, CD and digitally on 16 September 2022 via the artist’s own label, Conspiracy International.

The music was composed, performed and produced by Cosey Fanni Tutti in Twickenham Studio 3, London and Studio 47 in Norfork, with vocals by Cosey Fanni Tutti and Caroline Catz, alongside the voice of Delia Derbyshire.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

side-line.com

(Photos by Chris Carter) Out on Conspiracy International on 16 September 2022 is Cosey Fanni Tutti’s newest album “Delia Derbyshire: The Myths and the Legendary Tapes”, her original soundtrack recordings for Caroline Catz’ film about Derbyshire. The release will be available on ultra clear vinyl, CD and digitally on 16 September 2022 via the artist’s own label, Conspiracy International.

The music was composed, performed and produced by Cosey Fanni Tutti in Twickenham Studio 3, London and Studio 47 in Norfork, with vocals by Cosey Fanni Tutti and Caroline Catz, alongside the voice of Delia Derbyshire.

Listen to the first excerpt from the soundtrack, “Psychedelic Projections” right below.

About the soundtrack

In 2018, Cosey Fanni Tutti was commissioned to write the soundtrack to director and actor Caroline Catz’s intimate portrayal of the composer, musician and sonic experimentalist, Delia Derbyshire (1937-2001). Best known for her ground-breaking work on the 1963 “Doctor Who” theme tune, Derbyshire was instrumental in giving easy access to and rewiring a nation’s attitudes towards electronic music.

Cosey Fanni Tutti: “Working within the often-stifling confines of the BBC Radiophonic Workshop, her experimentalism – which saw her manipulating magnetic tape, found sounds and electronics – is only now being given full credit for the immeasurable impact it has had on the way we hear the world.”

As for the compositions Cosey Fanni Tutti explains: “The compositions are inspired by my research of the Delia Derbyshire audio archive, Delia’s original compositional notes and techniques which in combination with my admiration and love of Delia’s work provided a way to integrate her style and approach to music with my own. An alliance of our sensibilities.”

The new album follows the release of Cosey Fanni Tutti’s new book, “RE-SISTERS: The Lives and Recordings of Delia Derbyshire, Margery Kempe and Cosey Fanni Tutti” – due to be published on Faber on 18 August.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Nik Colk Void is known as one third of the electronic noise trio Factory Floor, one third of Carter Tutti Void (alongside Chris Carter and Cosey Fanni Tutti) and with the late Peter Rehberg as NPVR. She has now announced details of her debut solo album, “Bucked Up Space”, set for release on red transparent vinyl and digitally via Editions Mego on 8 April 2022.

Written, performed and produced by Nik Void, the album was engineered by James Greenwood, mastered by Rashad Becker with additional mixing by Marta Salogni.

Here’s the track “Interruption Is Good” to check out, also the opening track of the album.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

side-line.com

(Photo by Chris Carter) Out on 28 January 2022 via The Grey Area (Mute) is the reissue of the 1979 album “The Bridge” by Thomas Leer And Robert Rental. This new reissue will be available on limited edition white vinyl and CD, both featuring new sleevenotes.

The reissue of Leer and Rental’s sole collaboration will coincide with “From The Port To The Bridge”, an exhibition detailing the duo’s work and legacy, due to run at The Horse Hospital in London from 21 January through to 10 February 2022.

Discovered by Throbbing Gristle

Thomas Leer and Robert Rental, both from Port Glasgow in Scotland, were at the vanguard of a DIY electronic scene that went on to influence and inform the 80s synth-pop movement. After self-releasing two solo 7” singles, they came to the attention of Throbbing Gristle and signed to their label, Industrial Records. Their one and only collaboration, “The Bridge”, was originally released in 1979, the first non-TG / associated release for the label.

Recorded at Rental’s home over two intense weeks using equipment provided by Throbbing Gristle (with only rudimentary explanation of how to use it), their album was cited by a number of electronic musicians at the time, including John Foxx, Matt Johnson (The The) and ABC.

Listen to “Monochrome Days”.

