Peter Christopherson
Photo Image
Plays Tapes, Processors and Trumpet in Throbbing Gristle
Born in Leeds, Yorkshire, England on February 27 1955.
Now lives in West London.

Favourite Food: Steak; Salad; Chips; Raspberries.
Favourite Drink: Milk; Perrier water.
Favourite Colour: Blue; cream; Grey.
Favourite Music (when listening to music at all):Trout Mask Replica by Captain Beefheart; John Berry Seven; late night Radio 2.
Favourite TV Programme: Soap; late movies; Chips.
Favourite Actor: Derek Jacobi; Perri King; the fair haried one in Chips.
Favourite Car: Black Honda Accord.
Likes: Silly Electronic Gadgets; Quiet Air; Boys going through things for me.
Dislikes: Cigarette Smoke; Hypocrisy; Dead'esd; Beer; Wastefulness.

In his own words (from TG CD 1):

For some reason it never seems to be possible to enjoy the results of one's own work, as much as that of others, which one hears or sees without having gone through the experience of its creation. TG was no exception. Even now, separated from the experience by time, I am unwilling to pIay TG records. Notwithstanding this, TG remains unique. For me, the multitude of other groups that followed in the so-called "Industrial" mould were and continue to be a complete waste of time.
How can this be? Firstly, we had little or no musical knowledge and had no idea what we were doing. Secondly, none of us had very much in common, other than being social misfits of one sort or another. The result of this was that the influences we each brought to bear on the sound were rich in style and diversity. Thirdly, the way we made the music was completely different from any conventional method. That is, pieces were created more or less spontaneously, without any rehearsal or preparation other than Chris's privately made rhythm tracks and a general discussion about possible topics for a new lyric which Gen would use as inspiration for the lyric. As far as I know the words came out as spontaneously as the music.
This 'improvisation bore little resemblance to any other form of musical improvisation which is usually heavily intellectually based, and structured to allow specific instruments to extemporise while the rest provide a solid musical base. With TG we had little if any idea of what was going to happen in any performance or recording session, and each of us contributed our share entirely on the basis of what was going on at that very moment. Frequently the level of attention and emotional involvement was such that, at the end of a performance, we had little or no recollection of what had taken place.
As far as the types of sound were concerned, we used whatever we could find or afford, anything from a fucked up fuzz box mounted in a metal plunger to devices that were totally new. I was using digital sampling on stage before Fairlights were even invented, and Chris was building equipment that was at that time unheard of, never mind unobtainable. We made sounds we liked and wanted to hear. Usually these were not the conventional ones our 'contempories' were using, since we felt that there was little or no point in rearranging the same tired old pop cliches - they just weren't interesting.
I for one, continue to feel this way even now. Whatever it was that we were doing, it was obviously of value. Not least to the thousands of young people who brought TG records and tapes, and wrote in to tell us how we had influenced them, nearly always they said, for the better. Many of these have, in the years since, become great friends and now in their turn influence me. From my point of view the most important of these is John Balance, with whom I now work as COIL.

Peter Christopherson (Sleazy). 18th June 1986 London.

Career Highlights:

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