“We took along a little recorder, just to record it for historical purposes,” says Carter, “but we didn’t know there was this massive OB [outside broadcasting] truck out the back recording! We thought we’d got a little recording and then Mute said, ‘oh, we’ve got a multitrack recording of it from the desk!’ That’s why it sounds as good as it does, I mean, it sounds like a studio album almost, it doesn’t sound like a live album.”
Usually, the three of them find themselves recording at home – Carter and Tutti in the studio they’ve been building since the ’80s, and Void with Factory Floor in their London warehouse – in a long, considered process. ‘Transverse’, in contrast, was rehearsed and recorded in the space of a few weeks. Was it a refreshing change to their usual approach?
“It’s amazing,” laughs Void, as Carter adds, “I wish we could do it all the time!”
“Sometimes I wonder what the outcome would be if we decided to spend two months together working on something,” says Void. “I think it would be a very different record, and that’s what’s so great about this, it’s such an honest record, it’s just honestly what was coming out of us at that time. Sometimes when you meet people and you get chemistry it doesn’t get recorded, and that’s kind of what [‘Transverse’] is.”
An undeniable part of the record’s slow-burn success this year is its hypnotic cover, a mind-bending piece of monochrome op art that seems to quiver in front of your eyes. Once you’ve seen it, the urge to purchase it is overwhelming.
“I thought it would be nice to have something that actually moved when you went near it, rather than just sit there and be a pretty picture,” says Tutti. “So for me it was all about the fact that it’s got a bit of energy there, unsuspectingly, and you think, what was that? It also speaks about the actual concept of the thing, the three of us together, the transverse – Nik’s sort of cutting across the Carter Tutti part here, and we have jointly cut across what she’s done with Factory Floor, and that’s what it’s all about.”
None of the three are trained musicians, and they all agree that their lack of knowledge is a vital element of their music. Have they consciously avoided learning too much about their craft?
“You obtain your own skillset through what you do,” says Carter.
“You become proficient in your own style,” Tutti agrees. “I was taught to play the piano when I was 11, but…”
“You don’t play piano!” laughs Chris.
“I started stripping it down and playing it like a harp, it just sounded better! The thing is, I’ve never felt that a structured formula for music was a vehicle for me to express my feelings. Someone else wrote how to do that. They weren’t me. I don’t see how that could even be possible.”
Their efforts to take the recording process into their own hands and avoid prescriptive musical structures neatly reflects the philosophy of self-reliance that both bands take seriously. Do they see themselves as overtly political, still?
“I think the music both [Nik] and us make is a protest in its own way,” says Tutti.
“The music industry is pretty hard work at the moment, so we decide how to put things out and who with,” says Void. “We don’t want to restrict ourselves to one label, which I guess is a kind of protest against doing things the normal way, and we try really hard to be self-sufficient. I think that’s how we were raised by TG, you know?”
“There’s lots of parallels,” agrees Carter.
The problem with playing by your own rules is that it can leave us fans pretty disappointed. Carter Tutti Void played four songs and immediately evaporated. They’re sitting in front of me now, but as far as being an active band goes, they’re no longer a going concern. So come on – might there be more from Carter Tutti Void in the future?
“We’ve had loads of offers to do gigs,” says Tutti, “[but] people would go along expecting to hear the album. Just by the nature of the way we did it the first time, it’s gonna have to be different every time.”
“That’s exactly how I felt,” agrees Void. “If we worked together in the studio it probably wouldn’t have the same energy. It would have to be something completely unique and different.”
While we wait for the trio to work out how they might ever collaborate again, Void continues to work on Factory Floor’s first proper full-length album, due out next year, which follows the single ‘Two Different Ways’ released on DFA in November. The band also recently collaborated with artist Hannah Sawtell at the ICA, a move that uncannily parallels Throbbing Gristle’s association with the London art gallery, though presumably with less accompanying tabloid hysteria.
Meanwhile, Carter and Tutti are wrapping up Throbbing Gristle for good with the release of a double album, the first half of which is a cover of Nico’s maudlin classic ‘Desertshore’, featuring vocals from an estimable cadre of artists including Antony Hegarty, French film director Gaspar Noé and porn star-turned-musician Sasha Grey. They’d been working on it with former Throbbing Gristle bandmate Peter ‘Sleazy’ Christopherson until his unexpected death in 2010.
“Someone said, just after he died, ‘will you be finishing Desertshore for him?’” says Tutti. “And we said, ‘yeah, of course we will’ – kneejerk reaction. We couldn’t work on it for quite a while because it was just too upsetting, but then as we started working it kind of formed itself, it had a lovely momentum about it and it wasn’t at all angst ridden, was it? The tracks came together almost like magic.”
‘The Final Report’, a collection of tracks completed from the last sessions with Sleazy in 2009 and 2010, completes the double album and the lifespan of Throbbing Gristle. With performances of those records still a possibility, and the couple’s own far-reaching back catalogue still to be added to, it somehow seems unlikely that Carter Tutti Void will get a second airing.
Or does it? Is there the slightest chance of another record? They glance at each other, smiling.
“Possibly,” says Carter.
“Yes,” adds Void.
Tutti adds the final word. “I don’t see how we can say no, really,” she smiles.