Format: LP, coloured vinyl
**Grey Vinyl pressing - Unavailable on vinyl since 1983 now repressed on Silver vinyl with foil blocked cover and featuring photos from the session. ** Recorded as a piece of art for Italian National Radio RAI in Rome March 1981. On the recommendation of Robert Wyatt, RAI originally commissioned Cosey Fanni Tutti to create a sound work based on the theme of ‘A Journey Through The Body’. It became a Throbbing Gristle project which was later broadcast by RAI. ‘Journey Through A Body’  was the final Throbbing Gristle recording made at RAI Studios, Rome during their pivotal first phase of action, prior to reforming (and eventually disbanding again) in 2004. It’s long been a bugger or simply expensive to get hold of, and now reissued in the wake of a 40th anniversary edition of ‘The Second Annual Report’ and new editions of ’20 Jazz Funk Greats’ and ‘The Taste of TG: A Beginner’s Guide to Throbbing Gristle’.
Originally a Cosey Fanni Tutti commission from RAI Rome at the recommendation of Robert Wyatt, ‘Journey Through A Body’ became a full-blown TG project with all four members recording for five days at the legendary Roman studio in March 1981. Improvised recording sessions focussed around sections of the body were mixed down to tape immediately afterwards, with no re-recording allowed. In effect, the results land somewhere between “live” and ”studio” sessions, coughing up an uncannily acoustic-sounding portrait of the group at the end of their hugely influential early run.
The group’s response to the theme ‘A Journey Through The Body’ is typically variegated, forming a fascinating push and pull between industrial noise, Denny-esque exotica and a marvel of prepared piano abstraction in a way that doesn’t easily fit with any other period of their recordings. Making fine use of the esteemed facilities at RAI, Italy’s National Broadcaster, TG come off like a gnarled echo of Gruppo Di Improvvisazzione Di Nuova Consonanza or a prototype of Wolf Eyes’ trip metal in the 15 minute dosage of ‘Medicine’, before Cosey pulls out her wonky cornet on the gristlized electro slop of ‘Catholic Sex’, starring a blunted poem recited by Genesis P-Orridge.
Their core inspiration from Martin Denny meanwhile comes through patently in the unsettling exotica simulacra of ‘Exotic Functions’, before the prepared piano prangs into play along with rancid guitars and concrète cut-ups in ‘Violencia (The Bullet)’, and a wickedly refined sting in the tail with the warped, chamber-like piano abstraction of ‘Oltre Morte, Birth and Death’.