Switched On again

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This week I’m electrically possessed by Stereolab, thanks to the arrival of the fourth volume in the Groop’s Switched On series of compilation albums. As with the earlier releases, the new album collects deleted EPs, singles and other scarcities. I already had a third of this one on the First Of The Microbe Hunters EP but it’s good to finally have on disc B.U.A. (aka Burnt Umber Assembly), a previously unreleased piece from the Amorphous Body Study Centre recordings, together with more of the tour singles such as The Underground Is Coming and Free Witch And No-Bra Queen. The latter may well allude in its title and cover art to Pravda, La Survireuse, Guy Peellaert’s freedom-loving biker-hippie whose persona was modelled on Françoise Hardy. (Stereolab’s borrowings are frequently overt but I’ll give them the benefit of the doubt on this one.) Pravda or not, the animation that Peellaert produced with Gallien Guibert would have made a great video for the song if it was a little longer. Guibert has an updated version of the film here.

Weekend links 558

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• One of the earliest posts here concerned The Suite of the Most Notable Things Seen by Cavaliere Wild Scull, and by Signore de la Hire on Their Famous Voyage from the Earth to the Moon (1776) by Filippo Morghen, a series of prints which depict the fantastic inhabitants, fauna and flora of the Moon. Morghen shows the Earth’s satellite to be a tropical place very similar to 18th-century conceptions of the New World or the Far East. Back in 2006 you couldn’t see copies of the prints as large or as detailed as this set at The Public Domain Review.

• “Last Call preserves the poignant irony that the trust and vulnerability that once made gay bars synonymous with gay community were also vectors of death, both in the form of murder and, later, HIV/AIDS.” Jeremy Lybarger on Elon Green’s study of the murders of four gay men in New York City in the 1990s.

• “No one in American letters ever pushed back against power over such a long time as [Lawrence] Ferlinghetti,” says John Freeman. Related: Ferlinghetti’s travel journals.

• New music with literary associations: Invisible Cities by A Winged Victory For The Sullen, and Star Maker Fragments by TAK Ensemble & Taylor Brook.

• Old music with no literary associations: The first of the forthcoming releases of live recordings by Can will be a 1975 Stuttgart concert.

The 120 Days of Sodom: France seeks help to buy ‘most impure tale ever written'”.

• The Joy of Circles: Vyki Hendy looks at some recent concentric cover designs.

• At Spoon & Tamago: Sculpted sushi made entirely from natural polished stones.

• My Hungry Interzone: Brian Alessandro on coming out and reading Naked Lunch.

• Andy Thomas maps Jah Wobble’s interdimensional dub.

• Mix of the week: XLR8R Podcast 684 by Ben Bondy.

• At Dennis Cooper’s: Jim Jarmusch Day.

Circles (1966) by Les Fleur De Lys | Circles (1970) by Blonde On Blonde | Carry On Circles (2006) by Tuxedomoon

Weekend links 557

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Poster by Milan Grygar for the 1969 Czech release of Fellini’s Juliette of the Spirits.

• “By encouraging composers to engage with sound as something more than just ‘notes on a keyboard’, the result [of the Buchla] was the kind of intricate sound design last heard in musique concrète. Works such as Morton Subotnick’s, Silver Apples of the Moon (1967) show a futurism completely absent on Wendy Carlos’ otherwise highly influential Switched-on Bach (1968), which used the keyboard-controlled Moog modular as if it were merely a glorified organ.” Oli Freke on the evolution of the synthesizer.

• “As humans began settling more consistently in one place to grow and thrive, the penis—or, more specifically, its erect form, the phallus—often came into use as a protector of fields that would prove fertile. In contrast to the comparative prudery of today, the phallus adorned everything from gods to shrines to personal homes and jewellery.” Emily Willingham on penial evolution in the animal kingdom.