The late Robert Rental retired from the music industry

Robert Rental (who sadly died in 2000), went on to collaborate with The Normal – Daniel Miller and Rental’s live album, “Live at West Runton Pavilion, 6-3-79”, was released in 1980 by Rough Trade. Rental also released a single on Mute, “Double Heart” / “On Location” in 1980 and produced music for the Comic Strip’s “A Fistful of Traveller’s Cheques”, before retiring from the industry.

Thomas Leer continued to release music

Thomas Leer went on to release albums on Cherry Red and Arista, formed Act with Claudia Brücken (formerly of Propaganda) in the late 80s who released on Trevor Horn’s ZTT label. After a hiatus, he re-emerged with a series of releases from 2001, and currently lives in Greenock.

About The Grey Area

The Grey Area was founded in 1990 to restore and reissue albums by important and influential artists, initiated by catalogue deals between Mute and Throbbing Gristle, Can and Cabaret Voltaire.

The label went on to be the home for the catalogues of DAF, Virgin Prunes, SPK, Swell Maps, Dome, The Radiophonic Workshop and The Hafler Trio as well as key early works by Wire, Buzzcocks and Einstürzende Neubauten.

Dormant for a few years during the 2000s, The Grey Area emerged again quietly in 2013 with the re-release of Cabaret Voltaire’s Virgin period work, Richard H. Kirk’s solo work, the Sandoz catalogue and a new agreement with Throbbing Gristle.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Ahead of the release of “Electronic Ambient Remixes One and Three” – available for the first time on vinyl and streaming platforms and previously unavailable on CD for 15 years – Chris Carter today shares “Convicting People”. “Convicting People” is Carter’s unique take on “Convincing People” from Throbbing Gristle’s “20 Jazz Funk Greats” (1979).

As a founding member of Throbbing Gristle alongside Cosey Fanni Tutti, Peter “Sleazy” Christopherson and Genesis Breyer P-Orridge, Chris Carter has had a significant role in the development of electronic music – a journey which has continued through his releases as one half of Chris & Cosey and Carter Tutti and a third of Carter Tutti Void – as well as with his own solo and collaborative releases. Carter released “Chris Carter’s Chemistry Lessons Vol 1”, his first solo album in over 17 years, in 2018.

He is also credited with the invention and production of groundbreaking electronics – from the legendary Gristleizer self-built effects unit through to the Dirty Carter Experimental Sound Generating Instrument, the sold-out TG One Eurorack module (designed with Tiptop Audio) and the updated Future Sound Systems Gristleizer modules. Carter’s use of these modules can be heard during his recent series of live solo shows, including this Rough Trade event last year. Through these, Carter has created the means to make sounds as well as making the sounds themselves.

The Electronic Ambient Remixes releases are the continuation of a reissue campaign with Mute that started with his solo box set, “Miscellany” (2018).

Here’s Chris Carter with “Convicting People”, an excellent cut, which kinda sits between early Recoil and Brian Eno if you ask us.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Out in a little more than a week is the collaborative project between Nordic electropop diva Karin Park (Årabrot) and legendary electronic pioneer Lustmord. “Alter” is the pair’s first collaborative work and holds nine tracks.

You can already check out a first track “Hiraeth” right below. And for those unaware who these two excellent artists are, below we added some extra info.

About Karin Park

Karin Park made her debut in 2003 with the single “Superworldunknown”. After the release of her second album “Change Your Mind” (2006), the music developed in a new, darker and more synth-based direction. The third album, “Ashes To Gold” (2009), was produced by Fredrik Saroea, frontman of the Norwegian band Datarock.

Following this record, Karin has continued to develop a more experimental, beat-oriented sound. Karin Park is also a well known producer, who has done remixes for other bands and co-produced the latest Årabrot record “Who do you love” with her husband Kjetil Nernes, frontman in Årabrot.

Together with her brother David Park, Portsmouth based producer Barry Barnet and the Swedish producer Christoffer Berg (known for his work with The Knife, Fever Ray, Massive Attack and Little Dragon’s Yukimi Nagano), she made her fourth album, “Highwire Poetry” (2012). In 2015, she released her fifth studio album “Apocalypse Pop”.

Her new band project Pandora Drive is London based and released their first EP “Albino Heart” in 2018.

