Hello,
After the pioneer industrial rock combo Throbbing Gristle broke up in 1981, Chris Carter and Cosey Fanni Tutti (b. Christine Newby) decided to keep working together. Working under the names Chris and Cosey and CTI (Creative Technology Institute), the duo expanded the dense rhythmic ideas of their former band, adding more accessible synthesized pop elements as their career progressed.. ... N'Joy
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When Throbbing Gristle was terminated in 1981 Chris Carter and Cosey Fanni Tutti signed to Rough Trade Records and began recording and performing as Chris & Cosey. From the very start they indulgently utilised electronics, sampling, rhythms and Cosey’s distinctive vocals, cornet and guitar style. In 1983 they formed their own offshoot record label Conspiracy International (aka: CTI) for their more experimental recordings and collaborative projects. CTI continues to run alongside Carter and Tutti 's more accessible work.
Regularly cited as one of the original forerunners of the Techno and Electronica genres Chris & Cosey's name is often cited by bands and DJs as hugely influential. During the 1980s and 90s Chris & Cosey went on to record some of the most inventive Electronica albums, including the much sampled and remixed Trance album (1982), the Techno Pop classic October-Love Song (1983) and the West Coast and Goa dance floor hit Exotica (1987).
In 1992 after many gruelling tours and for both health and artistic reasons Carter and Tutti decided to scale down their live performances and concentrate on studio recordings. They continue to release numerous albums and solo projects through their own Conspiracy International label .In recent years Carter and Tutti have released two ongoing CD series: The Library Of Sound and Electronic Ambient Remixes. Their latest release is the critically acclaimed 'Cabal' cd album.
To greet the 21st century, Chris & Cosey became Carter Tutti, celebrating the rebirth with a series of concerts which were documented on the live album LEM Festival October 2003. The rebirth was completed by the release of the studio album Cabal later that year. Both also appeared as guests on the 2006 Current 93 album Black Ships Ate the Sky.
Carter and Tutti re-engaged with Throbbing Gristle, which reformed with all four original members for a December 2004 All Tomorrow's Parties festival appearance, and recorded several new studio albums over the following years - TG Now (2004) and Part Two (2007). They also performed a short series of concerts in Europe and the United States in 2009, with a rare tour-only release album, The Third Mind Movements. (Ostensibly, the few remaining copies were sold via mail-order through the Throbbing Gristle website upon completion of the tour).
In October 2010 Throbbing Gristle began a European tour; however, several days following the band's first tour date at the Hackney Dissenting Academy, London, Throbbing Gristle's website announced that Genesis P-Orridge was no longer willing to perform with the band, and would return to his home in New York. Chris, Cosey and Peter 'Sleazy' Christopherson finished the tour without P-Orridge, performing under the name X-TG.
Carter and Tutti performed with Nik Colk Void of Factory Floor at Mute's Short Circuit Festival in May 2011. A live album of the show, with an additional studio track, was released as Transverse in 2012, under the name Carter Tutti Void
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As for Cosey Fanni Tutti (born Christine Newby, 4 November 1951..she's began her career in music and art during 1969, appearing in art performances and musical improvisations in Hull until 1972.In 1973, Cosey moved to London and continued working as a performance artist representing Britain at the 9th Paris Biennale,1975 and Arte Inglese Oggi,1976. She also performed in Belgium, Germany, Holland, France, Italy, Austria, USA and Canada until 1980.
Throughout the period 1973 - 1980 Cosey was exhibiting, contributing to mail art exhibitions and performing in other group exhibitions around the world. Often working naked in her performances, Cosey went on to investigate self-image within the context of sex magazines and sex films, glamour modelling and striptease acts. Her experiences within these industries during the period 1973 - 1984 were brought into her art work as she explored the many aspects of sex as it is perceived and transacted as commercial product. She placed conventional beauty in a situation where it was subjected to simulated mutilation before a live audience. This provided a visual contrast highlighting and questioning the notion of what is presentable as 'beauty'.
In her infamous exhibition 'Prostitution' at the Institute of Contemporary Art, London, 1976Ê Cosey Fanni Tutti occupied multiple roles; artist, model, musician, and herself. Music was used in some of Cosey's performances in preference to spoken language, which she considered an obstacle to her visual presentations. She continued to explore the use of sound, scientifically, politically, commercially and as a means of physical pleasure or pain. In 1976 she co-founded the group Throbbing Gristle with Chris Carter, Peter Christopherson and Genesis P-Orridge. They broke the rules of established music and its contextual business practice, ultimately becoming successful with their own record label, Industrial Records. In 1981 Cosey immersed herself in creating music and video with partner Chris Carter under the name Chris & Cosey most recently performing and recording as Carter Tutti. Their joint musical and video collaborations, some 32 albums, have met with continuing international success.
