Boomkat Product Review:
Living artwork Cosey Fanni Tutti (TG/Chris & Cosey/X-TG) actions a definitive self-portrait in sound with ‘Tutti’ - a stark, throbbing mesh of darkroom impulses and hallucinogenic soundscapes arriving a generation on from her cult solo debut, ‘Time To Tell’ 
Stemming from Cosey’s soundtrack contribution to the COUM Transmissions retrospective conceived for Hull’s UK City of Culture 2017 opening, and produced during the same period she wrote her none-more-fascinating autobiography ‘Art Sex Music’, the eight soundscapes of ‘Tutti’ comprise of manipulated archival material that represents her ongoing artistic process of self-analysis, acknowledging her past and the way it informs her present. In her words; ; “It’s the only album I’ve made that is an all-encompassing statement expressing the totality of my being. A sense of the past in relation to the presents and everything in between.”
Rather than explicitly referencing any one period of her oeuvre, which stretches back to the early ‘70s and covers everything from performance art to video works and numerous stylistic shifts in contemporary music, Cosey limns a more elusive silhouette of her stunning body of work in ’Tutti’, rendering an amorphous mass that conveys the absorbingly sensual nature and breadth of her scope. It’s strong testament to her holistic approach, or even her influence over successive generations, that the music on ‘Tutti’ sounds like it could have been made at any point between her debut album and right now.
Kicking off with the mechanical jazz fonk of ‘Tutti’, with her sky-high signature cornet scudding over primeval techno rhythms, the set twists from writhing electrosex in ‘Drone’ and the mantric hypnosis of ‘Sophic Ripple’, to investigate accreted layers of ghostly psychic plasma in the psychoactive sound design of ‘Split’, before finding her traumas voice in the sexy AF synth-pop abstraction ‘Heliy’, while the depths of ‘Orenda’ could be said to hearken as much to the blue/black churn of the North Sea next to her native Hull as much as the noise ideologies of TG and a shared sense of solidarity with marginalised people (the title is an Iroquois word for a spiritual power inherent in people and their environment).