Hello, note i've updated this post with Cosey Fanni Tutti - Time to Tell, it got overseen by me when posting yesterday...N'Joy
After the pioneer industrial rock combo Throbbing Gristle broke up in 1981, Chris Carter and Cosey Fanni Tutti (b. Christine Newby) decided to keep working together. Working under the names Chris and Cosey and CTI (Creative Technology Institute), the duo expanded the dense rhythmic ideas of their former band, adding more accessible synthesized pop elements as their career progressed.. ... N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
When Throbbing Gristle was terminated in 1981 Chris Carter and Cosey Fanni Tutti signed to Rough Trade Records and began recording and performing as Chris & Cosey. From the very start they indulgently utilised electronics, sampling, rhythms and Cosey’s distinctive vocals, cornet and guitar style. In 1983 they formed their own offshoot record label Conspiracy International (aka: CTI) for their more experimental recordings and collaborative projects. CTI continues to run alongside Carter and Tutti 's more accessible work.
Regularly cited as one of the original forerunners of the Techno and Electronica genres Chris & Cosey's name is often cited by bands and DJs as hugely influential. During the 1980s and 90s Chris & Cosey went on to record some of the most inventive Electronica albums, including the much sampled and remixed Trance album (1982), the Techno Pop classic October-Love Song (1983) and the West Coast and Goa dance floor hit Exotica (1987).
In 1992 after many gruelling tours and for both health and artistic reasons Carter and Tutti decided to scale down their live performances and concentrate on studio recordings. They continue to release numerous albums and solo projects through their own Conspiracy International label .In recent years Carter and Tutti have released two ongoing CD series: The Library Of Sound and Electronic Ambient Remixes. Their latest release is the critically acclaimed 'Cabal' cd album.
To greet the 21st century, Chris & Cosey became Carter Tutti, celebrating the rebirth with a series of concerts which were documented on the live album LEM Festival October 2003. The rebirth was completed by the release of the studio album Cabal later that year. Both also appeared as guests on the 2006 Current 93 album Black Ships Ate the Sky.
Carter and Tutti re-engaged with Throbbing Gristle, which reformed with all four original members for a December 2004 All Tomorrow's Parties festival appearance, and recorded several new studio albums over the following years - TG Now (2004) and Part Two (2007). They also performed a short series of concerts in Europe and the United States in 2009, with a rare tour-only release album, The Third Mind Movements. (Ostensibly, the few remaining copies were sold via mail-order through the Throbbing Gristle website upon completion of the tour).
In October 2010 Throbbing Gristle began a European tour; however, several days following the band's first tour date at the Hackney Dissenting Academy, London, Throbbing Gristle's website announced that Genesis P-Orridge was no longer willing to perform with the band, and would return to his home in New York. Chris, Cosey and Peter 'Sleazy' Christopherson finished the tour without P-Orridge, performing under the name X-TG.
Carter and Tutti performed with Nik Colk Void of Factory Floor at Mute's Short Circuit Festival in May 2011. A live album of the show, with an additional studio track, was released as Transverse in 2012, under the name Carter Tutti Void
As for Cosey Fanni Tutti (born Christine Newby, 4 November 1951..she's began her career in music and art during 1969, appearing in art performances and musical improvisations in Hull until 1972.In 1973, Cosey moved to London and continued working as a performance artist representing Britain at the 9th Paris Biennale,1975 and Arte Inglese Oggi,1976. She also performed in Belgium, Germany, Holland, France, Italy, Austria, USA and Canada until 1980.
Throughout the period 1973 - 1980 Cosey was exhibiting, contributing to mail art exhibitions and performing in other group exhibitions around the world. Often working naked in her performances, Cosey went on to investigate self-image within the context of sex magazines and sex films, glamour modelling and striptease acts. Her experiences within these industries during the period 1973 - 1984 were brought into her art work as she explored the many aspects of sex as it is perceived and transacted as commercial product. She placed conventional beauty in a situation where it was subjected to simulated mutilation before a live audience. This provided a visual contrast highlighting and questioning the notion of what is presentable as 'beauty'.