1994 marked Cosey's re-entry into the art world since which time she has exhibited works in the UK, U.S.A., Austria, Germany, Lisbon, Japan, Spain, Portugal, Switzerland and Sweden. She now works closely with and is represented by Cabinet, London.
Her art practice takes it place alongside her continuing music work with Chris Carter and latterly the re-grouping of Throbbing Gristle.
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A surprisingly straight-ahead record given the pair's history, Songs of Love and Lust is a set of chilling synth-pop tracks with the added emotionless vocals of Cosey herself. They're just as extended as the tracks on Trance, ferocious and relentless electronica! This is an album which demands re-examination and a reappraisal. All the later Club/Rave culture music owes something to this recording, either directly or indirectly. The sounds are hard edged and the rhythms compulsive and throbbing. The heavy use of sequencers and raw, powerful synthlines makes this album the most listenable by C&C and makes it fit perfectly among the minimal synth / wave genre.
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Chris and Cosey - Songs of Love and Lust (flac 346mb)
01 Driving Blind 6:30
02 Love Cuts 7:44
03 Walking Through Heaven 5:12
04 Lament 2:25
05 Talk To Me 5:40
06 Gardens Of The Pure 4:36
07 Raining Tears Of Blood 4:35
08 Chiron 4:52
09 Tantalize 5:09
10 October Love Song 6:58
11 Little Houses 3:44
.
Chris and Cosey - Songs of Love and Lust (ogg 169mb )
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Exotika was the duo's first album as part of a North American agreement with Nettwerk Records (also the home of Skinny Puppy) and, while it does represent a leap in technology over their early work. The opening remix of "October Love Song" summarizes the mid-'80s, at least for the lucky ones. Keyboard motifs are the equivalent of a pelting with meringue in a mix where there's still plenty of room for the requisite breathy vocal as well as touches of abstract effects. Only one thing would halt the use of the word "sexy" as a description for this track
Attention will waver as "Relay" proceeds from the "Oh Mickey" riff to bargain-bin exotica. It isn't quite a complete doze-off, nor will the aroma of the subsequent "Smell the Roses" awaken the unconscious like a dose of smelling salts. It is lazy, dreamy, echoey, with a vocal atop that wavers between Pink Floyd, Jandek, and Daniel Johnston. The flip side of the EP makes a strong case for redemption of this effort. The question is will the listener still be awake to manipulate the record player, perhaps by then having passed the release off as simply one great song plus filler. "Love Cuts," again a remixed presentation, starts off bravely and sustains an extended form, the musical equivalent of taking deep breaths when stressed. In this case the vocal sound, although hardly beautiful, manages to fill the niche it is intended to, other corners chiseled in with evocative and imaginative drumbeats and a range of other hypnotic effects. This is a creation that holds up well against so much similar material that has been issued in the ensuing decades, a compliment that is also meant to acknowledge the amount of technological development in electronic music-making apparatus since that time. Chris Carter and Cosey Fanni Tutti were never just about gear by any means, though -- their sense of atmosphere and drama, when engaged, makes this electronica of more than average interest.
![]()
Chris And Cosey - Exotika + Take Five EP (flac 468mb)
01 Confession 5:43
02 Arcade (Extended) 9:03
03 Exotika 8:03
04 Vengeance (Extended) 9:47
05 Dancing On Your Grave 4:02
06 BeatBeatBeat 6:02
07 Dr. John (Sleeping Stephen) 4:49
08 Irama 3:12
09 October Love Song (Remix) 3:55
10 Relay 4:50
11 Smell The Roses 4:31
12 Love Cuts 7:29
13 Send The Magick Down 4:34
Chris And Cosey - Exotika + Take Five EP (ogg 192mb)
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This is a fantastic single by Chris And Cosey, especially.for the instrumental 47 Sound. .
![]()
Chris And Cosey - Obsession (flac 85mb)
01 Obsession (Remix) 7:13
02 47 Sound 6:45
xxxxx xxxxx xxxxx xxxxx xxxxx
C & C's shot at the big time with this Nettwerk via Capitol released album, and as usual they blow it. But wait...side one is actually pretty good minimal electro, some of the best stuff they have done. Side falls back into the C&C of old, but with a few interesting moments. All in all one of their better albums.
