The tracks that make up Carter Tutti Void‘s Transverse collaboration were recorded live at Mute‘s Short Circuit festival at London’s Roundhouse on May 13th 2011, and according to the sleeve (more on that in a moment) the trio of Chris Carter, Cosey Fanni Tutti and Nik Void prepared the pieces together in the studio and then played them live on the day. No-one else had apparently heard the four tracks that made up their performance, but the prospect of witnessing a collaboration between one half of Throbbing Gristle teaming up with Factory Floor‘s Void had people being turned away at the door. Transverse, according to the Mute spiel, is one of a number of concert recordings from Short Circuit being prepared for release.
The first thing that grabs you about Transverse is the sleeve, a simple Bridget Riley-esque repeated monochrome pattern which appears to move as you tilt your head, and which really hurts your eyes if you stare at it too long. Simple is not a word you could use to describe the music contained on Transverse, however. Aiming for the complex end of the sonic spectrum, Transverse consists of four tracks of thudding, heavy, hypnotic ambience loaded with edgy sounds, dark tones and industrial style noise infiltration.
The central point of reference in each case is a deep, pulsing beat, not dissimilar from some of Orb’s most dub-esque soundscapes, that beat providing a consistent backdrop for the more challenging drones, squalls, yelps and clattering percussion that litter these tracks. At times barely-controlled bowed guitar feedback from Void drifts into view; at others Cosey Fanni Tutti moans wordlessly as though experiencing some sort of dark religious euphoria; at others snatches of words swing into view; at others, thick bass drones dominate; at others it feels like each track might just be a tweak of a dial away from complete overload and ear-shredding noise collapse.
Overall, the effect is exactly what you’d expect from this trio. Factory Floor have been heralded as taking Throbbing Gristle’s legacy and bringing that band’s name to a whole new audience, while Chris and Cosey have been toying with industrial clamour for decades. The four long pieces included here are detailed, intricate and confrontational all at the same time, particularly suited to those who need more angst and unpredictability in their deep listening soundscapes. Unlike most work of this nature, the fractured sounds and feedback bursts suggest that this should be listened to really loud, allowing the bass passages to have a similar, punishing effect on your body as that monochrome sleeve has on your eyes.
The LP + CD edition of Transverse includes an alternate version of the CD release, the four tracks being augmented by an additional track in the shape of ‘V4 Studio (Slap 1)’, a studio version of the final track played as part of the trio’s Short Circuit set. The studio version feels more playful than the version played live, reducing the prominence of the bass and eliminating a lot of the reverb and resonance inevitably presented on the Roundhouse performance version. Pre-ordering the album from Carter Tutti Void’s own Sandbag web store also meant you could get hold of an exclusive recording, ‘cruX’ which was delivered as a download on the day of release.
First posted 2012; edited 2018.
(c) 2018 Mat Smith / Documentary Evidence.