Weekend links 118

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The Garden of Urban Delights (2010) by Marcin Owczarek.

His protagonists are misfits: alienated, implicitly gay, longing for love, frequently hard to be around, always fixated on small pleasures that compensate for an essential feeling of not belonging. […] His patroness Edith Sitwell termed him “that rare being, a born writer.” William Burroughs dedicated The Place of Dead Roads to him, declaring Welch “certainly the writer who most directly influenced my work.” John Waters has called In Youth is Pleasure “so precious, so beyond gay, so deliciously subversive, [it] is enough to make illiteracy a worse social crime than hunger.”

Sadie Stein on Denton Welch, a writer I’m embarrassed about still not having read. Edith Sitwell and William Burroughs had a famously disputatious correspondence in the pages of the TLS over The Naked Lunch. An appreciation of Welch’s work was one of the few things they had in common.

• Don’t mention guitars: Robert Hampson on acousmatic music, the curse of Loop and the rebirth of Main.

• No Straight Lines: A Collection Of Queer Comics part one, part two, part three. A history by Justin Hall.

Pieces Of Gold by The Aikiu: shots from gay porn videos repurposed via some smart editing.

• RIP Ilhan Mimaroglu, electroacoustic composer. Ubuweb has a selection of his recordings.

“A good ground rule for writing in any genre is: start with a form, then undermine its confidence in itself,” he says. “Ask what it’s afraid of, what it’s trying to hide – then write that.” For Harrison, the most satisfying writers are “at odds with their cultural context. They’re trying to fit in and failing, or they’re trying to remove themselves and failing. The attempt to resolve the conflict is an angle – a frame or a context – in itself.”

The Guardian’s A Life in Writing profiles M. John Harrison. His new novel, Empty Space, was published on Thursday. There’s also this recent video interview with Arc magazine.

• Stephen Usery interviews editor Russ Kick about The Graphic Canon: Volume One.

At home with Prince Zaleski, the “most decadent and imperial detective in fiction”.

• A Visit with Magritte: photographs by Duane Michals.

Loitering airships could dispense drones on demand.

• Creating a Forever Object: Ian Schon’s Pen Project.

• A Tumblr for the late, lamented Arthur Magazine.

• “Few cities can boast a railway line for the dead.”

The Lost Tapes by Can: An Oral History.

Space Reflex (1963) by Dick Hyman & Mary Mayo | Space Is Deep (1972) by Hawkwind | Space Is The Place (1973) by Sun Ra | Space Moment (1995) by Stereolab | Space Pong (2006) by T++

Can’s Lost Tapes

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Design by Julian House.

“Tapes”, that’s the crucial word. For the past twenty-four hours I’ve been immersed in The Lost Tapes, the triple-disc collection of previously unreleased recordings by the mighty Can, and contemplating the importance of tape to the German music scene (Krautrock, if you must) of the 1970s. Can performed live throughout their career but their reputation is based on their recorded output. One reason why not only Can but also Faust and Kraftwerk were able to spend so much time creating unprecedented music was because they all had their own studios. These were doubtless primitive—Can’s was famously housed in a disused cinema—but the ability to experiment with recording free from the escalating costs of a professional studio gave them an advantage that few of their British or American contemporaries possessed. Can’s process wasn’t so very different from that employed by The Beatles and Miles Davis: play or improvise for hours then rely on talented editors (George Martin and Teo Macero respectively) to structure the music. Can’s Teo Macero figure was Holger Czukay whose advanced skills as a tape collagist were evident pre-Can on his Canaxis album.

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Can-heads have known all this for years, of course, you get to see some of the rudiments of the process in the archive footage on the 2003 DVD documentary. And knowing this always begged the obvious question: where’s all the unreleased tape? The Lost Tapes finally answers that question, it was in a vault in disarray. The booklet notes detail the sifting process that eventually culled three CDs from 50 hours of material. What’s great about this is that it’s all so much better than I expected (this was already evident from the preview tracks that Mute have been releasing). Many hardcore Can collectors will have heard the Canobits bootlegs that contain a mix of rudimentary tracks, long jams and live recordings, all of which are worthwhile but which mostly fail to match the quality of the Lost Tapes material. In addition to hearing preliminary pieces from Vitamin C and Sing Swan Song there are more of the band’s recordings for obscure film and TV, and some stunning live moments from the period around 1972 when they were really at their peak. I never expected there to be as much from the Malcolm Mooney period as there is here. Nice packaging too by Julian House in his day job as a designer at Intro: three discs in a ten-inch box with a booklet filled with the customary House collage business. This is an essential purchase for any Can enthusiast, but it’s also essential listening for anyone fascinated by the extraordinary music that erupted in Germany in the early 1970s.

Previously on { feuilleton }
A cluster of Cluster

Weekend links 113

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Wunderkammer (2011) by Emma Leonard.

As someone who was eight years old at the time of the Apollo moon landing, I remember calculating that I would be thirty-nine in the magic year 2000 and wondering what the world would be like. Did I expect I would be living in such a world of wonders? Of course. Everyone did. Do I feel cheated now? It seemed unlikely that I’d live to see all the things I was reading about in science fiction, but it never occurred to me that I wouldn’t see any of them.

