VOTD 2/17/2023

 Throbbing Gristle: Live December 2004 (A Souvenir of Camber Sands) (Mute)

Purchased at the Attic

I'm currently reading Cosey Fanni Tutti's memoirs. It's a book that I recognize as being in her own voice; a strict editor might have insisted she correct some of her grammar ("Me and Lee..." rather than "Lee and I...") I appreciate that, but also it's far, far too long. There's so much space devoted to describing her youth, which could have been far more condensed. For a book titled Art Sex Music, it takes too long to get to the art, the sex, and the music. At least, any of those of any particular interest.

One of the major points of interest is why exactly Genesis Breyer P-Orridge chose to quit mid-performance schedule, during their reunion performances. I did skip ahead and skimmed a few pages, not getting to the crux of the matter, but the aftermath. I'll read in more detail another time, but I did catch a little of the "creative differences" excuse. 

I have little sympathy for this, if I'm reading it right. Many people were relying on Gen, commitments were made. If you sign on for the gig, you do the gig. You better have a really good reason not to do it if you've made the commitment. Not just, "I don't agree with the direction of this project." Fulfill your contractual obligations and assess the situation afterwards.

I'm sure that when they reunited, there was some discussion as to whether they should perform their old songs or not. I mean, I can both see that you don't want to revel in the past, but also, who else has more of a right to perform them? TG performances back in the day were unpredictable affairs, sometimes interpreting their studio songs live, sometimes improvising with apparently little plan, and all points in between.

TG wouldn't have existed without Gen, but this live document reinforces to me that I find them the least interesting person in the band. And when Gen tries to sing the most traditional song in the performance, "Almost Like This (A Kiss)", it's even a little embarrassing. 

I read ahead enough in the book, and already knew enough of the story, to know that when Gen quit, they remaining three performed as X-TG. But shortly afterwards Peter Christopherson died, and that's when Chris and Cosey decided that TG really was done, not with Gen's departure.

I sometimes question whether this band is any good. And sometimes, some performances, some particular pieces, the answer is definitely no. They could sometimes really suck, sounding like a less-competent jam band. They're at their best when they're bleak and dark, though there is that proto-synth pop side of Chris' too that makes for an interesting contrast.

When I think of the term "industrial music', it's not the EDM side of things that comes to my mind. It's TG leading to the more power electronics side of things, (early) Controlled Bleeding, Ramleh, groups such as that. This is a reasonable document (the previously mentioned song notwithstanding), but, maybe it's all better a part of history too? Time has moved on?