Aside from her musical career, Karin Park occasionally works as a model and an actress. She starred in the Norwegian horror film Hidden (2009) and her song “Out of the Cage” was the theme track to the film.

About Lustmord

Brian Williams is a Welsh industrial musician, sound designer and film score composer. He is often credited for creating the dark ambient genre with albums recorded under the name Lustmord.

Williams was raised in rural Wales, before relocating to London in his late teens where he befriended Throbbing Gristle members Cosey Fanni Tutti and Chris Carter, who urged him to make his own music. He started recording as Lustmord in 1980 before joining SPK in 1982.

Some of Lustmord’s most notable collaborations include Robert Rich on “Stalker”, Jarboe, John Balance of Coil, Monte Cazazza, Clock DVA, Chris & Cosey, Paul Haslinger, and Melvins on “Pigs of the Roman Empire”.

In short, an electronic music pioneer.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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(Photos by Diane Zillmer & Gareth Jones) Out May 21 via the newly revived Parallel Series of Mute is the debut album by Sunroof (aka Daniel Miller & Gareth Jones), “Electronic Music Improvisations Volume 1”.

The new album, their first after four decades of friendship and collaboration, is a collection of eight improvised modular pieces recorded as live in various studio spaces across London. “Electronic Music Improvisations Volume 1” will be available on limited edition clear vinyl, CD, and digital platforms.

You can listen to “1.2 30.5.19” right below.

Check also the previously released “1.1-7.5.19”.

About Daniel Miller and Gareth Jones

Daniel Miller (founder of Mute) met Gareth Jones back when Miller asked Jones to work with him in late 1982 on what became Depeche Mode’s “Construction Time Again”. After the band had gone home for the day, they would stay to work on their own sessions. That practice continued and, by the mid-nineties, Sunroof had emerged as remix project reworking the likes of Can, MGMT, To Rococo Rot, Kreidler and Goldfrapp, and appeared on a compilation paying tribute to Neu!.

Back in 2019, Miller and Jones were heading to a György Ligeti concert at the Barbican and beforehand – as they often do when together in the same city – the pair spent a couple of hours improvising with modular systems. Unusually, this time they decided to record the session and, over a pre-concert meal, Gareth asked a question that seems logical after all these years: “Are we actually going to make a record together before we die?”

The following day, they set themselves some rules: “We decided to get together to do a bunch of improvisations,” explains Gareth. “We said we’d work in a number of different physical spaces but always together, in the same room. We were keen to do shorter pieces because we were both very inspired by Chris Carter and Martin Gore’s electronic music projects, where the pieces were very concise and compact.”

Key to their manifesto was a distinction between an improvisation and a jam session. “With modular systems, you can just go on and on forever and never actually complete anything. Sometimes that’s okay – part of the joy of a modular is that you can just keep going indefinitely. But with this we were keen to actually finish something, so setting that timeframe became a really important rule for us,” adds Daniel.

Tracklisting

This will be the tracklisting of the tracks on “Electronic Music Improvisations Volume 1”.

1. 1.1 – 7.5.19
2. 1.2 – 30.5.19
3. 1.3 – 30.5.19
4. 1.4 – 18.6.19
5. 1.5 – 9.7.19
6. 1.6 – 7.5.19
7. 1.7 – 30.5.19
8. 1.8 – 2.3.19

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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(Photo by Paul Heartfield) Chris Carter has shared a new track from his forthcoming reissues of “Electronic Ambient Remixes One” and “Three”, due for release on vinyl and on streaming platforms for the first time, and on CD (previously unavailable for 15 years) on 30 July 2021. Included are radical ambient reworkings of Throbbing Gristle and Carter’s early solo work.

“Electronic Ambient Remixes One” was the first in a series of four Electronic Ambient Remix solo albums by Chris Carter and Cosey Fanni Tutti. Originally released in 2000 (CTI), the starting point for the tracks was Chris Carter’s “The Space Between” (1980, Industrial), an album collating Carter’s analogue sound experiments recorded in the 1970s and 1980s at Throbbing Gristle & Industrial Records’ London studio. “Electronic Ambient Remixes One” is a reworking of those early recordings and features heavily manipulated and transmogrified drifting ambient textures, whilst still retaining the core essence of the original tracks.