A quote from Of Flying Cars and the Declining Rate of Profit, an essay by David Graeber. Related: Another World: David Graeber interviewed by Michelle Kuo at Artforum.

Constellation, a series of portraits by Kumi Yamashita: “This body of work consists of three simple materials that, when combined, produce the portraits: a wooden panel painted a solid white, thousands of small galvanized nails, and a single, unbroken, common sewing thread.”

Nicole Rudick at The Paris Review on the history of psychedelic art. Related: The psychedelic art and design of Keiichi Tanaami. Also Manifesting the Mind: Footprints of the Shaman, a two-hour documentary about psychedelic drugs.

• Already mentioned here, The Lost Tapes, a 3-CD collection of previously unreleased recording by the mighty Can, is out on Monday. There’s a preview of ten of the tracks here.

• “I can’t think of anybody who would have a good word to say for centipedes…” Duncan Fallowell (a Can associate for many years) interviewed William Burroughs in 1982.

Herb Lubalin: American Graphic Designer and the Herb Lubalin Study Center’s Flickr sets.

Strange Flowers goes to the movies with everyone’s favourite Bavarian king, Ludwig II.

The Sphinx’s Riddle: The Art of Leonor Fini at the Weinstein Gallery, San Francisco.

• More Teutonica: A Spacemusic Primer by Dave Maier.

Van Dyke Parks: return of a musical maverick.

Forty Posters for Forty Years at Pentagram.

Donovan’s Colours (1968) by Van Dyke Parks | Sailin’ Shoes (1972) by Van Dyke Parks | Clang Of The Yankee Reaper (1975) by Van Dyke Parks.

Weekend links 106

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Gold Head 2 (2011) by Kouji Oshiro.

Josef Hartwig’s 1922 Bauhaus chess set. Contemporary copies can be bought from Naef Spiele but they’re not cheap. Related: Bauhaus: Art as Life, a major exhibition at the Barbican, London. Related, related: Art as life by Fiona MacCarthy.

• Rattera is a new font by Barnbrook Design for Fuse 1–20, Taschen’s collection of the experimental typography publication. Related: The Fuse poster explained.

Genesis (1981), video feedback and computer animation by Ron Hays with an electronic score by Ragnar Grippe.

Deadly Doris, a recording by Malcolm Mooney-era Can from the forthcoming Lost Tapes collection.

• “How did a pop band end up in a museum” Sasha Frere-Jones on Kraftwerk.

Philip Glass & Robert Wilson on how they made Einstein on the Beach.

• An astonishing aerial photo of post-quake San Francisco in 1906.

• More electronic music: Buddha Machine’s SoundCloud page.

My Baby, music and video from Julia Holter & Jib Kidder.

Homotography‘s photos can now be browsed at Pinterest.

Deviates, Inc., a Tumblr.

• Raoul Björkenheim live: Apocalypso pt. 1 | Apocalypso pt. 2 | 1-2-11 DMG, NYC

Weekend links 102

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Flannery O’Connor with one of her many peacocks.

When the peacock has presented his back, the spectator will usually begin to walk around him to get a front view; but the peacock will continue to turn so that no front view is possible. The thing to do then is to stand still and wait until it pleases him to turn. When it suits him, the peacock will face you. Then you will see in a green-bronze arch around him a galaxy of gazing haloed suns. This is the moment when most people are silent.

Flannery O’Connor

Essay of the week was without a doubt Living with a Peacock by the great Flannery O’Connor, originally published in Holiday magazine in September 1961. I’d heard about Flannery’s peacocks before but had no idea she was such a pavonomane. Thanks to Jay for the tip!

• “‘He’s chameleon, comedian, Corinthian and caricature.’ But he was more like the very hungry caterpillar, munching his way through every musical influence he came across…” Thomas Jones reviews two new books about David Bowie for the LRB.

• In June Mute Records release The Lost Tapes by Can, a 3-CD collection. Here’s hoping this doesn’t merely repeat the outtakes that’ve been circulating for years as the Canobits bootlegs. This extract is certainly new.

• Animator Suzan Pitt, director of the remarkable Asparagus (1979), discusses her new film, Visitation, inspired, she says, by reading HP Lovecraft in a cabin while wolves howled outside.

Night Thoughts: The Surreal Life of the Poet David Gascoyne, a biography by Robert Fraser reviewed by Iain Sinclair.

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The Dangerous Desire (1936) by Richard Oelze (1900–1980) at But Does It Float.

• Making the Mari: the stuff of nightmares brought into the world by Jefferson Brassfield.

• The Background to the Moorcock Multiverse: Karin L. Kross reviews London Peculiar.

Orson Welles’s lost Heart of Darkness screenplay performed for the first time.

The Erotic Films of Peter de Rome: the new BFI DVD collection reviewed.

• Page designs by Alphonse Mucha for Ilsée, Princess de Tripoli (1897).

• A Slow-Books Manifesto by Maura Kelly.

Tim Parks asks “Do we need stories?”.

Musical table by Kyouei Design.

Horror Asparagus Stories (1966) by The Driving Stupid | Peacock Lady (1971) by Shelagh McDonald | Peacock Tail (2005) by Boards of Canada.