Carter Tutti Void are a mix of pedigrees. The former two, Chris Carter and Cosey Fanni Tutti, have been cited as England’s pioneers of the industrial genre since the mid-70s as part of Throbbing Gristle. Joining them for this project is Nik Void, who as part of Factory Floor has also been lauded as an element of London’s new wave post-industrial scene. It’s tempting to call them a ‘supergroup’ though all three might balk at the thought of being described as something that is nowadays all too regular to see in the industry.
Their newest release f(x) is a minimal, noisy, and heavily rhythmic follow up to their 2012 debut Transverse. While that recording was released as an impromptu live album, Carter Tutti Void now benefit from direct production and have thus created a more visceral soundscape.
The touchstone for wider audiences for this type of ‘industrial ambient’ music may be Nine Inch Nails’ 2008 release Ghosts I-IV. The two albums do share certain characteristics. Empty soundscapes and persistent beats drags you into a trance, only to be punctured moments later by instruments heavily manipulated towards surrealism. It’s a sonic melting pot where it’s difficult to discern what’s going on during the first listen. For example more than once the album shows what can be done in processing the human voice – stretching it to almost unsettling levels.
The members of Carter Tutti Void have succeeded in bridging the era differences of their genre to create a coherent and absorbing album where it would have been so easy for new sensibilities to overshadow old, or vice versa. Overall f(x) represents a finely crafted continuation of Carter Tutti Void’s first effort through six new complex, if not outstanding, tracks. One for genre aficionados perhaps, though industrial fans will have already had their ears pricked up by the three surnames alone.