“Electronic Ambient Remixes Three” was Chris Carter’s second Electronic Ambient Remix solo album, originally released in 2002 (CTI), and at its nucleus are a dozen of his original Throbbing Gristle rhythms. These rhythms have been transmuted into three dimensional polyrhythmic loops, weird gothic textures and spooky ethereal ambiences.

The releases are the continuation of a reissue campaign with Mute that started with his solo box set, Miscellany (2018).

You can already check “Heathen Mirth”, his minimalist take on Throbbing Gristle’s “Heathen Earth” right below.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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(Photo by Paul Heartfield) Chris Carter has announced the latest in a series of reissues on Mute. “Electronic Ambient Remixes One” and “Electronic Ambient Remixes Three” will be released July 30 on colored double vinyl, CD and digital platforms. Both albums will be available on vinyl for the first time while the CD editions have been out of print for over 15 years.

“Electronic Ambient Remixes One” was the first in a series of four ‘Electronic Ambient Remix’ solo albums by Chris Carter and Cosey Fanni Tutti. Originally released in 2000, the starting point for the tracks was Chris Carter’s “The Space Between” (1980, Industrial), an album collating Carter’s analog sound experiments recorded in the 1970s and 1980s at Throbbing Gristle & Industrial Records’ London studio. “Electronic Ambient Remixes One” is a radical ambient reworking of those early recordings and features heavily manipulated and transmogrified drifting ambient textures whilst still retaining the core essence of the original tracks.

“Electronic Ambient Remixes Three” was Chris Carter’s second ‘Electronic Ambient Remix’ solo album, originally released in 2002. At its nucleus are a dozen of his original Throbbing Gristle rhythms. These rhythms have been transmuted into three dimensional polyrhythmic loops, weird gothic textures and spooky ethereal ambiences.

The Electronic Ambient Remixes releases are the continuation of a reissue campaign with Mute that started with his solo box set, “Miscellany” (2018).

Listen to “Solidit,” taken from “Electronic Ambient Remixes One”.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Out on Mute, 13 December 2019, is the next phase in the Throbbing Gristle reissues series with the release of “Part Two: The Endless Not”, “TG Now” and “A Souvenir of Camber Sands”, out on CD and limited edition vinyl on 13 December 2019.

In 2004 Chris Carter, Peter Christopherson, Genesis P-Orridge and Cosey Fanni Tutti reformed – 23 years after splitting up – and between 2004 and 2007 the band released 14 new studio tracks and a live album of their appearance at ATP’s Nightmare Before Christmas in Camber Sands.

The 3 albums included are…

“TG Now”, originally released in 2004, was a 4-track limited vinyl and CD release available originally to attendees of the RE-TG Astoria event in 2004, their first performance together since 1981’s US tour.

With “Part Two: The Endless Not”, released in 2007, the band returned to the studio over 25 years after their last studio album. Several live documents followed the album’s release, but the untimely death of Peter Christopherson in November 2010 meant that this would become the final Throbbing Gristle album.

“A Souvenir of Camber Sands” is a live document of Throbbing Gristle’s ATP Nightmare Before Christmas performance at Camber Sands in Dec 2004, recorded by Live Here Now and originally available immediately at the show. This release reactivated the band’s live performance releases that include “Thirty Second Annual Report” (from La Villette, Paris) and the “Desertshore Installation” (from the ICA, London). “A Souvenir of Camber Sands” will be available for the first time on vinyl as limited edition clear vinyl release with poster, on double CD and digitally.

Listen to “Fed Up” (live at Camber Sands) right below.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Earlier this year, in January to be precise, we posted this article “When an April Fools prank becomes reality: ‘STUMM433’ (feat. Laibach, Depeche Mode, …)” describing how Mute would release a box set featuring 50 Mute artists giving their interpretation of John Cage’s silent track “4’33”.

Today, The Normal aka Daniel Miller, has shared his tribute to John Cage’s “4’33””. It will be the first ‘music’ released by The Normal on Mute since the debut 7”. On Mute that is indeed because “Live at West Runton Pavilion”, The Normal’s second release, done with another Mute Records act Robert Rental, was released on Marat Records in Germany as Daniel Miller Robert Rental Live, with a black and white picture sleeve.

