Weekend links 502

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The Byrds (1967) by Wes Wilson.

• RIP Wes Wilson, one of the first of the San Francisco psychedelic poster artists of the 1960s, and also one of the more visible thanks to the popularity of his compressed type designs, some of which were derived from a style developed by Alfred Roller for the Vienna Secession circa 1900. When Playboy magazine wanted a cover that reflected the psychedelic art trend in late 1967 it was Wilson they called. Related: Wes Wilson’s posters at Wolfgang’s.

• “In the ’70s, New Age music offered listeners, trapped in the urban rat-race, audio capsules of pastoral peace to transform their homes into havens. Today the Internet and social media form a kind of post-geographic urban space, an immaterial city of information whose hustle ‘n bustle is even more wearing and deleterious to our equilibrium.” 2010–19: Back To The Garden: The Return Of Ambient And New Age by Simon Reynolds.

• “This pointed-finger symbol goes by many names: mutton fist, printer’s fist, bishop’s fist, pointer, hand director, indicule, or most unimaginatively as ‘a hand’. Scholarly consensus has pretty much settled on the word ‘manicule’, from the Latin maniculum, meaning ‘little hand’.” John Boardley on the typographic history of the pointing hand.

Tales Of Purple Sally (1973) by Alex. All instruments by Alex Wiska apart from bass by Holger Czukay, and drums by Jaki Liebzeit. The latter pair also produced the album. Related: Jah Wobble talking to Duncan Seaman about working with Czukay and Liebeziet.

• “On Jan 25, 2020, tired of negative film lists on Twitter, I asked people for ‘obscure [or] underseen films you adore and think more people should know about.’ This was the result.”

Flash Of The Spirit by Jon Hassell & Farafina “hails from a time when the possibilities of music seemed less well-defined, and borders felt more open,” says Geeta Dayal.

The Art Of Computer Designing: A Black and White Approach (1993) by Osamu Sato. There’s more of Sato’s print work at the Internet Archive.

• At the Morgan Library: Jean-Jacques Lequeu: Visionary Architect. Drawings from the Bibliothèque nationale de France.

• New from Strange Attractor: Inferno: The Trash Project: Volume One by Ken Hollings.

• At Dennis Cooper’s: Storm de Hirsch Day.

Celeste by Roger Eno & Brian Eno.

Ben Watt‘s favourite music.

The Inferno (1968) by The Inferno | Inferno (1990) by Jah Wobble’s Invaders Of The Heart | Inferno (1993) by Miranda Sex Garden

Weekend links 464

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13 Circles by Julien Picaud.

• The 50th anniversary of the Apollo Moon landing is only two months away so it’s no surprise that Brian Eno’s Apollo: Atmospheres And Soundtracks is being reissued. The latest release will include an additional disc of new music by Eno with his collaborators from the original sessions, Daniel Lanois and Roger Eno. Related: the Apollo 11 Command Module as an explorable (and printable) 3D model.

• From the real Moon to the presence of the satellite in myth and history, the next book from Strange Attractor will be Selene: The Moon Goddess & The Cave Oracle, a volume which is also the final work by the late Steve Moore. With a foreword by Bob Rickard, and an afterword by Alan Moore.

• Guitar-noise maestro Caspar Brötzmann released a handful of thrilling albums in the 1990s then disappeared from view. Spyros Stasis talked to Brötzmann about his hiatus and his recent resurfacing on the Southern Lord label.

• A year late, but I didn’t know Paul Schrader had written an updated introduction to his 1972 study of Ozu, Bresson and Dreyer, Transcendental Style in Film. I love the idea of “The Tarkovsky Ring” as a directorial event horizon.

• “Nothing written is utterly without value, as I proved to myself by reading two random works.” Theodore Dalrymple on the lasting worth of “worthless” books.

Cinemagician: Conversations with Kenneth Anger, a documentary by Carl Abrahamsson about the director/writer/magus.

• Mirror, Mirror: When Movie Characters Look Back at Themselves by Sheila O’Malley.

• From Susan Sontag to the Met Gala: Jon Savage on the evolution of camp.

• Mix of the week: Secret Thirteen Mix 289 by Mondkopf.

• Portrait of the Artist as a Consumer: Anne Billson.

• A video by IMPATV for Religion by Teleplasmiste.

Obscure Sound ~ Cosmic: a list.

Mira Calix‘s favourite records.

Transcendental Overdrive (1980) by Harald Grosskopf | Transcendental Moonshine (1991) by Steroid Maximus | The Transcendent (1999) by Jah Wobble

Weekend links 450

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Orpheus (c. 1903–1910) by Odilon Redon. One of 30,000 public-domain images from the Cleveland Museum of Art’s collection.

• Network DVD has announced the premiere home release of Orson Welles’ Great Mysteries, a British TV series that ran from 1973 to 74. Welles’ involvement was limited to introducing each episode but the series itself was one I enjoyed a great deal: 26 short adaptations of period mystery stories that featured a wealth of British and American acting talent. The theme by John Barry was an additional bonus.

• The trailer for Apollo 11, a documentary by Todd Douglas Miller which presents for the first time the 70mm footage recording the Earth-bound parts of the Moon mission. Related: Michelle Santiago Cortés on how NASA used art to shape our vision of the future.

• At Dangerous Minds: a preview of Third Noise Principle, the latest in an excellent series of electronic music compilations from Cherry Red, and Cosey Fanni Tutti talks about her first solo album since 1983.

“The way I understood theory, primarily through popular culture, is generally detested in universities,” Mark [Fisher] told me in 2005, when I interviewed him for the Village Voice. “Most dealings with the academy have been literally clinically depressing.” He darkly surmised that his blog, K-Punk, and the surrounding blogosphere, “seemed like the space—the only space—in which to maintain a kind of discourse that had started in the music press and the art schools, but which had all but died out, with appalling cultural and political consequences.” Mark and the Village Voice are both dead now, leaving unfathomable voids in their wake.

