TUTTI by Cosey Fanni Tutti

Release date: February 8, 2019
Label: Conspiracy International

After 37 years since her first solo release, Cosey Fanni Tutti hasn’t missed a beat with her second solo release, TUTTI. I read that this album is meant to be a self-portrait of her life, music and art. It was originally written as a soundtrack to the autobiographical film, ‘Harmonic Coumaction’. It was later updated to create something separate from that project and now we have TUTTI. The album was released on February 8th via Conspiracy International, a label founded by Chris & Cosey. It is made up of 8 tracks, each between 4 to just over 5 minutes in length.

This album is a sonic meditative journey through Cosey’s soundscape. The common thread through most of this album is the driving beat. At times tribal in its intensity and other times a constant force propelling you further into the album. Nothing showcases this more than the self-titled track, ‘TUTTI’.

‘TUTTI’ starts out with sounds played in reverse, which are heard throughout the album. A trumpet plays a lone tune that reminds me very much of the trumpet musings on thisquietarmy’s latest release The Body and the Earth. (Having reviewed that album not too long ago and loving the album, it’s still fresh in my mind.) The beat comes in heavy and the noise layers get added on and on. The reverb on the trumpet is great. The album’s previous life as a soundtrack shows itself. The music conjures up imagery of a vast landscape at times busy and other times desolate.

‘Drone’ again starts with a beat, not as driving as in the first track though. Noisy, drony layers come on board, bemoaning in its undertone.

‘Moe’ begins again with sounds played in reverse, I personally love that effect. A tribal beat begins in the background, slowly making its way to the foreground. I’m curious to know, who is Moe?

We enter the vast and spacious part of Cosey’s soundscape with the track, ‘Sophic Ripple’. Wind blows and the sonic waves of noise wash over me. Another steady beat is introduced. Ominous sounds get introduced by the middle of the track. The track is a living, breathing entity.

‘Split’ starts the second half of the album on a lighter tone. The beat isn’t as pronounced as it is in the other tracks but definitely still heavy with its multiple noisy layers and great quiet ending.

‘Heliy’ made me feel as though I was submerged. Great layers on this track, shimmering and haunting in their tone. I love how she added her voice as a layer to the track.

With ‘En’ we are back to darker tones which are mind-bending in its execution. It travels low to the ground, searching. It conjures up images of doors opening. Of light flashing off shiny objects blinding my eyes. This is one of my favourite tracks off the album.

The album ends on ‘Orenda’. The beat cuts through the sighs of sound. The effect is like being washed over with light that is reflecting off of protruding crystals.

The last three tracks on the album are my most favourite. Cosey not only continues her pioneering legacy in the art of sound but forges new ground with this album.

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