Weekend links 517


Edward James by René Magritte; La Reproduction Interdite (1937).

• “James was filmed in the late 1970s, striding round Las Pozas in a sweater and a tattered dressing-gown, surmounted by parrots (The Secret Life of Edward James can be seen on YouTube). When asked what motivated him, he replied: ‘Pure megalomania!’ He was having his second childhood, he said, though he wasn’t sure the first had ever ended.” Mike Jay on lifelong Surrealist, Edward James (1907–1984), and the concrete fantasia he built in the Mexican jungle.

• “I found the roots of electronic music in a cupboard!” Musician Paul Purgas (one half of Emptyset) on the discovery of early electronic music from India’s National Institute Of Design. Related: Purgas talks about his discovery with Patrick Clarke.

• RIP Phil May. Here’s The Pretty Things in their guise as psych band “Electric Banana” for an appearance in What’s Good for the Goose (1969). A decent moment in an otherwise terrible film.

• Music is a memory machine: David Toop explores how the transmission of music between disparate cultures can be a tool against populism and prejudice.

• Kraftwerk’s remarkable journey, and where it took us: Bob Boilen and Geeta Dayal discuss the tanzmusik of Düsseldorf.

• At Dangerous Minds: Acid Drag & Sexual Anarchy: Fifty years ago The Cockettes turned drag upside down.

Hua Hsu on the secret lives of fungi: “They shape the world—and offer lessons for how to live in it”.

• The great writer who never wrote: Emma Garman on the flamboyant Stephen Tennant.

• Cult 1998 PlayStation game LSD: Dream Emulator is finally playable in English.

Jim Jupp of Ghost Box records talks about the Intermission compilation album.

Jonathan Moodie on psychoactive cinema and sacred animation.

Alex Barrett on where to begin with Akira Kurosawa.

• At Dennis Cooper’s: Skeletons.

Skeleton Makes Good (1982) by Captain Beefheart & The Magic Band | Red Skeletons (1996) by Coil | Kids Will Be Skeletons (2003) by Mogwai

Weekend links 516


Bats in space: an illustration by Henrique Alvim Corrêa from a 1906 edition of The War of the Worlds.

• Auf wiedersehen to Florian Schneider. Until he left Kraftwerk in 2009 (or 2006 or whenever it was), Schneider had been the group’s longest-serving member, keeping things running for the few months in 1971 when Ralf Hütter was absent. The brief period when Kraftwerk was Schneider plus soon-to-be-Neu! (Michael Rother, guitar, and Klaus Dinger, drums) fascinates aficionados over-familiar with the later albums. The music they produced was a wild and aggressive take on the rock idiom but Scheider maintained the link with Kraftwerk before and after, not only instrumentally but with his ubiquitous traffic cones, as noted in this post. There’s no need for me to praise Kraftwerk any more than usual, this blog has featured at least one dedicated post about them for every year of its existence, and besides, the group itself is still active. Elsewhere: Simon Reynolds on how Florian Schneider and Kraftwerk created pop’s future; A Kraftwerk Baker’s Dozen Special; Dave Simpson attempts to rank 30 Kraftwerk songs (good luck getting anyone to agree with this); Jude Rogers with ten things you (possibly) don’t know about Kraftwerk; Dancing to Numbers by Owen Hatherley; Pocket Calculator in five languages; Florian Schneider talks about Stop Plastic Pollution.

Intermission is a new digital compilation from Ghost Box records featuring “preview tracks from forthcoming releases and material especially recorded for the compilation during the global lockdown”. In a choice of two editions, one of which helps fund Médecins Sans Frontières.

• How groundbreaking design weirdness transformed record label United Artists, against all odds. By Jeremy Allan.

Sex in an American suburb is not quite the same phenomenon as sex in, say, an eastern European apartment block, and sex scenes can do a great deal to illuminate the social and historical forces that make the difference. All of which is to say that sex is a kind of crucible of humanness, and so the question isn’t so much why one would write about sex, as why one would write about anything else.

And yet, of course, we are asked why we write about sex. The biggest surprise of publishing my first novel, What Belongs to You was how much people wanted to talk about the sex in a book that, by any reasonable standard, has very little sex in it. That two or three short scenes of sex between men was the occasion of so much comment said more about mainstream publishing in 2016, I think, than it did about my book. In fact, in terms of exploring the potential for sex in fiction, I felt that I hadn’t gone nearly far enough. I’ve tried to go much further in my second novel, Cleanness. In two of its chapters, I wanted to push explicitness as far as I could; I wanted to see if I could write something that could be 100% pornographic and 100% high art.

