Boomkat Product Review:
Chris Carter plugs a large gap in his discography with ‘Miscellany’, containing a previously unreleased batch of cosmic ‘70s synth abstractions, plus the first ever vinyl pressings of ‘‘Disobedient’ and ’Small Moon’, as well as a new edition of his classic ‘Mondo Beat’ . For any self-respecting fan of Throbbing Gristle, X-TG, Carter Tutti, or CTI, this is a genuinely essential motherload direct from source.
Arriving in the wake of the influential synthesist’s ‘Chris Carter Chemistry Lessons Vol.1’, this boxset extends a necessary catch-up to many listeners, as well as a salve to collectors who can now complete their Chris Carter vinyl collections. Between the four respective albums inside, Mute survey the years prior to Carter’s pivotal debut ‘The Space Between’ , which was recorded in the run-up to TG’s original demise, and the years post his participation in the short but extremely bright early phase of the world’s most notorious band.
The ‘Archival Recordings’ disc is perhaps of greatest interest, historically and artistically. Spanning 1973-77, it covers the years just before, and after, Throbbing Gristle’s conception, when Carter was clearly in thrall to kosmische and psychedelia, but not beholden to them. Across 13 parts, Carter’s take on space music and pulsing early electronics is definitely less whimsical, much darker than other music of that period, progressing chronologically over the LP to reveal a full embrace of electronic music’s dark allure by the time we get to the hellish miasma of ‘See Sick’ .
However, if we follow that chronologic logic beyond his years spent in TG (1975-1981), it’s clear to hear that Carter’s music becomes less dark and more sensual, funked and melodic with the languid lines and supple rhythms of ‘Mondo Beat’, including the classic ‘Moonlight’ which would become a dance anthem around Europe and the US (and reissued by Optimo in 2011). Skipping a grip of classic CTI and Carter Tutti material, that logic also extends to ‘Disobedient’ and ’Small Moon’, issued over 1998 and 1999, and exploring inquisitive strains of sound design more mystic/etheric, than outright dark, noisy or “Industrial” - all quite symptomatic of late ‘90s PMT.