In her infamous exhibition 'Prostitution' at the Institute of Contemporary Art, London, 1976Ê Cosey Fanni Tutti occupied multiple roles; artist, model, musician, and herself. Music was used in some of Cosey's performances in preference to spoken language, which she considered an obstacle to her visual presentations. She continued to explore the use of sound, scientifically, politically, commercially and as a means of physical pleasure or pain. In 1976 she co-founded the group Throbbing Gristle with Chris Carter, Peter Christopherson and Genesis P-Orridge. They broke the rules of established music and its contextual business practice, ultimately becoming successful with their own record label, Industrial Records. In 1981 Cosey immersed herself in creating music and video with partner Chris Carter under the name Chris & Cosey most recently performing and recording as Carter Tutti. Their joint musical and video collaborations, some 32 albums, have met with continuing international success.
1994 marked Cosey's re-entry into the art world since which time she has exhibited works in the UK, U.S.A., Austria, Germany, Lisbon, Japan, Spain, Portugal, Switzerland and Sweden. She now works closely with and is represented by Cabinet, London.
Her art practice takes it place alongside her continuing music work with Chris Carter and latterly the re-grouping of Throbbing Gristle.
xxxx xxxxx xxxxx xxxxx xxxxx
Cosey Fanni Tutti's work since TG, while often stylistically very different, has nevertheless been driven by the same compulsion towards originality and adventure, and many of the same extra-musical influences and ideas. The primacy of improvisation in live performances in particular is informed by an aversion to repetition and a persistent desire to break new ground. The possibility that imposed constraints could, paradoxically, yield liberatingly creative and exhilarating results was particularly evident in Carter Tutti Void's Transverse, a recording of a partially improvised performance in 2011.
While known beyond the music world as an artist, Cosey's work has also had a close relationship with the literary world. In the 1970s her poetry appeared in Paul Buck's Curtains, a journal which was instrumental in introducing the work of French avant-garde writers such as Maurice Blanchot and Georges Bataille to an English readership. She participated in Violent Silence, an event celebrating the work of Bataille in the Bloomsbury Theatre in London in 1984, also featuring performances and readings from Marc Almond, Derek Jarman, and transgressive French novelist Bernard Noël.
Her only solo album, Time To Tell (Flowmotion, 1983 - CTI, 1988), contains three lengthy 1982 electronic compositions originally meant to accompany her art performances. The instrumental Ritual Awakening has a slowly unfolding folkish melody that gets drained by ominous rumbles and dissonances until only creepy drones are left. Initially the 23-minute The Secret Touch appears to be a spoken-word piece over multiple industrial rhythms, but an elegant transition leads to the rhythm being hypnotically streamlined and the spoken voice being replaced by a collage of found voices and elongated distortions; in the third part the recitation resumes but the throbbing (or, better, quivering) soundtrack to her erotic monologue has now acquired strong oneiric and psychedelic qualities. The 17-minute instrumental Time To Tell stages gently rolling galactic drones over an ominous alien pulsation, something in between Klaus Schulze's Irrlicht and a funereal march of androids. This album represented the unlikely meeting of the "music from the death factory" aesthetics with the new-age aesthetics. The subliminal trance of this work is way more original and ambitious than Chris & Cosey's synth-pop
A repackaged and re-mastered reissue of the original 1983 cassette and book issue. Certain sections of this were recorded in 1981 and because of the basic equipment it was recorded on, should not be compared to today's standards.
Cosey Fanni Tutti - Time to Tell (flac 259mb)
01 The Secret Touch 9:45
02 Time To Tell 23:08
03 Ritual Awakening 16:35
xxxx xxxxx xxxxx xxxxx xxxxx
A surprisingly straight-ahead record given the pair's history, Songs of Love and Lust is a set of chilling synth-pop tracks with the added emotionless vocals of Cosey herself. They're just as extended as the tracks on Trance, ferocious and relentless electronica! This is an album which demands re-examination and a reappraisal. All the later Club/Rave culture music owes something to this recording, either directly or indirectly. The sounds are hard edged and the rhythms compulsive and throbbing. The heavy use of sequencers and raw, powerful synthlines makes this album the most listenable by C&C and makes it fit perfectly among the minimal synth / wave genre.