Garth Greenwell on sex in literature

James Balmont‘s guide to Shinya Tsukamoto, “Japan’s Greatest Cult Filmmaker”.

• A Dandy’s Guide to Decadent Self-Isolation by Samuel Rutter.

Maya-Roisin Slater on where to begin with Laurie Anderson.

• The Count of 13: Ramsey Campbell‘s Weird Selection.

Adam Scovell on where to begin with Nigel Kneale.

When John Waters met Little Richard (RIP).

RB Russell on collecting Robert Aickman.

Weird writers recommend weird films.

Campo Grafico 1933/1939.

Ruckzuck (1970) by Kraftwerk | V-2 Schneider (1977) by David Bowie | V-2 Schneider (1997) by Philip Glass

Weekend links 511


Design by Romek Marber, 1963.

• The death of Polish composer Krzysztof Penderecki prompted so many “Shining composer” headlines you have to wonder what kind of notices he might have received if his early work hadn’t been purloined by Hollywood. György Ligeti always seemed ambivalent about having his music used as cinematic illustration (Kubrick annoyed him by altering some of it without permission) but Penderecki worked as a composer for Polish films in the 1960s, not only providing a score for The Saragossa Manuscript (1965) but also (surprisingly) writing music for a number of short animations. I’ve been listening to his music for almost 40 years, after a chance discovery of the stunning Threnody For The Victims Of Hiroshima led me to seek out more. I have to admit that the appeal of his recordings lay in their ability to thrill and terrify—qualities that musicologists seldom address—and I’ve never paid any attention to Penderecki’s later work which was less of an assault on the senses. At The Quietus James Martin argues for listening to the entire oeuvre, not just the early works. For more about the composer’s life and work, Culture.pl has a number of good articles, eg: Mazes, Notes & Dali: The Extraordinary Life of Krzysztof Penderecki, and Music Is Not for Everyone: An Interview with Krzysztof Penderecki.

• The late Romek Marber (1925–2020) was a designer/illustrator whose name is familiar to collectors of Penguin books via the Marber Grid, the template he created in the early 1960s for the Penguin Crime series, and which was later extended across the entire paperback range. Marber talked about this period of his work in Penguin by Illustrators in 2009. Elsewhere: Rick Poyner on Marber’s design, and a suggestion for how the Marber Grid was designed.

• “…you’ll see Lego and children’s toys, but also Rawlplugs, tile spacers, Monopoly houses, cigarillo tips, curtain hooks, biofilters, Smarties tube lids, fishing beads, broken security seals, razor parts, bits of toothbrushes, roofing screw caps, medical lancets, golf tees, false teeth, plastic soldiers, posties’ rubber bands, bungs and stoppers.” Beachcomber Tracey Williams talks to Andrew Male about the undying ubiquity of plastic waste.

• “Thanks to Bookshop, there is no reason to buy books on Amazon anymore,” says Alex Lauer. The caveat is that the service is limited to the USA. I order books direct from publishers or from eBay and Abe; the latter may be Amazon-owned but you’re still paying most of the money to the individual sellers.

• Mixes of the week: Radio Belbury 19: Family Fun Time, and Through A Landscape Of Mirrors Vol. VII – France IV by David Colohan.

• “[Amanda Sewell’s] Wendy Carlos: A Biography is a great work of scholarship,” says Geeta Dayal.

• “Part of me expects to go on forever.” David Barnett on Michael Moorcock at 80.

• “What is the point of a critic if not to tell the truth?” asks Rachel Cooke.

John Boardley on medieval road-trips and the invention of print.

Anna Bogutskaya on where to begin with the Weird West.

• Inside Tove Jansson’s private universe by Sheila Heti.

• Memory Of Hiroshima (1973) by Stomu Yamash’ta’s Red Buddha Theatre | Hiroshima Mon Amour (1977) by Ultravox! | Hiroshima (1982) by Borsig

Weekend links 510


• Saul Bass’s cult science-fiction film, Phase IV, has received a very welcome (Region B) blu-ray release from 101 Films. Everything is a metaphor for the unavoidable just now, but a film about a group of scientists besieged by a tiny and insidious biological threat can’t help but have additional resonance. The new release includes the original (and seldom seen) cosmic ending plus another disc containing several of Bass’s short films. Previously: Directed by Saul Bass.

• Music at the Internet Archive: Live at Metro (2007) by Sora, and three rare cassette releases by French synth-rock duo Fondation: Metamorphoses (1980), Sans Etiquette (1980), and Le Vaisseau Blanc (1983).

