2k19•02

Lazuli

Taken from the album Temporal (released 25th January 2019):
https://music.juliakent.com/album/temporal

@theleaflabel

Imbalance

Title track from the new solo album 'TUTTI' by Cosey Fanni Tutti. 

Released by Conspiracy International on 8th February 2019
on Vinyl, Compact Disc, Digital Download and Streaming.

Pre-Order here: https://cargorecordsdirect.co.uk/products/cosey-fanni-tutti-tutti
For more information visit: http://www.coseyfannitutti.com
Video version: https://youtu.be/NgXD3XvE08U

PRESS RELEASE

COSEY FANNI TUTTI announces the release of her second solo album, TUTTI, 
out on Conspiracy International on 8th February 2019.

TUTTI is comprised of eight soundscapes: an audio self portrait comprising of manipulated sound recordings from Cosey’s life, music and art: “It’s the only album I’ve made that is an all encompassing statement expressing the totality of my being. A sense of the past in relation to the present and everything in between.”

These eight pieces were originally conceived as the soundtrack to the autobiographical film ‘Harmonic Coumaction’, and performed live in February 2017, part of a series of events that accompanied the COUM Transmissions retrospective which opened Hull UK City of Culture 2017. Later that year, ‘Harmonic Coumaction’ was presented as an audio-visual installation for Cosey Fanni Tutti’s solo exhibition at Cabinet Gallery, London.

Cosey Fanni Tutti explains: “Working on the COUM Transmissions exhibition also coincided with writing my autobiography - collating archive material and re engaging with my past. My work is a continuum, the past feeding the present and vice versa. The album is an interpretation of my past and present, of my understanding the shifting perceptions of how they inform one another. One form creating another through a metamorphic process.”

On TUTTI, the music has been updated and enhanced with elements of the original tracks re-recorded and further processed specifically to create a unique stand-alone document, separate to the live performance and installation.

Recorded at Cosey Fanni Tutti’s studio in Norfolk, the album, as on her debut release, Time To Tell, merges Cosey’s art activities with her exploration of sound: The album’s autobiographical theme is not locked into any specific time or place, the ‘voices’, instruments and sounds together span decades of my life, music and art. In this context my name 'TUTTI’ shifts from its role as a noun to perfectly represent the concept of the album, also acting as sign for me the artist.

TUTTI is Cosey Fanni Tutti’s only solo album release since 1982’s Time To Tell. Time To Tell was recently given its first release on vinyl, on a long awaited official deluxe edition. The interim years between solo releases has seen a blisteringly prolific output as an artist and musician. Renowned for her art, her work in the sex industry, as co-founder of Industrial music and Throbbing Gristle, and her pioneering electronic music solo and as Chris & Cosey, Carter Tutti and Carter Tutti Void, she has created throughout with the motto “my life is my art, my art is my life”. 

Cosey’s autobiography ART SEX MUSIC was published to worldwide acclaim by Faber & Faber in 2017, a Japanese edition has just been published with further translations and an audio book to follow.

TUTTI TRACK LISTING
Tutti
Drone
Moe
Sophic Ripple
Split
Heliy
En
Orenda

TUTTI

TUTTI (edit)

TUTTI (Edit)

Jonáš Gruska – Žaburina

“Gruska remains a distant conductor, assembling sounds with finesse and a touch of humor.” - FACT Mag on Jonáš Gruska’s debut, Spevy

For his sophomore album proper, Bratislava-based artist and microphone-builder Jonáš Gruska breaks from the field recordings that dominated his 2017 debut, and turns his focus to digital synthesis and algorithmically generated music. The sounds on Žaburina comprises choice snippets from Gruska’s generative computer compositions, unfolding into colliding rituals of interlacing digital notes. Key sonic inspirations include everything from insects and birds, to hydrophone recordings, the work of Harry Partch, and traditional musics from Cambodia, Malaysia, and Indonesia. 

Žaburina essentially takes places in the subaqueous world envisioned by Gruska. The album’s title even comes from the Slovak word for part of a pond covered over with algae and frogspawn. The spasmodic, bubbling music of Žaburina represents Gruska’s dreams about “non-traditional, alien societies living mostly underwater,”; they imagine the peculiar folklore and ceremonial musics such a culture could have. 

This music approaches scales and rhythm with its own alien logic, with almost every track utilising polythyrhms and polymetry. The latter refers to the myriad tempi various voices across the album use, perhaps starting a piece in unison before falling apart over time. The resultant rhythmic patterns are often chaotic, yet deeper listening reveals a vibrant internal logic all their own. Album centrepiece ‘Sen’ (‘Dream’) takes the process to its limit, ushering a choir of generative synth melodies into mutating wreaths for over eight minutes.

A key part of the compositional process came in adapting this music for live performance. Gruska employs a set of horn PA speakers dotted about a performance space, each spreading the various voices in each piece around the room. The sonic qualities of the horn speakers - a bright sound focused on projecting over distance and with relatively little available at the lower end of the frequency range - in turn influenced Gruska’s process when programming both the tone and timbre of each piece. 

“Performing them like that made me rethink,” says Gruska of the horn speakers. “They are my little choir.” Gruska’s methodology also has the benefit of creating productions that lose little on lower quality sound systems. He assures us that this release doesn’t suffer from bad listening situations. “It can actually benefit from it.”


Also included on Žaburina is a trio of remixes by Broshuda, &apos (Bepotel), and Max Eilbacher (Horse Lords, SEF III), each recontextualising Gruska’s source material across glitchy beats and hypnagogic soundscapes. Jonáš Gruska continues to helm his instrument manufacturer and record label, LOM, out of Bratislava.

Slávnosť

Track taken from the upcoming album 'Solos' on Fluid Audio...

Audio: Christopher Whitley
Mastering: James Plotkin
Design: Daniel Crossley

www.fluidaudio.bigcartel.com/mailing-list

2k19•02

benoitd