worship the glitch
This is Eric Mortensen's blog. He works @ Blip and lives in Brooklyn.
OK. That’s weird.
(via fuckyeahthrobbingristle)
TG - Something Came Over Me
I actually own this 7”. It’s my most only prized piece of vinyl.
Three minute BBC segment about Throbbing Gristle, with Chris Carter and Cosey Fanni Tutti. (via experimentalcircleclub)
Cosey Fanni Tutti manipulates the gorgeous Tutti Box, an experimental synthesizer with five oscillators, two effects units, a step sequencer, a joystick controller, a coil touch controller, an amp & speaker and a front mounted sound activated plasma display.
Sic Alps - United (Throbbing Gristle cover)
It’s amazing and extremely rare. It was only published on a limited edition 7”
COH + Cosey Fanni Tutti - closer
from COH Play Cosey
COH PLAYS COSEY CD is the first part of an ongoing collaborative project between Ivan Pavlov/COH and Cosey Fanni Tutti known for her solo performances and work with Chris Carter/CTI as well as for being a part of the radical cultural phenomena COUM Transmissions and Throbbing Gristle. Very much a statement rather than just a musical venture, COH PLAYS COSEY deals with concepts of honesty, trust, privacy, communication as well as (perception of) sexuality. The work represents a very close, if an intimate, contact between the two, where one (Ivan) was to interpret voice recordings made for him by the other (Cosey) - recordings made in intensely emotional states to establish a dialogue that extends beyond words, beyond intellect. A most private emotional diary of one (Cosey) pronounced to the general public by the other (Ivan). The work has been kept hermetic by Ivan voluntarily restricting his choice of sound exclusively to that originating from the voice recordings, thus preserving the raw quality of his source material. In this explicit sonic adventure COH plays Cosey without inhibitions, without fear and without questioning the content submitted. COH plays Cosey like an actor - becoming her through his elaborate transformations of the voice. COH plays Cosey like a computer game - making his way though the infinite combinations and variety of human expression with ease and sense of fun. COH plays Cosey like in sex - fully controlling the process and manifesting the eventual outcome. COH PLAYS COSEY is a world of the embarrassingly unspoken made audible, COH PLAYS COSEY is the place where there is nothing left to hide.
[Flash 9 is required to listen to audio.]
Hamburger Lady - Throbbing Gristle
Jaylib (J Dilla and Madlib) - The Heist
from Champion Sound
The “snare” is taken from Throbbing Gristle’s What A Day and much of the rest is taken from Persuasion. Both tracks can be found on 20 Jazz Funk Greats.
Throbbing Gristle live @ London’s Astoria Theater 2004
[Flash 9 is required to listen to audio.]
Throbbing Gristle - Convincing People
from 20 Jazz Funk Greats
![The Wire: Sleazy Peter Christopherson unedited (via 23narchy)
“To me any kind of psychedelic can be a really amazing way of opening a door and showing views that you’ve never seen before, but once you’ve had a really good look, I don’t think that you need to continue seeing if its still there by opening the door again. It’s not a necessity for your life. Worship The Glitch [credited as ElpH Vs. Coil] came as a response or reaction against this. Coil were always very conscious that we didn’t want to be seen as jumping on any kind of rave bandwagon. The most ravey we got were on some of the Love’s Secret Domain tracks and they were pretty out there and not even in 4/4. I remember a couple of momentous occasions coming up to 94/95, when the horrific, bad-trip element was stronger than the euphoric, dance-your-head-off kind of thing. Consequently, we were looking for new types of music that would still have the same interest and excitement and psychedelic point of view, but without the repetitive need for the jiggly, jumpy-up-and down elements.So both ELpH and Time Machines were intending to recreate or give an impression of the experience that one had on different types of drugs. Time Machines had five tracks on it that were all drones, interesting ones that actually make you feel different if you played them loud and in a really good way. I think it was the purest drone piece that I’ve ever heard, actually, and to me paved the way for Earth and all those bands.”](http://27.media.tumblr.com/tumblr_kut0hskQlT1qz9m0ho1_500.jpg)
The Wire: Sleazy Peter Christopherson unedited (via 23narchy)
“To me any kind of psychedelic can be a really amazing way of opening a door and showing views that you’ve never seen before, but once you’ve had a really good look, I don’t think that you need to continue seeing if its still there by opening the door again. It’s not a necessity for your life.
Worship The Glitch [credited as ElpH Vs. Coil] came as a response or reaction against this. Coil were always very conscious that we didn’t want to be seen as jumping on any kind of rave bandwagon. The most ravey we got were on some of the Love’s Secret Domain tracks and they were pretty out there and not even in 4/4.
I remember a couple of momentous occasions coming up to 94/95, when the horrific, bad-trip element was stronger than the euphoric, dance-your-head-off kind of thing. Consequently, we were looking for new types of music that would still have the same interest and excitement and psychedelic point of view, but without the repetitive need for the jiggly, jumpy-up-and down elements.
So both ELpH and Time Machines were intending to recreate or give an impression of the experience that one had on different types of drugs. Time Machines had five tracks on it that were all drones, interesting ones that actually make you feel different if you played them loud and in a really good way. I think it was the purest drone piece that I’ve ever heard, actually, and to me paved the way for Earth and all those bands.”
Throbbing Gristle - United (Two Lone Swordsmen Remix)
from Mutant TG