But back to 2019. Miller recorded his piece at a site in North London that will be familiar to fans of the label as the site of its foundation: 16 Decoy Avenue. Listen to The Normal’s take on “4’33”” right below.

Daniel Miller: “John Cage’s 4’33” has been present in my musical life for as long as I can remember as an important and inspiring composition. When the idea of every Mute artist doing their own interpretation of the piece came up during a conversation with Simon Fisher Turner, I immediately thought this was the perfect way to mark the label’s MUTE 4.0 (1978 > TOMORROW) series.”

Ironically, last year we had the idea to create an April Fools prank with a fake compilation with a lot of famous musicians covering John Cage 4’33 silent track. We decided not to do it, not sure if most of you would grab the irony.

Which Mute artists are featured in the boxset?

The boxset will feature over 50 Mute artists including A Certain Ratio, A.C. Marias, ADULT., The Afghan Whigs, Alexander Balanescu, Barry Adamson, Ben Frost, Bruce Gilbert, Cabaret Voltaire, Carter Tutti Void, Chris Carter, Chris Liebing, Cold Specks, Daniel Blumberg, Danny Briottet, Depeche Mode, Duet Emmo, Echoboy, Einstürzende Neubauten, Erasure, Fad Gadget, Goldfrapp, He Said, Irmin Schmidt, Josh T. Pearson, K Á R Y Y N, Komputer, Laibach, Land Observations, Lee Ranaldo, Liars, Looper, Lost Under Heaven, Maps, Mark Stewart / Sonskrif / The New Banalist Orchestra, Michael Gira, Mick Harvey, Miranda Sex Garden, Moby, Modey Lemon, Mountaineers, New Order, Nitzer Ebb, NON / Boyd Rice, Nonpareils, The Normal, onDeadWaves, Phew, Pink Grease, Pole, Polly Scattergood, Richard Hawley, ShadowParty, Silicon Teens, Simon Fisher Turner and Edmund de Waal, The Warlocks, Wire, Yann Tiersen and Gareth Jones.

The designers behind the visuals

Contributing designers include Simone Grant who worked with Miller on a lot of the early Mute artwork (The Normal, Fad Gadget and Depeche Mode); Steve Claydon, a member of Add N To (X) who designed for Goldfrapp; Slim Smith, who worked with Mute through the 1980s and 1990s; Malcolm Garrett, who designed the “House of Illustrious” box set for Vince Clarke and Martyn Ware; Tom Hingston, who has worked with Erasure and created the majority of Nick Cave & The Bad Seeds and Grinderman artwork since the early 2000s; and Anton Corbjin, who has worked closely with Mute on many campaigns since the early 1980s, including those of Depeche Mode, Nick Cave & The Bad Seeds and Fad Gadget.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Based in Adelaide (Australia) Studio-X has been set up in December 2008 by Matthew Martin and Lawrie Bayldon. They got rapidly signed to the Belgian label Alfa Matrix and released their official debut album “Neo-Futurism” in 2011. On the next two albums “Breaking The Void” (2014) and “Ad Astra Volantis” (2015) Lawrie Bayldon went on without Matthew M., but joined hands together with Chris Carter. For the fourth full length “Neural Torment” (2017) Studio-X worked together with the Italian project Technoid. During the last months of 2018 Studio-X already launched a new opus entitled “Wrong”, which is without a shadow of a doubt the most diversified work in Studio-X’ discography. This time Lawrie Bayldon worked together with female singer Bridgette Collins accomplishing a more pop-orientated work carried by the familiar techno vibes this artist has used to produce.

( Courtesy by Inferno Sound Diaries )

Q: After an album released together with Matthew Martin, two other albums featuring Simon Carter and the latest one with Italian artist Technoid,  for the new “Wrong” album you now joined hands together with Bridgette Collins. Did you feel it was time to inject a new member and what has been the input and impact of Bridgette on “Wrong”?

Lawrie: Bridgette began singing on many of my side-projects before we got together as a couple. She helped very much on the latest album and did some vocals on many of the songs as well.

