When selecting an alias for his artistic persona, Paul Kidd chose the name of the flame resistant material, Nomex. A protective shield suggesting indestructability, it appeared an apt moniker for someone who liked to “keep it cryptic” and push the limits of both his art and in his own life with an intense fervour. For those of us who knew the man behind the name, that this great force has been extinguished is hard to comprehend. However, his music endures and what I write here is a personal attempt to connect the life of Paul – my great friend, collaborator and partner for over a decade – with the compelling body of work he leaves behind.

It was back in 2000 that I conducted the interview with Cosey Fanni Tutti published here, for a piece I was writing for datacide on women making extreme music. As a female pioneer of industrial music dating from her time as a member of Throbbing Gristle to her decades of transgressive performance art, Cosey was an obvious and important artist to include in the article. This interview came at a time when I personally was navigating the London noise scene as a young female artist; when it was mostly men on the stages and in the audiences, and women performers were regularly regarded as novelties, taken less seriously than their male peers and the focus of unsolicited sexual attention. Women were involved, but usually backstage in the organisation of events and labels, and when the female was actively presented – by men and some women – it was often as something sexualised, attention-grabbing, or mired in misogyny. As I researched the issue further, some of the attitudes I uncovered in addition to what I’d directly encountered left me so disheartened that I abandoned the piece, put my head down and focused on my own music.

Now, seventeen years later, with the publication of Cosey’s autobiographical book, Art Sex Music, it is timely that this interview is finally appearing in datacide. There has been progress in redressing the gender imbalance in noise and extreme music, but women remain a small and often undervalued component. In the years since conducting this interview, I have become increasingly convinced that the voices of women working in this area need to be heard above their music; loud and with any distortion most definitely self-applied. This is necessary to encourage more women to make music at the extreme fringe and enable those already involved to emerge from its margins where many still operate. Cosey’s body of work and reflections remain highly relevant and play an important role here, as shared both in this interview and in Art Sex Music, a brief review of which prefaces the transcript. [Read more →]

When the “Spanner” case was dismissed at the European Court of Human Rights this February a great blow was dealt to freedom of expression. It was hoped that the judgement against the Spanner defendants for consensual sado-masochistic activities made here by the repressive courts in the U.K. would be overturned in the more liberal Europe. Instead, alternative sexualities suffered an even greater setback through the European Court’s rejection of sado-masochistic sexuality and the individual’s right to do whatever she or he wants with their body. This ruling highlights what is becoming increasingly true, that the “private” in your “private life” is now just a figure of speech which can be interpreted to suit the acts that are performed within it, even if they are completely consensual and harm no one outside. [Read more →]