Weekend links 605

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UFO Mk2 (1967), a poster for the UFO club by Hapshash and the Coloured Coat (Michael English & Nigel Waymouth).

• Link of the week without a doubt is Yuka Fujii’s raw video footage of the sessions for David Sylvian’s solo debut, Brilliant Trees, which includes appearances by Jon Hassell, Holger Czukay and Ryuichi Sakamoto. Czukay’s contribution to this and other albums in the 1980s included the use of a second-hand IBM Dictaphone, a machine which was often credited on album sleeves but seldom discussed in interviews beyond Czukay’s claims that it was a superior sound-sampling tool. You can see the mysterious “instrument” in this film and discover (at last!) more about the machine here. Big thanks to Colin for the tip!

• “Part of what makes watching it so compelling now is Berger’s fascinated immersion in the culture of images itself.” Olivia Laing on 50 years of Ways of Seeing by John Berger.

• At The Wire: David Toop on what happens when the performance of music is extended over long durations, from all night concerts to sacred rituals that last for weeks.

• At Bandcamp: Tony Rettman profiles Audion magazine and its editors, indefatigable Krautrock experts Alan & Steve Freeman.

• New music: W by Boris, a remix of Laurie Anderson’s Big Science by Arca, and a cover of King Crimson’s Red by Hedvig Mollestad.

• The latest exploration of psychedelic graphics by DJ Food is a collection of posters for London’s UFO Club.

• Wolf Moon: Nina MacLaughlin has some questions for our ancient satellite.

• At Dennis Cooper’s: Frank’s Box: The Real Telephone to the Dead.

• Mix of the week: XLR8R Podcast 731 by Anthea.

• At Strange Flowers: 22 books for 2022.

UFO (1970) by Guru Guru | UFO Over Paris (1978) by Steve Hillage | El UFO Cayó (2005) by Ry Cooder

Weekend links 586

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Cover by Gordon Ertz for The Inland Printer, June 1916.

• “I worry that enthusiasm is being mistaken for a moral virtue, and negative criticism for a character flaw.” Dorian Lynskey on the dying art of the hatchet job. Also a reminder (not that we require it) that the word “fan” in this context has always been an abbreviation of “fanatic”.

• Culture.pl explores the work of Stanislaw Lem, the science-fiction writer “whose works, abilities and quirky sense of humor convinced Philip K. Dick that he was too brilliant to exist and must have actually been a committee of people”.

• The electronic music of Paul Schütze receives a reappraisal on Phantom Limb in November with a compilation album, The Second Law.

Aliya Whiteley on Amanita Muscaria, the hallucinogenic mushroom seen in hundreds of fairy-tale illustrations.

• Stuart Firestein talks to Roger Payne about changing the world’s attitude to whales by recording their songs.

• Jennifer Lucy Allan talks to Sam Underwood about his unique Acoustic Modular Synth.

Jóna G. Kolbrúnardóttir sings Odi Et Amo from Englabörn by Jóhann Jóhannsson.

• A forthcoming release on Dark Entries: Back Up: Mexican Tecno Pop 1980–1989.

• Luc Sante looks at Jim Jarmusch’s collages.

John Grant‘s favourite albums.

• RIP Michael Chapman.

• The Divination Of The Bowhead Whale (1978) by David Toop & Max Eastley | Keflavik: The Whale Dance (1980) by Richard Pinhas | Ballet For A Blue Whale (1983) by Adrian Belew

Weekend links 573

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The Greendale Oak, Welbeck, Nottinghamshire, from Joseph George Strutt’s Sylva Britannica (1822/1830).

• “…a single page from Max Ernst’s collage novel Une semaine de bonté (A Week of Kindness, 1934) uncovers the weird brooding threat in Tenniel’s image of Alice in the railway carriage.” Mark Sinker reviewing the Alice: Curiouser and Curiouser exhibition at the Victoria and Albert Museum, London. I don’t know what Ernst page Sinker is referring to but I made the connection between an Ernst collage and Tenniel’s drawing here in 2010.

• At Wormwoodiana: “Calum Storrie’s 36 Elevations is a book of drawings of imaginary architecture, with the emphasis on towers, stairs, ladders, globes, oblique angles, gantries, finials etc.”

• At The Quietus: Jennifer Lucy Allen on The Strange World of…Don Cherry, and Dustin Krcatovich on Don and Moki Cherry’s Organic Music Theatre.

Call it the new orthodoxy of the digital middlebrow, “the rise of safely empowering stories with likeable protagonists who move through short sentence after short sentence towards uplifting conclusions in which virtue is rewarded.” The laudable goal of increasing the diversity of literary voices has somehow morphed into a series of purity tests designed to ensure that any artistic representation ticks the same boxes as its ostensible author. “On this,” Tyree writes, “conservative religious evangelicals secretly agree with their puritanical secularist enemies on a censorious attitude and checklist approach to art as either ‘acceptable’ or ‘offensive’ to whatever program one happens to prefer for cleansing all vileness from the world.” The result?

