JOHN DUNCAN / COSEY FANNI-TUTTI / CHRIS CARTER

NICKI / KOKKA 7" 

AQM+Pinakotheca 

Gatefold cover 

Collaboration through the mail recorded in Los Angeles and London using shortwave, tapes, the sound of heartbeat and synths.

Some info on the release: Released back in 1983 on John Duncan's AQM imprint and produced by Pinakotheca Records, Japan (Keiji Haino, Nord, Anode/Cathode, Takao Haga, etc.). The 2 channels of the recording were split between John Duncan: Left Channel: Shortwave, tape (Jonestown P.A. broadcast) and Cosey Fanni Tutti and Carter on the other: Right Channel: Cosey Fanni-Tutti: Synth, fetal heartbeat. Chris Carter: Synth, tape.

John Duncan is an artist who has lived and worked in Los Angeles, Tokyo and Amsterdam, currently lives and works in Bologna. His body of work includes performance art, installations, contemporary music, video art and experimental film, often involving the extensive use of recorded sound. His music is composed mainly of recordings from shortwave radio, field recordings and voice. His events and installations are a form of existential research, often confrontational in nature. At 19 he left for Los Angeles to attend CalArts, where he studied under Allan Kaprow. In the mid-1970s, his Los Angeles performances, events and installations were influenced by the 'Poor Theatre' of Jerzy Grotowski, as well as the cathartic exposure of personal experiences seen in the work of Viennese actionist artist Rudolf Schwarzkogler and early feminist performance art. In 1978 he became closely associated with The Los Angeles Free Music Society (LAFMS), working on collaborations with Tom Recchion, Fredrik Nilsen and Joe Potts. His earliest recorded audio experiments were also made at this time, including work with Michael LeDonne-Bhennet, McCarthy, Recchion and Nilsen. His first solo LP Organic was released in 1979. His first solo recordings with shortwave radio were released in 1982 on the EP Creed which also included the complete broadcast of Happy Homes. Duncan left the United States for Tokyo in 1982, where he continued his performance work, and expanded his experiments with recorded shortwave broadcasts and film. The music he produced in this period, including Kokka (National Anthem) with Cosey Fanni Tutti and Chris Carter, the solo LP Riot and Dark Market Broadcast, led to collaborations with a number of Japanese noise music artists, including Masami Akita, Keiji Haino and Hijokaidan. His solo recordings and live concerts from this period establish him as one of the early pioneers of Japanese noise, the first non-Japanese to work in the genre in Japan. Music from the later period includes CD releases Contact with Andrew M. McKenzie (Hafler Trio), Send with tracks by McKenzie and Zbigniew Karkowski and The Crackling, composed with Max Springer in 1996 from field recordings made by Duncan at the Stanford Linear Accelerator Center. Other audio releases include Crucible, Tap Internal, Palace of Mind (cited above), Nav with Francisco Lopez, Fresh with zeitkratzer, Phantom Broadcast, Infrasound Tidal from sources by Densil Cabrera, Tongue with Elliott Sharp, Presence with Edvard Graham Lewis and Da Sich Die Machtgier with sources by Asmus Tietchens.

Cosey Fanni Tutti is best known as a performance artist and for her time in Throbbing Gristle and Chris & Cosey. Before both of these she was a performer with COUM Transmissions in 1969. Her addition changed the nature of the group which, when she joined, was still mostly a musical venture. From that point on, COUM performances became events or, in sixties parlance, happenings, involving props, costumes, dance, improvisation and street theatre. As an installation artist, she was selected in 1975 to represented Britain at the IXth Biennale de Paris.

Cosey continues to release solo recordings, including a retrospective deluxe box set with many photos and text, called Time To Tell, and she continues to perform as a performance artist in the Dada tradition. She also had a long career as a stripper and in the fields of ponrographic film and magazines, stemming from a desire to incorporate her own image into collages she produced in this period. This willingness to deliberately and consciously participate in the process of commercial image production has inspired a number of visual and performance artists, among them Joe Potts and John Duncan. Her name came about in 1973 after having formally changed it from Cosmosis. According to John Ford, "Cosey Fanni Tutti" was suggested to her by mail artist Robin Klassnick, and it comes from the opera Così fan tutte, meaning literally "They [women] all do the same." Music was used in some of Tutti's performance art. The use of music lead to Cosey's interest in the concept of 'acceptable' music and she went on to explore the use of sound as a means of physical pleasure or pain. In 1976 she co-founded the group Throbbing Gristle with Chris Carter, Peter Christopherson (Coil) and Genesis P-Orridge (Psychic TV). They disbanded in 1981.

Condition: Cover lies in excellent condition after all those years, while vinyl lies in excellent- condition, very clean with only a couple of light marks, but plays with some crackle.

Tracklist

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