Chris and Cosey - Songs of Love and Lust (flac 348mb)
01 Driving Blind 6:30
02 Love Cuts 7:44
03 Walking Through Heaven 5:12
04 Lament 2:25
05 Talk To Me 5:40
06 Gardens Of The Pure 4:36
07 Raining Tears Of Blood 4:35
08 Chiron 4:52
09 Tantalize 5:09
10 October Love Song 6:58
11 Little Houses 3:44
xxxxx xxxxx xxxxx xxxxx xxxxx
Exotika was the duo's first album as part of a North American agreement with Nettwerk Records (also the home of Skinny Puppy) and, while it does represent a leap in technology over their early work. The opening remix of "October Love Song" summarizes the mid-'80s, at least for the lucky ones. Keyboard motifs are the equivalent of a pelting with meringue in a mix where there's still plenty of room for the requisite breathy vocal as well as touches of abstract effects. Only one thing would halt the use of the word "sexy" as a description for this track
Attention will waver as "Relay" proceeds from the "Oh Mickey" riff to bargain-bin exotica. It isn't quite a complete doze-off, nor will the aroma of the subsequent "Smell the Roses" awaken the unconscious like a dose of smelling salts. It is lazy, dreamy, echoey, with a vocal atop that wavers between Pink Floyd, Jandek, and Daniel Johnston. The flip side of the EP makes a strong case for redemption of this effort. The question is will the listener still be awake to manipulate the record player, perhaps by then having passed the release off as simply one great song plus filler. "Love Cuts," again a remixed presentation, starts off bravely and sustains an extended form, the musical equivalent of taking deep breaths when stressed. In this case the vocal sound, although hardly beautiful, manages to fill the niche it is intended to, other corners chiseled in with evocative and imaginative drumbeats and a range of other hypnotic effects. This is a creation that holds up well against so much similar material that has been issued in the ensuing decades, a compliment that is also meant to acknowledge the amount of technological development in electronic music-making apparatus since that time. Chris Carter and Cosey Fanni Tutti were never just about gear by any means, though -- their sense of atmosphere and drama, when engaged, makes this electronica of more than average interest.
Chris And Cosey - Exotika + Take Five EP (flac 468mb)
Exotica
01 Confession 5:43
02 Arcade (Extended) 9:03
03 Exotika 8:03
04 Vengeance (Extended) 9:47
05 Dancing On Your Grave 4:02
06 BeatBeatBeat 6:02
07 Dr. John (Sleeping Stephen) 4:49
08 Irama 3:12
Take Five EP
09 October Love Song (Remix) 3:55
10 Relay 4:50
11 Smell The Roses 4:31
12 Love Cuts 7:29
13 Send The Magick Down 4:34
xxxxx xxxxx xxxxx xxxxx xxxxx
This is a fantastic single by Chris And Cosey, especially.for the instrumental 47 Sound. .
Chris And Cosey - Obsession (flac 137mb)
01 Obsession (Remix) 7:13
02 Obsession (short) 4:13
03 Metroeme 3:13
04 47 Sound 6:45
xxxxx xxxxx xxxxx xxxxx xxxxx
C & C's shot at the big time with this Nettwerk via Capitol released album, and as usual they blow it. But wait...side one is actually pretty good minimal electro, some of the best stuff they have done. Side falls back into the C&C of old, but with a few interesting moments. All in all one of their better albums.
Chris and Cosey - Trust (flac 373mb)
01 Deep Velvet 6:34
02 Illusion 8:09
03 The Ring 4:18
04 Percusex 4:14
05 Rise 7:46
06 Watching You 7:08
07 Infectus 5:37
08 Trust 3:40
xxxxx xxxxx xxxxx xxxxx xxxxx
After the pioneer industrial rock combo Throbbing Gristle broke up in 1981, Chris Carter and Cosey Fanni Tutti (b. Christine Newby) decided to keep working together. Working under the names Chris and Cosey and CTI (Creative Technology Institute), the duo expanded the dense rhythmic ideas of their former band, adding more accessible synthesized pop elements as their career progressed.. ... N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
When Throbbing Gristle was terminated in 1981 Chris Carter and Cosey Fanni Tutti signed to Rough Trade Records and began recording and performing as Chris & Cosey. From the very start they indulgently utilised electronics, sampling, rhythms and Cosey’s distinctive vocals, cornet and guitar style. In 1983 they formed their own offshoot record label Conspiracy International (aka: CTI) for their more experimental recordings and collaborative projects. CTI continues to run alongside Carter and Tutti 's more accessible work.
