VOTD 1/21/2023

 Chris and Cosey: Trance (Rough Trade)

Purchased used, possibly at Eide's

I have an old friend, who is on my so-called friends list on Facebook. He doesn't post or respond often, but when he does, he makes everything 100% about himself. I know what you're thinking: that's most of what Facebook is. I can also be guilty. He really makes it about him. "I drove that person around in 1985", "I discovered his record at my college radio station years ago and played it often" [not direct quotes, just typical of what he might write] and postings that are even more self-centered than that. I know that sounds benign, but among the things he would do was to take partial credit for an old band of mine, because one of his prior groups had two of the same people. I had to call him out on that.

When I write this listening diary, this personal aural journal, I am acutely aware that it's often more about me than the music that I put on my stereo. I try to be guarded about making everything about me all the time. I'm thinking now how there's already a contradiction in that very statement.

At the same time, I also can get very prickly about not being given credit when it's due, or are passed over for performance opportunities that I think I might deserve (unfairly or not).

I have a quote from John Cage on my Facebook page: "...I see no reason for living without contradictions."

All of this came to mind when I was again considering the purpose of this blog. It's for myself more than anything else. I can sometimes feel like I can be very undisciplined, and I'm trying to develop better daily habits. I also have amassed a substantial personal CD and LP library, and I should be sitting down and listening to more of it. 

I keep track of how many people read this blog, and it appears two regularly check out my little online ramblings. Thanks, it is what it is. I have no interest in doing anything further with these messages past posting them day to day. I also encourage my students to write, write all the time if you can. Writing is a skill sharpened through practice, no less than musical ability. I might as well practice what I preach.

Here's this record, chosen more-or-less randomly from my stacks. Chris (Carter) and Cosey (Fanni Tutti) were not long ex-Throbbing Gristle at the time of this recording, 1982. 

Early, old school industrial music was to me what punk rock was to others. It was exciting, and something that almost anyone could make given enough effort. It wasn't a music tied to technical facility.

I didn't necessarily think about the latter when listening back in the day, though. There was just sound involved, a range of sound that could include abrasive noise. I welcomed it and sought out records in the style where and when I could.

I can't speak about Chris' technical ability as a keyboardist. I'm sure he can play a bit, certainly better than I. His technical achievement has more to do with helping to develop some of the technologies that went into his music.

The music on this record was so much more work to achieve than now, forty(!) years later. As a pair, they're not content to only let his sequenced drum and rhythm patterns play out. there's nearly always at least an underpinning of sounds, noise, things happening. I'm certain this is in part where Cosey's contributions shine. Noticeable are her aggressively primitive guitar and cornet playing in the mix. 

Taking all that into account, I think they present as a unified duo. Chris may be more entrenched in the technical side of what they do, but it is both Chris and Cosey.

And, I used to play this on WRCT and WYEP, bringing it back to me. There I go again.