Q: “Wrong” definitely sounds as your most versatile work although it remains mainly driven through techno influences. How did you explain this evolution in sound and what kind of work did you really want to achieve?

Lawrie: I sort of stumbled upon this idea, I guess after many years of making hard dance sounds we felt it was time for something a little different, hence the industrial-breakbeat sound.

Q: Vocals also now take a larger place in your work compared to vocal samples in the past releases. Is this the new STUDIO-X artistic direction?

Lawrie: It is likely that I will continue to use this voice style in the future, I really enjoyed writing lyrics and singing on this album.

Q: How did it feel for you to experiment with new influences? Did you have specific criteria and references and maybe a different way of working/producing?

Lawrie: Not really, I more or less came up with the idea very quickly, Bridgette and I completed this album in under 3 months so it was a very quick process. 

Q: The title of the album and all song titles are pretty short and straight; just one word! Even allowing you to make some kind of short story with these words on the back of the CD… It’s pretty intriguing, but what did you try to express and what is “Wrong” all about?

Lawrie: We just tried to express a new wave of industrial electronic music, the lyrics and music are an expression of randomness, what we were feeling at the time and our tendency to be unique.

Q: How does Studio-X stand between digital- or physical release of your music? Should we all accept the evolution and that CD’s are no longer selling -maybe except the biggest names?

Lawrie: We live in a generation of digital everything, we are happy just sharing our music however we can. CD’s are not exactly great for the environment so we are happy things are progressing this way.

Q: I dare thinking it’s quite odd for an Australian formation dealing with mainly techno music to be signed on a European label whose core scene is quite different. What have been your experiences so far with Alfa Matrix (you are also involved in other projects on the label like Prozium and Avarice In Audio) and how do you see the further development of Studio-X? 

Lawrie: Yes and many other side-projects, as for Studio-X, we are planning to continue exploring our musical journey. Alfa Matrix has been the best label I have ever worked for and we have much respect and love for them. 

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

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Last year we had the idea to create an April Fools prank with a fake compilation with a lot of famous musicians covering John Cage 4’33 silent track. We decided not to do it, not sure if most of you would grab the irony. You can imagine our surprise when Mute announced a box set this morning featuring 50 Mute artists giving their interpretation of… yes, 4’33.

From the artist that started Mute, The Normal, to the label’s newest signing, K Á R Y Y N, “STUMM433” will feature over 50 Mute artists – including Depeche Mode, Yann Tiersen, Liars, Silicon Teens, Irmin Schmidt – presenting their own interpretation of one piece of music: John Cage’s 4’33”.

Fortunately you’ll get a visual to accompany each ‘performance’ of 4’33”. The box set launches with a video from Laibach which you can see below.

Net profits from the release of STUMM433 will be split between the British Tinnitus Association and Music Minds Matter. These charities were chosen to honor Inspiral Carpets’ founding member Craig Gill who suffered from anxiety and depression as a result of his tinnitus in the years up to his untimely death. The box set will be released in May 2019.

Artists featured include: A Certain Ratio, A.C. Marias, ADULT., The Afghan Whigs, Alexander Balanescu, Barry Adamson, Ben Frost, Bruce Gilbert, Cabaret Voltaire, Carter Tutti Void, Chris Carter, Chris Liebing, Cold Specks, Daniel Blumberg, Depeche Mode, Duet Emmo, Echoboy, Einstürzende Neubauten, Erasure, Fad Gadget (tribute), Goldfrapp, He Said, Irmin Schmidt, Josh T. Pearson, K Á R Y Y N, Komputer, Laibach, Land Observations, Lee Ranaldo, Liars, Looper, Lost Under Heaven, Maps, Mark Stewart, Michael Gira, Mick Harvey, Miranda Sex Garden, Moby, Modey Lemon, Mountaineers, New Order, Nitzer Ebb, NON, Nonpareils, The Normal, onDeadWaves, Phew, Pink Grease, Pole, Polly Scattergood, Renegade Soundwave, Richard Hawley, ShadowParty, Silicon Teens, Simon Fisher Turner, The Warlocks, Wire, Yann Tiersen.