![]()
Chris and Cosey - Trust (flac 373mb)
01 Deep Velvet 6:34
02 Illusion 8:09
03 The Ring 4:18
04 Percusex 4:14
05 Rise 7:46
06 Watching You 7:08
07 Infectus 5:37
08 Trust 3:40
Chris and Cosey - Trust (ogg 145mb )
xxxxx xxxxx xxxxx xxxxx xxxxx
After the pioneer industrial rock combo Throbbing Gristle broke up in 1981, Chris Carter and Cosey Fanni Tutti (b. Christine Newby) decided to keep working together. Working under the names Chris and Cosey and CTI (Creative Technology Institute), the duo expanded the dense rhythmic ideas of their former band, adding more accessible synthesized pop elements as their career progressed.. ... N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
When Throbbing Gristle was terminated in 1981 Chris Carter and Cosey Fanni Tutti signed to Rough Trade Records and began recording and performing as Chris & Cosey. From the very start they indulgently utilised electronics, sampling, rhythms and Cosey’s distinctive vocals, cornet and guitar style. In 1983 they formed their own offshoot record label Conspiracy International (aka: CTI) for their more experimental recordings and collaborative projects. CTI continues to run alongside Carter and Tutti 's more accessible work.
Regularly cited as one of the original forerunners of the Techno and Electronica genres Chris & Cosey's name is often cited by bands and DJs as hugely influential. During the 1980s and 90s Chris & Cosey went on to record some of the most inventive Electronica albums, including the much sampled and remixed Trance album (1982), the Techno Pop classic October-Love Song (1983) and the West Coast and Goa dance floor hit Exotica (1987).
In 1992 after many gruelling tours and for both health and artistic reasons Carter and Tutti decided to scale down their live performances and concentrate on studio recordings. They continue to release numerous albums and solo projects through their own Conspiracy International label .In recent years Carter and Tutti have released two ongoing CD series: The Library Of Sound and Electronic Ambient Remixes. Their latest release is the critically acclaimed 'Cabal' cd album.
To greet the 21st century, Chris & Cosey became Carter Tutti, celebrating the rebirth with a series of concerts which were documented on the live album LEM Festival October 2003. The rebirth was completed by the release of the studio album Cabal later that year. Both also appeared as guests on the 2006 Current 93 album Black Ships Ate the Sky.
Carter and Tutti re-engaged with Throbbing Gristle, which reformed with all four original members for a December 2004 All Tomorrow's Parties festival appearance, and recorded several new studio albums over the following years - TG Now (2004) and Part Two (2007). They also performed a short series of concerts in Europe and the United States in 2009, with a rare tour-only release album, The Third Mind Movements. (Ostensibly, the few remaining copies were sold via mail-order through the Throbbing Gristle website upon completion of the tour).
In October 2010 Throbbing Gristle began a European tour; however, several days following the band's first tour date at the Hackney Dissenting Academy, London, Throbbing Gristle's website announced that Genesis P-Orridge was no longer willing to perform with the band, and would return to his home in New York. Chris, Cosey and Peter 'Sleazy' Christopherson finished the tour without P-Orridge, performing under the name X-TG.
Carter and Tutti performed with Nik Colk Void of Factory Floor at Mute's Short Circuit Festival in May 2011. A live album of the show, with an additional studio track, was released as Transverse in 2012, under the name Carter Tutti Void
Throughout the period 1973 - 1980 Cosey was exhibiting, contributing to mail art exhibitions and performing in other group exhibitions around the world. Often working naked in her performances, Cosey went on to investigate self-image within the context of sex magazines and sex films, glamour modelling and striptease acts. Her experiences within these industries during the period 1973 - 1984 were brought into her art work as she explored the many aspects of sex as it is perceived and transacted as commercial product. She placed conventional beauty in a situation where it was subjected to simulated mutilation before a live audience. This provided a visual contrast highlighting and questioning the notion of what is presentable as 'beauty'.
In her infamous exhibition 'Prostitution' at the Institute of Contemporary Art, London, 1976Ê Cosey Fanni Tutti occupied multiple roles; artist, model, musician, and herself. Music was used in some of Cosey's performances in preference to spoken language, which she considered an obstacle to her visual presentations. She continued to explore the use of sound, scientifically, politically, commercially and as a means of physical pleasure or pain. In 1976 she co-founded the group Throbbing Gristle with Chris Carter, Peter Christopherson and Genesis P-Orridge. They broke the rules of established music and its contextual business practice, ultimately becoming successful with their own record label, Industrial Records. In 1981 Cosey immersed herself in creating music and video with partner Chris Carter under the name Chris & Cosey most recently performing and recording as Carter Tutti. Their joint musical and video collaborations, some 32 albums, have met with continuing international success.
