Throbbing Gristle, a group of four members, aimed to explore the boundaries of sound mutation and collage, presenting challenging noises to popular culture. Genesis P-Orridge stated that the band sought to reshape the very nature of music. Their distinct sound remains as abrasive and fresh today as when their mission began in 1975. Dissatisfied with conventional musical frameworks, Throbbing Gristle aimed to subvert musical performance, earning the label of “wreckers of civilization”.
Whether Throbbing Gristle succeeded in their goals is a debate for music enthusiasts. However, they undeniably possess one of rock history’s most intriguing backstories. In 1969, P-Orridge and Cosey Fanni Tutti formed Coum Transmissions, inspired by Fluxus and Happenings. Graphic designer Peter Christopherson, later known as “Sleazy,” joined after documenting their Couming of Age exhibition in 1974. Chris Carter, a synthesizer and keyboard builder, completed the lineup after attending one of their jam sessions.
The Coum exhibition Prostitution at London’s Institute of Contemporary Arts in October 1976 brought them into the public consciousness. The retrospective, featuring nude photos of Fanni Tutti and objects from Coum performances, combined with sets by L.S.D. (later Generation X) and Throbbing Gristle, provoked outrage in Parliament and among the general public.
Throbbing Gristle launched its own label, Industrial Records, in 1977. Using the slogan “Industrial Music for Industrial People,” they released recordings by themselves and other artists like William S. Burroughs and Cabaret Voltaire. Drawing inspiration from Burroughs’ cut-ups, pornography, Aleister Crowley, and the Marquis de Sade, the band named itself after the Hull slang term for an erection. After their final performance in 1981, they announced their breakup via postcards that read, “The Mission Is Terminated.”
Following the dissolution, the members pursued various projects. Chris Carter, Genesis P-Orridge, Cosey Fanni Tutti, and Peter “Sleazy” Christopherson formed Psychic TV, Chris & Cosey (aka Carter Tutti), and Coil, while also pursuing careers in art, writing, and video/sound production.
Throbbing Gristle’s music is often categorized as industrial, a genre they helped pioneer. Their sound is characterized by:
- Experimental Soundscapes: Throbbing Gristle utilized unconventional sound sources, including synthesizers, tape loops, and found sounds, to create unsettling and often abrasive soundscapes.
- Confrontational Lyrics: Their lyrics explored themes of social control, violence, and sexuality, often presented in a detached and unsettling manner.
- D.I.Y. Ethos: The band embraced a do-it-yourself approach, releasing their own records and creating their own artwork, which contributed to their independent spirit.
For those new to Throbbing Gristle, here are a few key albums to get started:
- The Second Annual Report (1977): Their debut album, featuring tracks like “United” and “Slug Bait,” showcasing their early experimental sound.
- D.o.A: The Third and Final Report of Throbbing Gristle (1978): Widely considered their masterpiece, this album features tracks like “Metal Detector” and “Hamburger Lady,” known for their unsettling atmospheres and confrontational themes.
- 20 Jazz Funk Greats (1979): A more accessible album compared to their earlier work, but still retains their experimental edge.
Throbbing Gristle’s impact on music and culture is undeniable. They paved the way for numerous industrial, electronic, and experimental artists. Their confrontational approach to art and music challenged conventional norms and continues to inspire artists today. Their DIY ethic also resonates in modern music and art subcultures.
Throbbing Gristle’s legacy lies in their unwavering commitment to pushing boundaries and challenging conventions. They left an indelible mark on the musical landscape, inspiring generations of artists to explore the outer limits of sound and expression.