Geeta Dayal on Mark Fisher

• At The Witch Wave: Peter Bebergal and Pam Grossman discuss Bebergal’s latest book (also my current reading), Strange Frequencies: The Extraordinary Story of the Technological Quest for the Supernatural.

• At Bandcamp: another release from the retro-synth cosmos of Jenzeits, and Ufology , an investigation of Britain’s flying-saucer landscape by Grey Frequency.

• Surprising collaboration of the week: Beth Gibbons and Krzysztof Penderecki have made a new recording of Henryk Górecki’s Third Symphony.

Alchemy (1969) the debut album by the Third Ear Band, receives an expanded reissue next month.

The Burn: a science-fiction story by Peter Tieryas with illustrations by Arik Roper.

• Mix of the week: Self-Titled Needle Exchange 275 by Black To Comm.

Amy Turk plays Bach’s Toccata and Fugue in D Minor on her harp.

Chrismarker.org is seeking donations.

Mystery Train (1955) by Elvis Presley | Mystery R.P.S. (No 8) (1981) by Holger Czukay, Jah Wobble, Jaki Liebezeit | Mystery Room (1985) by Helios Creed

Holger’s Radio Pictures

Turn the dials with your hand / Till you find the shortwave band

Kraftwerk

The sounds of the radio, especially the distant voices and atmospheric distortions of the shortwave band, were a continual presence in the work of the late Holger Czukay. The Canaxis piece on his first album outside Can (also known today as Canaxis) opens with a series of electronic bleeps reminiscent of (or maybe derived from) radio signals. In Czukay’s later TV appearances with Can he left the bass playing to Rosko Gee, preferring instead to stand at the side of the stage with a collection of radios and tape machines. On one of his first high-profile collaborations of the 1980s, David Sylvian’s Words With The Shaman, he’s credited solely with “radio”. The radio continued to provide source material for his subsequent collaborations and solo albums.

What you have here is my own mix of some favourite Czukay compositions all of which favour radio signals. The title is derived from the two tracks taken from the Full Circle EP, a collaboration between Czukay, Jah Wobble and Jaki Liebezeit; Full Circle and Mystery are both labelled “RPS” or “Radio Picture Series”. Being numbered pieces this has always begged the question of where the other six in the series might be. Now the composer is gone we may never know.

Tracks:
Jah Wobble, Holger Czukay & Jaki Liebezeit—Full Circle R.P.S. (No. 7) (1981)
Holger Czukay—Music In The Air (1987)
Jah Wobble, Holger Czukay & Jaki Liebezeit—Mystery R.P.S. (No. 8) (1981)
Holger Czukay—Radio In An Hourglass (1992)
Holger Czukay—Traum Mal Wieder (1984)
Holger Czukay—Mirage (1999)

Jaki Liebezeit times ten

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Jaki Liebezeit.

One thing to note about the late Jaki Liebezeit is that everyone liked Can in the 1970s, which means that everyone liked Jaki Liebezeit’s drumming. When the music wars were raging in 1976, Can were one of the few groups from the hippy side of the barricade given a pass by the punks. Prog-heads liked Can because of the rock grooves and complex improvisations; punks enjoyed the muscular insistence of songs like Father Cannot Yell and Halleluwah. David Bowie liked Can; Brian Eno liked Can enough to let Jaki Liebezeit guest on Before And After Science (Eno also made this tribute video for the Can DVD); John Lydon when he was still Johnny Rotten played Halleluwah on his Capital Radio show in 1977 together with other favourite records; a year later, Pete Shelley wrote a sleeve note for a Can compilation (and the first Can album I bought), Cannibalism; Mark E. Smith liked Can (of course); Siouxsie called Jaki Liebezeit “the best drummer in the world,” while Jah Wobble would go on to work with Liebezeit on numerous recordings under his own name and as a guest on other albums. Some of the Wobble recordings appear below. If there’s a minimum of Can music in the following list that’s mainly because Mute/Spoon keep the back catalogue away from British users of YouTube. I don’t mind that; the absence of the prime stuff means I can draw attention to some examples of Jaki Liebezeit’s post-Can work which might otherwise be overlooked.

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Mother Sky/Deadlock (1970) by Can.

Two numbers from the fantastic live set the group played on German TV for an audience of ecstatic/bored/stoned hippies.

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Jaki Liebezeit drum solo (1970).

In the Can Book Liebezeit says he never played drum solos but he was forgetting about this example from the group’s early days.

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Flammende Herzen (1977) by Michael Rother.

Michael Rother’s first solo album was also his best after leaving Neu! The album is essentially a duet between Rother and Liebezeit, with Rother playing all instruments apart from the drums.

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Oh Lord Give Us More Money (1979) by Holger Czukay.

In which Holger Czukay takes the Can song Hunters And Collectors, removes the vocals then extends and remixes the whole thing into a 13-minute collage blending the music with BBC sound effects and vocal samples taken from radio and TV. Samplers didn’t exist in 1979, this was all done with tape, and it’s incredible. I forget whether it was Jaki Liebezeit or Michael Karoli who said they didn’t recognise their playing afterwards (probably the latter) but Leibezeit’s drums sustain the entire piece. He also plays on the rest of the album. Movies is Czukay’s masterpiece, and more true to the questing, inventive spirit of Can than the albums the group made after Landed. Another track, Persian Love, samples Middle Eastern vocalists two years before My Life In The Bush Of Ghosts. Eno was paying attention.

Continue reading “Jaki Liebezeit times ten”