Close ☰
Menu ☰

Chris Carter channels vintage electronica and folk for exquisite solo return

Posted on: Wednesday 28th of March 2018

ChrisCarter_CCCL_PressPhotograph_smThe extent to which melody plays a pivotal role in many of the 25 short pieces that comprise Chris Carter’s Chemistry Lessons Volume 1 may come as a surprise to those who still associate Chris Carter with his membership of hugely influential late ‘70s industrial music pioneers Throbbing Gristle. But in fact it has been a tenet of much of Carter’s post-TG work, both on his own and with partner/collaborator Cosey Fanni Tutti under the monikers of Chris & Cosey and Carter Tutti.

On his first solo album for 17 years – although extensive studio and live work with Carter Tutti and the reunited TG means that he has been anything but idle in the interim – Carter alloys an almost folk song-like melodic sensibility to frequently gorgeous electronic textures. “When I started the Chemistry Lessons project it wasn’t even conceived as an album,” he recalls. “I needed to do something different that wasn’t Throbbing Gristle or Chris & Cosey. I was about five years into the project when Cosey suggested that I probably had enough material for a whole album.”

ChrisCarter_CCCL_VolumeOne_frontcover_smSome tried-and-trusted gear including a Roland V-Synth XT and JP8080 synth, “ancient custom” Elektron Machinedrum andEventide H8000FW effects unit were again pressed into service during the CCCL V1 sessions at Carter and Tutti’s Norfolk home studio. “But I suppose my main ‘instrument’ is a large Eurorack modular system I’ve had for many years, which is in an infinite process of flux,” notes Carter. “I do have favourite modules and module manufacturers, but parts of my system also have a high churn rate. It still amazes me how many new modules are announced each month – dozens of them. What usually happens is I’ll buy a few new modules for a specific project thinking I’ll keep them, but more often than not I use them to death to get the most out of them, or get bored with them, eventually sell them on, and the process begins again.”

Although Carter is a long-term user of Logic Pro who describes the invention of DAWs as “the best thing to happen to the recording process”, he does have reservations about the “sometimes overwhelming” volume of plug-ins. “I mean, how many different compressors do we REALLY need? I get endless emails and see news stories about the next big thing in plugins… the next ‘must have’ plugin of the week or whatever. Ironically, it’s all become just noise and distraction.”

A CCCL V2 release is entirely possible but unlikely to be imminent since there is “a backlog of unreleased Carter Tutti and Throbbing Gristle material to wade through first”. There is, however, no chance of a Carter memoir along the lines of Tutti’s superbly evocative memoir, Art Sex Music, which was published to great acclaim by Faber & Faber in 2017.

“Nope… no way. I’ll tell my story with my music.”

Chris Carter’s Chemistry Lessons Volume 1 is released by Mute on 30 March.
http://www.chriscarter.co.uk.

Exclusive Interview: David Davies



Latest News & Blog articles

  • After a successful inaugural year (see Resolution V21.2), The Sound of the Year Awards is returning. A celebration of everyday sound in all its forms, the awards are presented by The Museum of Sound in partnership with The New BBC Radiophonic Workshop and others. Submissions are accepted and encouraged from around the world. Anyone over […]
  • Salsa Sound has upgraded its MIXaiR system. The AI-driven automix software for pitch/court-based sporting events, enables you to automatically create an immersive listening experience using standard mic setups without the need for tracking or manual operation. It does this by analysing the signals of multiple inputs and adjusting accordingly to its sports-specifc ‘trained’ AI. The […]
  • Exhibitors are signing up to take part in ISE 2022, due to take place in Barcelona at the start of February. NIGEL JOPSON takes a look. Registration for ISE 2022 is now open, offering the international audio, visual, and systems integration community a long-anticipated opportunity to reconnect in person at ISE’s new home at the […]
  • Merging will show several new introductions at the Amsterdam IBC2021 show, including developments relevant to broadcasters as IP infrastructures and remote production are ever more important. Its Pyramix digital audio workstation is often used for immersive content, and the 25th Anniversary edition of Pyramix included many of the hooks needed to simplify the workflow when […]
  • DPA Microphones has released a new accessory, the MS4099 mic stand mount, for its 4099 CORE instrument mic – and is also shipping brown versions of its 4466 CORE omnidirectional and 4488 CORE directional headset mics (Resolution V21.3). A solution for mounting the 4099 onto any mic stand, the MS4099 can be used for ⅜” […]
  • When AMS Neve got in touch with us to talk about the fact that its iconic 88R desk turns twenty this year, it occurred to us that the history of Resolution is somewhat intertwined with it. The very first issue of this magazine appeared in May of 2002, not all that long after the launch […]
  • Trinnov Audio has announced a complete hardware and software refresh of its D-MON speaker optimisation and management range. The upgrades are designed to deliver new features that can meet customer and studio requirements as the music industry incrementally adopts Dolby Atmos. Effective from December, the current D-MON 6 and 12 hardware units will be replaced […]
  • Fender Musical Instruments Corporation has today announced it has signed a definitive agreement of merger with PreSonus Audio Electronics, Inc. The Baton Rouge, Louisiana based brand is a manufacturer of recording and live-sound hardware. The musical instrument giant, best known for its guitars and amplifiers, is over 75 years old now – but sees potential […]
Translate »