Regularly cited as one of the original forerunners of the Techno and Electronica genres Chris & Cosey's name is often cited by bands and DJs as hugely influential. During the 1980s and 90s Chris & Cosey went on to record some of the most inventive Electronica albums, including the much sampled and remixed Trance album (1982), the Techno Pop classic October-Love Song (1983) and the West Coast and Goa dance floor hit Exotica (1987).
In 1992 after many gruelling tours and for both health and artistic reasons Carter and Tutti decided to scale down their live performances and concentrate on studio recordings. They continue to release numerous albums and solo projects through their own Conspiracy International label .In recent years Carter and Tutti have released two ongoing CD series: The Library Of Sound and Electronic Ambient Remixes. Their latest release is the critically acclaimed 'Cabal' cd album.
To greet the 21st century, Chris & Cosey became Carter Tutti, celebrating the rebirth with a series of concerts which were documented on the live album LEM Festival October 2003. The rebirth was completed by the release of the studio album Cabal later that year. Both also appeared as guests on the 2006 Current 93 album Black Ships Ate the Sky.
Carter and Tutti re-engaged with Throbbing Gristle, which reformed with all four original members for a December 2004 All Tomorrow's Parties festival appearance, and recorded several new studio albums over the following years - TG Now (2004) and Part Two (2007). They also performed a short series of concerts in Europe and the United States in 2009, with a rare tour-only release album, The Third Mind Movements. (Ostensibly, the few remaining copies were sold via mail-order through the Throbbing Gristle website upon completion of the tour).
In October 2010 Throbbing Gristle began a European tour; however, several days following the band's first tour date at the Hackney Dissenting Academy, London, Throbbing Gristle's website announced that Genesis P-Orridge was no longer willing to perform with the band, and would return to his home in New York. Chris, Cosey and Peter 'Sleazy' Christopherson finished the tour without P-Orridge, performing under the name X-TG.
Carter and Tutti performed with Nik Colk Void of Factory Floor at Mute's Short Circuit Festival in May 2011. A live album of the show, with an additional studio track, was released as Transverse in 2012, under the name Carter Tutti Void
Throughout the period 1973 - 1980 Cosey was exhibiting, contributing to mail art exhibitions and performing in other group exhibitions around the world. Often working naked in her performances, Cosey went on to investigate self-image within the context of sex magazines and sex films, glamour modelling and striptease acts. Her experiences within these industries during the period 1973 - 1984 were brought into her art work as she explored the many aspects of sex as it is perceived and transacted as commercial product. She placed conventional beauty in a situation where it was subjected to simulated mutilation before a live audience. This provided a visual contrast highlighting and questioning the notion of what is presentable as 'beauty'.
In her infamous exhibition 'Prostitution' at the Institute of Contemporary Art, London, 1976Ê Cosey Fanni Tutti occupied multiple roles; artist, model, musician, and herself. Music was used in some of Cosey's performances in preference to spoken language, which she considered an obstacle to her visual presentations. She continued to explore the use of sound, scientifically, politically, commercially and as a means of physical pleasure or pain. In 1976 she co-founded the group Throbbing Gristle with Chris Carter, Peter Christopherson and Genesis P-Orridge. They broke the rules of established music and its contextual business practice, ultimately becoming successful with their own record label, Industrial Records. In 1981 Cosey immersed herself in creating music and video with partner Chris Carter under the name Chris & Cosey most recently performing and recording as Carter Tutti. Their joint musical and video collaborations, some 32 albums, have met with continuing international success.
1994 marked Cosey's re-entry into the art world since which time she has exhibited works in the UK, U.S.A., Austria, Germany, Lisbon, Japan, Spain, Portugal, Switzerland and Sweden. She now works closely with and is represented by Cabinet, London.
Her art practice takes it place alongside her continuing music work with Chris Carter and latterly the re-grouping of Throbbing Gristle.
xxxx xxxxx xxxxx xxxxx xxxxx
Cosey Fanni Tutti's work since TG, while often stylistically very different, has nevertheless been driven by the same compulsion towards originality and adventure, and many of the same extra-musical influences and ideas. The primacy of improvisation in live performances in particular is informed by an aversion to repetition and a persistent desire to break new ground. The possibility that imposed constraints could, paradoxically, yield liberatingly creative and exhilarating results was particularly evident in Carter Tutti Void's Transverse, a recording of a partially improvised performance in 2011.