Side-Line also covered Laibach’s ‘Click Interview’.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Throbbing Gristle has announced the second phase of their ongoing reissues with Mute. September 14 will see remastered editions of “Journey Through a Body” (on silver vinyl and CD) and “Mission of Dead Souls” (on white vinyl and CD), while “Heathen Earth” will be re-released on blue vinyl and as a 2CD set.

Listen to “Persuasion U.S.A.” from Mission of Dead Souls below.

The releases follow the 40th anniversary release of “The Second Annual Report”, as well as new editions of “20 Jazz Funk Greats” and “The Taste Of TG: A Beginner’s Guide to Throbbing Gristle” – all out now and available.

Throbbing Gristle are Chris Carter, Peter “Sleazy” Christopherson (who passed away on November 25, 2010), Cosey Fanni Tutti and Genesis Breyer P-Orridge.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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There’s again some fine news for the fans of vinyl reissues of the back catalogue of Throbbing Gristle. Coming up is “The Taste of TG: A Beginner’s Guide to the Music of Throbbing Gristle” which is a 2004 compilation album by Throbbing Gristle. The cover art is a manipulation by Peter Christopherson of a still from the Pier Paolo Pasolini film “Salò o le 120 giornate di Sodoma”. The album is now being reissued on red vinyl and can be ordered right here.

Next is the digitally remastered edition of the 1977 debut album from the experimental/post-punk outfit: “The Second Annual Report”. The album has been restored and remastered by band member Chris Carter from 24bit ‘baked tape’ digital transfers of the original first generation analog master tapes. The set includes restored cover artworks, using original source material from the Industrial Records visual archive. This re-release comes on transparent vinyl. You can get hold of this vinyl right here.

For the newbies, Throbbing Gristle were an English music and visual arts group formed in 1976 in Kingston upon Hull. The band comprised Genesis P-Orridge (born Neil Megson; bass guitar, violin, vocals, vibraphone), Cosey Fanni Tutti (born Christine Newby; guitars, cornet, vocals), Peter “Sleazy” Christopherson (tapes, found sounds, horns, piano, vibraphone, synthesizer) and Chris Carter (synthesizers, tapes, electronics).

Throbbing Gristle are widely viewed as early pioneers of industrial music. They disbanded in 1981, but the individual members went on to participate in other projects, and reformed in 2004 for a second stint before disbanding again in 2010 after the death of Christopherson.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

side-line.com

Throbbing Gristle and Mute have just announced a series of reissues, set to start on the 40th anniversary of their debut album release, “The Second Annual Report”. “The Second Annual Report” was originally released on November 4, 1977.

On November 3, 2017 “The Second Annual Report” will be reissued as a limited edition white vinyl release in the original packaging and also on double CD. Also out will be “20 Jazz Funk Greats” and that on green vinyl and double CD. Accompanying these releases will be “The Taste Of TG: A Beginner’s Guide to Throbbing Gristle” with an updated track listing that will include “Almost A Kiss” (from 2007’s “Part Two: Endless Not”). This will be the first time “The Taste Of TG” is available on vinyl and will be presented on double red vinyl alongside a CD and digital release. The November’s anniversary releases will be followed by further catalog releases in January and April 2018.

Throbbing Gristle are Chris Carter, Peter ‘Sleazy’ Christopherson (who sadly passed away on November 25, 2010), Cosey Fanni Tutti and Genesis Breyer P-Orridge.

Listen to “United” here which is taken from “The Taste of TG”. It was originally released as a 7” on Industrial Records in 1978.

2017 saw Throbbing Gristle’s catalog available on streaming services for the first time. This was the initial stage of Mute releasing the band’s entire classic catalog physically and digitally. Mute and Throbbing Gristle will continue the reissues series, creating previously unreleased box sets and making available long out-of-print and important pieces of work.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Mute informed us this afternoon that they have renewed their worldwide partnership with Throbbing Gristle. The first stage of this partnership sees select Throbbing Gristle catalog available on streaming services for the first time. Over the course of the next three years, Mute will make many of the band’s classic releases available both physically and digitally, while also making available long out of print pieces of work. The release pattern will also see some new box sets of previous unreleased material and imagery.