• “The Trumpets of Jericho is, in part, so uniquely unsettling because it allows the woman in question to narrate her own horror. She is eager to give birth not to meet her child but so that she can go ahead and kill it.” Reed McConnell on the writings of Unica Zürn and (once again) Leonora Carrington.

At the center of it all, there was one director whom everyone knew, one artist whose name was synonymous with cinema and what it could do. It was a name that instantly evoked a certain style, a certain attitude toward the world. In fact, it became an adjective. Let’s say you wanted to describe the surreal atmosphere at a dinner party, or a wedding, or a funeral, or a political convention, or for that matter, the madness of the entire planet—all you had to do was say the word ‘Felliniesque’ and people knew exactly what you meant.

In the Sixties, Federico Fellini became more than a filmmaker. Like Chaplin and Picasso and the Beatles, he was much bigger than his own art. At a certain point, it was no longer a matter of this or that film but all the films combined as one grand gesture written across the galaxy. Going to see a Fellini film was like going to hear Callas sing or Olivier act or Nureyev dance. His films even started to incorporate his name—Fellini Satyricon, Fellini’s Casanova. The only comparable example in film was Hitchcock, but that was something else: a brand, a genre in and of itself. Fellini was the cinema’s virtuoso.

Martin Scorsese on “Il Maestro”, Federico Fellini

• At Dennis Cooper’s: For Your Crushed Right Eye: The instrumental films of Takahiro Iimura, Tetsuji Takechi, Toshi Matsumoto, Masao Adachi and Takashi Ito.

• “We wanted people to see that we exist.” Joan E. Biren, the photographer who recorded lesbian life in the 70s.

•New music: Alkisah by Senyawa, and Bishintai by Unknown Me.

• Mix of the week: XLR8R Podcast 683 by Laila Sakini.

Phallus Dei (1969) by Amon Düül II | Sidereal Hands At The Temple Of Omphalos (1996) by Scenic | Starman (feat. Peter Brötzmann) (2017) by Phallus Dei

Weekend links 556

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Captain Edward St. Miquel Tilden Bradshaw and his Crew Come to Grips with Bloodthirsty Foe Pirates by S. Clay Wilson, Zap Comix no. 3, 1968.

• RIP S. Clay Wilson, the wild man of American comics. The scene of mayhem above is typical in being barely coherent at a small size; click for a larger view. Patrick Rosenkranz at The Comics Journal describes Wilson as “the most influential artist of his generation…creating an extensive body of work that will defy authority and offend propriety until the end of days”. When Moebius was writing in the 1980s about the founding of Métal Hurlant he had this to say about the American undergrounds: “They were the first in the world to use comics as a means of communication, to express real emotions. Before, comics were used only to do stories, entertainment. They had some great moments but they were all very conventional. The American Underground showed us in Europe how to express true feelings, how to tell something to the reader through the comics. They blew the minds of the few professionals in Europe who saw them.” Also at TCJ, the S. Clay Wilson Interview. Wilson sent me a postcard once. I wish I knew what the hell I’d done with it.

• Michael Hoenig, synthesist for Agitation Free and (briefly) Tangerine Dream, plays one of the pieces from his debut album of electronic music, Departure From The Northern Wasteland, on a radio show in 1977. Hoenig’s album is long overdue a remastering and re-release.

• “My job, which the BBC has tasked me to do, is to provoke people and ask them, ‘Have you thought about looking at the world this way?'” Adam Curtis talks to Michael J. Brooks about his new TV series, Can’t Get You Out Of My Head.

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{ feuilleton } celebrates its 15th birthday today. Monsieur Chat, the mascot of this place, is happy about that but then Monsieur Chat is happy about most things.

• At Greydogtales: Opening The Book of Carnacki. A call for contributions to a collection of new stories about William Hope Hodgson’s occult detective. I’d be tempted if I didn’t already have more than enough to keep me occupied.

• “I’m being asked to talk about it a great deal at the moment, with the pandemic.” Roger Corman and Jane Asher on filming The Masque of the Red Death.