While known beyond the music world as an artist, Cosey's work has also had a close relationship with the literary world. In the 1970s her poetry appeared in Paul Buck's Curtains, a journal which was instrumental in introducing the work of French avant-garde writers such as Maurice Blanchot and Georges Bataille to an English readership. She participated in Violent Silence, an event celebrating the work of Bataille in the Bloomsbury Theatre in London in 1984, also featuring performances and readings from Marc Almond, Derek Jarman, and transgressive French novelist Bernard Noël.
Her only solo album, Time To Tell (Flowmotion, 1983 - CTI, 1988), contains three lengthy 1982 electronic compositions originally meant to accompany her art performances. The instrumental Ritual Awakening has a slowly unfolding folkish melody that gets drained by ominous rumbles and dissonances until only creepy drones are left. Initially the 23-minute The Secret Touch appears to be a spoken-word piece over multiple industrial rhythms, but an elegant transition leads to the rhythm being hypnotically streamlined and the spoken voice being replaced by a collage of found voices and elongated distortions; in the third part the recitation resumes but the throbbing (or, better, quivering) soundtrack to her erotic monologue has now acquired strong oneiric and psychedelic qualities. The 17-minute instrumental Time To Tell stages gently rolling galactic drones over an ominous alien pulsation, something in between Klaus Schulze's Irrlicht and a funereal march of androids. This album represented the unlikely meeting of the "music from the death factory" aesthetics with the new-age aesthetics. The subliminal trance of this work is way more original and ambitious than Chris & Cosey's synth-pop
A repackaged and re-mastered reissue of the original 1983 cassette and book issue. Certain sections of this were recorded in 1981 and because of the basic equipment it was recorded on, should not be compared to today's standards.
Cosey Fanni Tutti - Time to Tell (flac 259mb)
01 The Secret Touch 9:45
02 Time To Tell 23:08
03 Ritual Awakening 16:35
xxxx xxxxx xxxxx xxxxx xxxxx
A surprisingly straight-ahead record given the pair's history, Songs of Love and Lust is a set of chilling synth-pop tracks with the added emotionless vocals of Cosey herself. They're just as extended as the tracks on Trance, ferocious and relentless electronica! This is an album which demands re-examination and a reappraisal. All the later Club/Rave culture music owes something to this recording, either directly or indirectly. The sounds are hard edged and the rhythms compulsive and throbbing. The heavy use of sequencers and raw, powerful synthlines makes this album the most listenable by C&C and makes it fit perfectly among the minimal synth / wave genre.
Chris and Cosey - Songs of Love and Lust (flac 348mb)
01 Driving Blind 6:30
02 Love Cuts 7:44
03 Walking Through Heaven 5:12
04 Lament 2:25
05 Talk To Me 5:40
06 Gardens Of The Pure 4:36
07 Raining Tears Of Blood 4:35
08 Chiron 4:52
09 Tantalize 5:09
10 October Love Song 6:58
11 Little Houses 3:44
xxxxx xxxxx xxxxx xxxxx xxxxx
Exotika was the duo's first album as part of a North American agreement with Nettwerk Records (also the home of Skinny Puppy) and, while it does represent a leap in technology over their early work. The opening remix of "October Love Song" summarizes the mid-'80s, at least for the lucky ones. Keyboard motifs are the equivalent of a pelting with meringue in a mix where there's still plenty of room for the requisite breathy vocal as well as touches of abstract effects. Only one thing would halt the use of the word "sexy" as a description for this track
Attention will waver as "Relay" proceeds from the "Oh Mickey" riff to bargain-bin exotica. It isn't quite a complete doze-off, nor will the aroma of the subsequent "Smell the Roses" awaken the unconscious like a dose of smelling salts. It is lazy, dreamy, echoey, with a vocal atop that wavers between Pink Floyd, Jandek, and Daniel Johnston. The flip side of the EP makes a strong case for redemption of this effort. The question is will the listener still be awake to manipulate the record player, perhaps by then having passed the release off as simply one great song plus filler. "Love Cuts," again a remixed presentation, starts off bravely and sustains an extended form, the musical equivalent of taking deep breaths when stressed. In this case the vocal sound, although hardly beautiful, manages to fill the niche it is intended to, other corners chiseled in with evocative and imaginative drumbeats and a range of other hypnotic effects. This is a creation that holds up well against so much similar material that has been issued in the ensuing decades, a compliment that is also meant to acknowledge the amount of technological development in electronic music-making apparatus since that time. Chris Carter and Cosey Fanni Tutti were never just about gear by any means, though -- their sense of atmosphere and drama, when engaged, makes this electronica of more than average interest.