1994 marked Cosey's re-entry into the art world since which time she has exhibited works in the UK, U.S.A., Austria, Germany, Lisbon, Japan, Spain, Portugal, Switzerland and Sweden. She now works closely with and is represented by Cabinet, London.
Her art practice takes it place alongside her continuing music work with Chris Carter and latterly the re-grouping of Throbbing Gristle.
xxxx xxxxx xxxxx xxxxx xxxxx
A surprisingly straight-ahead record given the pair's history, Songs of Love and Lust is a set of chilling synth-pop tracks with the added emotionless vocals of Cosey herself. They're just as extended as the tracks on Trance, ferocious and relentless electronica! This is an album which demands re-examination and a reappraisal. All the later Club/Rave culture music owes something to this recording, either directly or indirectly. The sounds are hard edged and the rhythms compulsive and throbbing. The heavy use of sequencers and raw, powerful synthlines makes this album the most listenable by C&C and makes it fit perfectly among the minimal synth / wave genre.
Chris and Cosey - Songs of Love and Lust (flac 346mb)
01 Driving Blind 6:30
02 Love Cuts 7:44
03 Walking Through Heaven 5:12
04 Lament 2:25
05 Talk To Me 5:40
06 Gardens Of The Pure 4:36
07 Raining Tears Of Blood 4:35
08 Chiron 4:52
09 Tantalize 5:09
10 October Love Song 6:58
11 Little Houses 3:44
.
Chris and Cosey - Songs of Love and Lust (ogg 169mb )
xxxxx xxxxx xxxxx xxxxx xxxxx
Exotika was the duo's first album as part of a North American agreement with Nettwerk Records (also the home of Skinny Puppy) and, while it does represent a leap in technology over their early work. The opening remix of "October Love Song" summarizes the mid-'80s, at least for the lucky ones. Keyboard motifs are the equivalent of a pelting with meringue in a mix where there's still plenty of room for the requisite breathy vocal as well as touches of abstract effects. Only one thing would halt the use of the word "sexy" as a description for this track
Attention will waver as "Relay" proceeds from the "Oh Mickey" riff to bargain-bin exotica. It isn't quite a complete doze-off, nor will the aroma of the subsequent "Smell the Roses" awaken the unconscious like a dose of smelling salts. It is lazy, dreamy, echoey, with a vocal atop that wavers between Pink Floyd, Jandek, and Daniel Johnston. The flip side of the EP makes a strong case for redemption of this effort. The question is will the listener still be awake to manipulate the record player, perhaps by then having passed the release off as simply one great song plus filler. "Love Cuts," again a remixed presentation, starts off bravely and sustains an extended form, the musical equivalent of taking deep breaths when stressed. In this case the vocal sound, although hardly beautiful, manages to fill the niche it is intended to, other corners chiseled in with evocative and imaginative drumbeats and a range of other hypnotic effects. This is a creation that holds up well against so much similar material that has been issued in the ensuing decades, a compliment that is also meant to acknowledge the amount of technological development in electronic music-making apparatus since that time. Chris Carter and Cosey Fanni Tutti were never just about gear by any means, though -- their sense of atmosphere and drama, when engaged, makes this electronica of more than average interest.
Chris And Cosey - Exotika + Take Five EP (flac 468mb)
01 Confession 5:43
02 Arcade (Extended) 9:03
03 Exotika 8:03
04 Vengeance (Extended) 9:47
05 Dancing On Your Grave 4:02
06 BeatBeatBeat 6:02
07 Dr. John (Sleeping Stephen) 4:49
08 Irama 3:12
09 October Love Song (Remix) 3:55
10 Relay 4:50
11 Smell The Roses 4:31
12 Love Cuts 7:29
13 Send The Magick Down 4:34
Chris And Cosey - Exotika + Take Five EP (ogg 192mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
This is a fantastic single by Chris And Cosey, especially.for the instrumental 47 Sound. .
Chris And Cosey - Obsession (flac 85mb)
01 Obsession (Remix) 7:13
02 47 Sound 6:45
xxxxx xxxxx xxxxx xxxxx xxxxx
C & C's shot at the big time with this Nettwerk via Capitol released album, and as usual they blow it. But wait...side one is actually pretty good minimal electro, some of the best stuff they have done. Side falls back into the C&C of old, but with a few interesting moments. All in all one of their better albums.
Chris and Cosey - Trust (flac 373mb)
01 Deep Velvet 6:34
02 Illusion 8:09
03 The Ring 4:18
04 Percusex 4:14
05 Rise 7:46
06 Watching You 7:08
07 Infectus 5:37
08 Trust 3:40
Chris and Cosey - Trust (ogg 145mb )
xxxxx xxxxx xxxxx xxxxx xxxxx