• Mixes of the week: a Manu Dibango (RIP) mix from Aquarium Drunkard, and Industrial Synth Rave Isolation Mix by Moon Wiring Club.

We must talk about Nightwood. The novel that sits between those early and late phases of her writing life, the tale of Felix Volkbein, Robin Vote, Dr Matthew-Mighty-Grain-of-Salt-Dante-O’Connor and many others, caught between world wars and each other, in the decadent cities of Europe. The novel follows the journey of Robin Vote, who is more “earth-flesh, fungi, which smells of captured dampness” than person. Sleepwalking through life, she nonetheless wakes up her fellow characters Nora, Felix and Jenny, who each try and pin her down, to no avail. It is a novel that defies synopsis. It is unsurprising that this remarkable book has attracted a “burgeoning body of interpretations”, as Tyrus Miller here notes; yet it seems that there are still new ways to approach it. Julie Taylor offers an affective reading, for example; Joanne Winning concentrates on Nightwood’s collaborative origins, exploring the fruitful and often overlooked creative relationship between Barnes and her partner, Thelma Wood. This is not just a case of considering that relationship as source material for the novel, but unpacking what Winning describes as their “lesbian modernist grotesque”. It is particularly welcome that Winning treats Wood as a silver-point artist in her own right.

Jade French reviews Shattered Objects: Djuna Barnes’s Modernism

• Ben Beaumont-Thomas on where to start with Kraftwerk, and Jennifer Lucy Allan on where to start with Alice Coltrane.

• The BBC’s Culture page discovers Tom of Finland but can’t bring itself to show much of his artwork.

• The art of Asterix: illustrator Albert Uderzo (RIP) at work.

Clive Hicks-Jenkins on “a marvel of clockwork ingenuity”.

• The films Wes Anderson is watching during isolation.

Greydogtales on six more strange tales that linger.

Adrian Searle‘s favourite online art galleries.

• The Ghost Box label is now at Bandcamp.

Twin Flames (Edit) by Lustmord.

• At Dennis Cooper’s: Flamboyant.

Phase By Phase (1976) by Peter Baumann | Phase 3: Agni Detonating Over The Thar Desert… (1995) by Earth | Phase Draft (2003) by Bill Laswell

Weekend links 507


The next release on the Ghost Box label will be Puzzlewood by Plone, “unironically joyful and melodic electronica; informed by library music, music for children’s TV and a deep passion for the history of music technology”. The album will be available in April. Design, as always, is by Julian House.

• “With his panting breath and dripping sweat infused in each page of his memoir, Patrick Cowley describes himself on his knees, bending over and ‘worshipping Phallus.'” Maxwell Shand on Dark Entries‘ “holy trinity” of Patrick Cowley’s Mechanical Fantasy Box, Hot Rod To Hell by Roy Garrett & Man Parrish, and Maxx Mann’s gay synth-pop.

• “We’re gonna do economic activity—without money!”: Inside the criminal glamour of the San Francisco Diggers with Kent Minault. The third installment of a verbal history of the hippie anarchists by Jay Babcock.

• “Susanna Hoffs and friends remember David Roback, who stayed creative, and enigmatic, to the end.” By Randall Roberts.

My connection with [raga] was not to be able to duplicate or emulate it but to learn from it. I combined it with the electronics and the harmonizer and things like that. But I would have a line that was being drawn. You’re thinking about it like a shape that’s being drawn on a canvas. It’s a line that’s being drawn and another. You’re holding three pencils at once while you’re drawing on the wall. So, you’re able to get the shapes. This was my thing with it, because I was into the harmony that it would make. So, it was an easy and natural thing to do, was to go and move into the electronics. Then we had equipment that was doing transposition and all that kind of thing. So that’s one little part of it.

Jon Hassell talking to Aquarium Drunkard about his first album, Vernal Equinox, which is reissued later this month

• Published next month by Strange Attractor Press: Rated SavX: The Savage Pencil Skratchbook.

• They came from outer Finland: the town where everyone saw UFOs, as photographed by Maria Lax.

• Mix of the week: Through A Landscape Of Mirrors Vol. VI – Sweden II by David Colohan.

Moonstrips Empire News (1967) by Eduardo Paolozzi.

• At Dennis Cooper’s: Shelley Duvall Day.

Graham Massey‘s favourite albums.

Phallus Dei (1969) by Amon Düül II | Wrong Eye (1990) by Coil | Red Scratch (1994) by ELpH