• New music: Cygnus Sutra by Mike Shannon, “a soundtrack to a fantasy/sci-fi epic not yet written”.

• A trailer for The Witch of King’s Cross, a documentary about occult artist Rosaleen Norton.

• At Dennis Cooper’s: Spotlight on…Hans Bellmer & Paul Eluard The Games of the Doll (1949).

• RIP also this week to Rowena Morrill, fantasy artist, and to Chick Corea.

• “Computers will never write good novels,” says Angus Fletcher.

• DJ Food on Zodiac posters by Funky Features, 1967.

• Mix of the week: Fact Mix 794 by Lutto Lento.

Annie Nightingale’s favourite music.

Zodiac (1984) by Boogie Boys | From The Zodiacal Light (2014) by Earth | Zodiac Black (2017) by Goldfrapp

Weekend links 555

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I Saw the Figure 5 in Gold (1928) by Charles Demuth.

• “Reading the new edition in 2021, I’m struck by his dismissal of CD-ROMs, of VR, of interactivity; how he anticipates contemporary debates about algorithmic bias…his prescient exhaustion.” Sukhdev Sandhu reviews Brian Eno’s diary for 1995, A Year with Swollen Appendices. Meanwhile, Eno himself says “Artists like me are being censored in Germany—because we support Palestinian rights.”

• “Kink is often pathologized in popular culture: it’s shamed, used as a punchline, and, on the whole, relegated to the margins of desire.” Greg Mania interviews R.O. Kwon and Garth Greenwell about Kink a collection of new stories about unorthodox desires.

• “This album is the king of hauntology. From where I’m sitting, I’m going back to the past, listening to an album imagining the future, imagining the past.” Tom Herdman on the fabulous Time (1981), a science-fiction concept album by the Electric Light Orchestra.

Cavafy, the ultimate Alexandrian, gave us an Alexandria that was already not quite there in his own lifetime. It kept threatening to disappear before his eyes. The apartment where he had made love as a young man had become a business office when he went to revisit it years later; and the days of 1896, of 1901, 1903, 1908, 1909, once filled with so much eros and forbidden love, were already gone and had become distant, elegiac moments that he remembered in poetry alone. The barbarians, like time itself, were at the gates, and everything would be swept in their wake. The barbarians always win, and time is hardly less ruthless. The barbarians may come now or in a century or two, or in a thousand years, as indeed they had come more than once centuries earlier, but come they will, and many more times after that as well, while here was Cavafy, landlocked in this city that is both the transitional home he wishes to flee and the permanent demon that can’t be driven out. He and the city are one and the same, and soon neither will exist. Cavafy’s Alexandria appears in antiquity, in late antiquity, and in modern times. Then it disappears. Cavafy’s city is permanently locked away in a past that refuses to go away.

André Aciman on the poetry of Cavafy and the Alexandrias of memory

DJ Food on the package design for The Superceded Sounds of…The New Obsolescents, which uses a similar foil card to the “Héliophore” stock used by Philips in their cult series of electroacoustic compositions, Prospective 21e Siècle.

Onlyou by Can, is “A relaxed studio session, recorded on a mono taperecorder in 1976 at the Innerspace”. Released in 1982 on a 34-minute cassette sealed inside a can (geddit?), and limited to 100 copies.

Olivia Rutigliano ranks 45 films containing prison escapes. I’d put the Bresson at number one but otherwise, yes.

• “…some kind of future unrealised time…” Mix of the week is a mix for The Wire by Muqata’a.

• RIP Christopher Plummer. Never mind the musical, watch him in The Silent Partner (1978).

• At Ubuweb: short films by Erkki Kurenniemi soundtracked by his own electronic music.

• New music: Neurogenesis by Robert Rich.

Kinky Boots (1964) by Patrick McNee & Honor Blackman | David Watts (1967) by The Kinks | The Dominatrix Sleeps Tonight (Dominant Mix) (1984) by Dominatrix