Throbbing Gristle are Chris Carter, Peter ‘Sleazy’ Christopherson (who sadly passed away on November 25, 2010), Cosey Fanni Tutti and Genesis Breyer P-Orridge.

In further news, Chris Carter will release a new solo album on Mute in autumn 2017, his first solo work in 18 years. Cosey Fanni Tutti from her side is to release her autobiography, “Art Sex Music”, on April 6, 2017 (you can order that book right here).

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Out in 2 weeks from now – and ready for ordering here – is the brand new compilation “So Low”. The compilation has been curated by Optimo’s prolific DJ/producer/label boss JD Twitch aka Keith McIvor and holds a selection of early ‘80s synth, industrial and cold wave classics and undiscovered gems.

The 16-track collection is named after McIvor’s irregular club night of the same name in his hometown of Glasgow. Included are tracks by UK/European minimalists P1/E, Colin Potter and Gerry & The Holograms, and American industrial/experimentalists including Michigan’s Hunting Lodge and avant-garde San Francisco collective Tuxedomoon, as well as a number of French and Belgian acts such as Siglo XX, Front 242, The Klinik and Clair Obscur. Tracks from Throbbing Gristle and band members Chris Carter and Cosey Fanny Tutti, who went on to record as Chris & Cosey, and Germany’s pioneering minimal wave musician John Bender are also included.

You can check the track list right here and order it from there too.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Genre/Influences: DVD documentary about history of modular synthesizers.

Content: We’re not used to review DVDs and more especially when it concerns documentaries, but this film is one, which will interest all lovers of electronic music. “I Dream Of Wires” was made by an original idea of Robert Fantinatto and Jason Amm. Some of you probably know Amm as the hidden force and brain behind the Solvent music project.

The documentary is a search to understand the rise, fall and resurrection of THE machine that was the origin of electronic music. “I Dream Of Wires” is a fully appropriated title to remember us the history of the legendary modular synthesizer.

The documentary brings us back at the end of the 19th (!) Century and the creation of generators and electricity. They created a kind of noise, which was the basis to conceive machines able to create music. It was a purely scientific research that happened in laboratories. So we get informed about the creation of oscillators during the ’50s, which would become essential equipment in the construction of the first synthesizers.

One of the most important and definitely pioneers in the entire history of electronic music was a physician. Robert Moog was a serious impact on the electronic music and it remains a mystery how electronic music would have sound today without the work of Moog. We get an idea about how so-called Voltage Control Oscillators (VCO) got created and how a keyboard was used as a controller to the Moog ‘machine’. It all leads to famous machines that were used during the ’70s like the Minimoog and ARP2600.

A next interesting passage concerns the rise of punk music, which in a way became a serious obstacle against the evolution of electronic music, but modular synthesizers got also exposed to a new form of synthesizers, which were conceived in Japan. There’s an interesting talk about the legendary DX7 from Yamaha becoming the pioneer of programmed sounds (presets), the evolution into digital equipment and the first Workstations.

The documentary tells us that the rise and evolution of Acid music contributed to the rebirth of analogue machines and the use of the still famous 909 and 303.

The reliability of those machines and their maintenance both contributed to the extinction of modular machines till during the 90s Bruce Duncan came up with new evolutions, creating modern modular equipment (Modcan modular synthesizers). It all becomes rapidly clear for non-musicians that the modular synthesizers have been always more creative and unique to create unique sounds instead of presets.

A lot of famous and interesting artists have contributed to this documentary. I’m referring to Trent Reznor, Cevin Key, Chris Carter, Daniel Miller, Vince Clarke, Alex Empire, Gary Numan, Carl Craig, Flood and many more.

There also is an interesting extra featuring different passages like an interview with Trent Reznor & Alessandro Cortini (NIN) or a look at the studio of Vince Clarke (Depeche Mode, Erasure…), but also clips by Solvent, which is an opportunity to (re)discover the music of this great artist.

Conclusion: “I Dream Of Wires” is a real informative and fascinating view at the history of electronic music and more especially about the enigmatic and fascinating modular synthesizers. I’m not surprised this movie seems to have become a very successful item.

Rate: (DP:9)DP.

Label: www.monoduofilms.com / www.facebook.com/monoduofilms

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

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