Chris And Cosey - Exotika + Take Five EP (flac 468mb)
Exotica
01 Confession 5:43
02 Arcade (Extended) 9:03
03 Exotika 8:03
04 Vengeance (Extended) 9:47
05 Dancing On Your Grave 4:02
06 BeatBeatBeat 6:02
07 Dr. John (Sleeping Stephen) 4:49
08 Irama 3:12
Take Five EP
09 October Love Song (Remix) 3:55
10 Relay 4:50
11 Smell The Roses 4:31
12 Love Cuts 7:29
13 Send The Magick Down 4:34
xxxxx xxxxx xxxxx xxxxx xxxxx
This is a fantastic single by Chris And Cosey, especially.for the instrumental 47 Sound. .
Chris And Cosey - Obsession (flac 137mb)
01 Obsession (Remix) 7:13
02 Obsession (short) 4:13
03 Metroeme 3:13
04 47 Sound 6:45
xxxxx xxxxx xxxxx xxxxx xxxxx
C & C's shot at the big time with this Nettwerk via Capitol released album, and as usual they blow it. But wait...side one is actually pretty good minimal electro, some of the best stuff they have done. Side falls back into the C&C of old, but with a few interesting moments. All in all one of their better albums.
Chris and Cosey - Trust (flac 373mb)
01 Deep Velvet 6:34
02 Illusion 8:09
03 The Ring 4:18
04 Percusex 4:14
05 Rise 7:46
06 Watching You 7:08
07 Infectus 5:37
08 Trust 3:40
xxxxx xxxxx xxxxx xxxxx xxxxx
17 comments:
first Chris & Cosey FLAC, not working.
Thanks for all
Gdo
hello Anon yes the omission has been rectified, all there now N'Joy
Thanks for posting this excellent and important material.
cheers rho!
Thank You Very Much Rho!!! More Chris & Cosey!!! :)
Fantastic stuff, thank you.
However I cannot download the "obsession" single from 1fichier.com. It just doesn't work.
Hi! Great post.
Can you please re-up the Exotika and take five FLAC by Chris and Cosey.
Thank you
Hi.
I requested the reup.
Thank you so much for taking the take time to reup.
It worked perfectly for me.
You are great!!
Thank you!!!
Please reup all the wonderful stuff by Chris & Cosey. :)
JC
Outstanding! Thank you so much! JC
The link to Trust has not been modified though ;)
Hello JC well Trust has been updated now. N-Joy
You're the best, Rho :)
Hi,
Great and interesting blog!
Can you please re-up Obsession and Trust?
Thank you very much. J.
Thanks for posting Time To Tell in FLAC, its good to have it in lossless finally - without a doubt one of the most little known and underrated of all the post-TG individual and/or collective recordings - my other favourites are the two CTI albums and the Trance album with Songs of Love And Lust a close runner up - especially the Driving Blind track which also featured on the first CTI album if memory serves - one of the first recorded uses of the 303 and 808 (along with the wonderful Ten Ragas album by Chandrit Singh - Im sure I've spelt his name wrong so Google it for anyone interested ;)
I just realised it wasn't Driving Blind I meant (though a great track) it was Dancing Ghosts from the Elemental 7 album that Chris and Cosey did under their CTI moniker - sadly I got rid of all my vinyl years ago and I wish I hadn't as it would cost me £50 plus to get a decent copy these days.
It is available on the Collectiv Three CD by CTI and we'll worth tracking down for the early 303/808 sounds.
For anyone interested I've uploaded a FLAC CD Rip of CTI's Collective Three featuring their 1984 Elemental 7 tracks and about half the tracks from the 1984 CTI European Rendezvous Live album:
mega.nz/#F!sE8RwLKT!EYwioxknApalUj1UDMNtHQ
Hope all's well with you, love the site, love your comments on Chris and Cosey, lotta fun! Cheers!
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