[A]rt is increasingly viewed by both the right and the left as a sub-branch of medicine, therapy, hygiene, or good manners. Art is no longer that which tells us the truth but rather that which makes us feel better—a deflated ideology that is spawning a sort of unofficial school of palatability.

And this, I fear, is what’s afflicting many of my students…

Justin St. Clair reviewing The Counterforce: Thomas Pynchon’s Inherent Vice by JM Tyree. Since I’m currently in the midst of a Pynchon reading binge this is all very timely

• “Researchers create self-sustaining, intelligent, electronic microsystems from green material“.

• From 2018: Ryuichi Sakamoto and David Toop live at The Silver Building.

• New weirdness: Catwalk Of The Phantom Baroque by Moon Wiring Club.

• Mix of the week:Episode #391 of Curved Radio by radioShirley & mr.K.

• At Dennis Cooper’s: Illegible autographs.

Elevation (1974) by Pharoah Sanders | Elevation II (1997) by Vainqueur | Elevations And Depths (2010) by Locrian

Weekend links 552

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White Peacock and Garden God (c. 1922) by Henry Keen.

• “Though both writers confront some of the most unsavory and unjust dimensions of human life, Genet revels in moral ambiguity and coarse language, while Erpenbeck satisfies her audience’s desire for tidy ethical responses by using careful, equally tidy sentences. Genet’s world is dirty; Erpenbeck’s is clean.” Christy Wampole compares two newly-translated collections of non-fiction writing by Jean Genet and Jenny Erpenbeck.

• Gaspar Noé’s notorious, controversial (etc, etc) Irreversible receives the prestige blu-ray treatment from Indicator in April. Still no UK blu-ray of Enter the Void is there? I had to order a German release.

Stereolab release Electrically Possessed: Switched On Vol. 4 next month, the latest in their series of albums which collect singles, compilation tracks and other rarities.

• At Nautilus: Antonio Zadra and Robert Stickgold on how dreaming is like taking LSD.

• At Dennis Cooper’s: Bollo presents…Éliane Radigue (& The Lappetites).

• Playwriting & Pornography: Adam Baran remembers Jerry Douglas.

• At Spine: Vyki Hendy on the joy of monochrome book covers.

• Mix of the week: Subterraneans 2 by The Ephemeral Man.

John Boardley’s favourite typefaces of 2020.

• New music: Spirit Box by Blanc Sceol.

Life In Reverse (1981) by Marine | Reverse World (1995) by David Toop | Reverse Bubble (2014) by Air

Weekend links 525

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Polish poster by Franciszek Starowieyski, 1970.

• Tony Richardson’s Mademoiselle (1966) is one of those cult films that’s more written about than seen, despite having Jeanne Moreau in the lead role as a sociopathic schoolteacher, together with a screenplay by Marguerite Duras and Jean Genet, plus uncredited script-doctoring by David Rudkin. John Waters listed the film as a “guilty pleasure” in Crackpot but it’s been unavailable on disc for over a decade. The BFI will be releasing a restored print on blu-ray in September.

“While the hurdy-gurdy’s capacity to fill space with its unrelenting multi-tonal dirge is for some the absolute sonic dream, for others it is the stuff of nightmares.” Jennifer Lucy Allan on the pleasures and pains of a medieval musical instrument.

• “I truly believed”: Vicki Pollack of the San Francisco Diggers talking to Jay Babcock for the fifth installment of Jay’s verbal history of the hippie anarchists.

• “If you want to call yourself a composer, you follow every step of the instrumentation.” Ennio Morricone talking to Guido Bonsaver in 2006.

Dutchsteammachine converts jerky 12fps film from the NASA archive to 24fps. Here’s the Apollo 14 lunar mission: landing, EVA and liftoff.

• New music: Suddenly the World Had Dropped Away by David Toop; Skeleton and Unclean Spirit by John Carpenter; An Ascent by Scanner.

Peter Hujar’s illicit photographs of New York’s cruising utopia. Not to be confused with Alvin Batrop‘s photos of gay New York.

• Mixes of the week: XLR8R Podcast 651 by Dave Harrington, and Mr.K’s Side 1, Track 1’s #1 by radioShirley & Mr.K.

Simon Reynolds on the many electronic surprises to be found in the Smithsonian Folkways music archive.

The Gone Away by Belbury Poly will be the next release on the Ghost Box label.

• At Dennis Cooper’s: Ed Emshwiller Day.

Shirley Collins’ favourite music.

Mademoiselle Mabry (1969) by Miles Davis | Hurdy Gurdy Man (1970) by Eartha Kitt | Danger Cruising (1979) by Pyrolator