Weekend links 491

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The Weirdness is Coming, an illustration by Robert Beatty for an NYMag feature about the near future.

• I’m slightly late to this news, but better late than never: The Doll’s Breath is a 22-minute animated film by the Brothers Quay, shot on 35mm film and with a soundtrack by Michèle Bokanowski. It may take a while before it’s available to view outside the festival circuit but it’s good to know it’s in the world. Related: Filip Lech on the Polish inspirations of the Brothers Quay.

• More from Swan River Press: Joseph Sheridan Le Fanu’s disturbing horror tale, Green Tea, is published in a 150th anniversary edition, with an introduction by Matthew Holness, two essays and a CD containing a theatrical adaptation of the story by the Wireless Mystery Theatre.

• Luca Guadagnino, Olivia Laing and Sandy Powell, Tilda Swinton and John Waters choose favourite pieces of writing by Derek Jarman. Related: Protest!, a Jarman exhibition at the Irish Museum of Modern Art.

Fairport [Convention]’s revolutionary impact came in doing precisely the opposite of what the folklorists had intended when they began collecting the songs. By taking the old songs and setting them down on paper, they had largely believed they were preserving them in the form in which they must remain, ignoring the fact that songs passed through generations orally will always evolve. Fairport, though, played extremely fast and loose with the source material, matching tunes from one source with lyrics from another. As Rob Young put it in his book Electric Eden: “It threw into question the spurious ‘authenticity’ of the folk versions studiously set in stone by the Victorian and Edwardian collectors. Fairport’s electrifying act preserved and restored the guts and spontaneous vigour to the folk continuum.”

Michael Hann on the 50th anniversary of Fairport Convention’s Liege & Leaf

• More Patrick Cowley: PC’s megamix of Hills Of Kat Mandu by Tantra. And the mix of the week: a Patrick Cowley tribute from 1981 by DJ Jim Hopkins.

• The seventh edition of Wyrd Daze—”The multimedia zine of speculative fiction + extra-ordinary music, art & writing”—is out now.

5 Mishaps: A 32-page hardbound handmade book of short stories by Tamas Dobozy, with collage illustrations by Allan Kausch.

• At Dangerous Minds: Lovely Bones: The transfixing skeletons and dreamlike nudes of Belgian painter Paul Delvaux.

• From 1979: a very early TV appearance by Virgin Prunes (their first?) on Ireland’s The Late Late Show.

• Fists of fear: Anne Billson on 10 films featuring severed (and frequently vengeful) hands.

Adrian Curry at MUBI selects his favourite film posters of the 2010s.

Tea For Two (1956) by Duke Ellington | Tea For One (1976) by Led Zeppelin | Tea In The Sahara (2001) by Simon Shaheen & Qantara

Weekend links 476

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Man’s body dish for Sashimi under the cherry blossom (2005) by Ryoko Kimura.

• Godley & Creme’s Consequences (1977) is reissued this month on CD and vinyl. Originally a three-disc concept album with a theme of climate disaster and the natural world’s revenge on humanity, Consequences was released at a time when punk and prog rock were fighting for the attention of music listeners. 1977 wasn’t the end of prog by any means (many of the vilified bands had some of their greatest successes at this time) but Godley & Creme’s transition from the smart pop songs of 10cc to extended instrumental suites was abrupt, and their concept, such as it was, lacked the drama and accessibility of Jeff Wayne’s The War of the Worlds, even with the addition of Peter Cook providing a multi-voice comic narrative between the musical pieces. (Kevin Godley ruefully referred to the album in later years as Con Sequences.) The album flopped, and has been a cult item ever since.

• “A word of caution, though. Once you do read it, it’s hard to let it go.” Philip Hoare on Herman Melville and Moby-Dick. Related: William T. Vollmann on how a voyage to French Polynesia set Herman Melville on the course to write Moby-Dick.

Samm Deighan on The “Faraway Forest” in Peter Strickland’s Katalin Varga, The Duke of Burgundy, and The Cobbler’s Lot.

Brian Eno, Roger Eno, and Daniel Lanois discuss the recording of Apollo: Atmospheres & Soundtracks.

John Boardley on the first fashion books, Renaissance pixel fonts and the invention of graph paper.

Melanie Xulu looks back at a time where major labels were releasing witchcraft rituals.

• “Tom Phillips’ A Humument is a completely novel project,” says Rachel Hawley.

John Foster on the evolution of Stereolab’s analogue-inspired record sleeves.

• At Dennis Cooper’s: a history of le Grand Guignol by Agnes Peirron.

Casey Rae on William S. Burroughs and the cult of rock’n’roll.

• An Austin Osman Spare image archive.

Consequences (1965) by John Coltrane | Moby Dick (1969) by Led Zeppelin | Consequence (1995) by Paul Schütze

Weekend links 289

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Fathomless Sounding (1932) by Gertrude Hermes.

• Over at Greydogtales (“weird fiction, weird art and even weirder lurchers”) I talk about art, design, the writing of this blog, and I also reveal more about my ongoing Axiom project. The latter currently stands at two novels, a couple of half-finished stories and a few pieces of artwork. I may be unveiling some of the art in the new year so watch this space.

• Howard Brookner’s Burroughs: The Movie (1983), a definitive film portrait of William Burroughs, is released at last on DVD/Blu-ray. US-only for the moment but further releases elsewhere are promised. The director’s nephew, Aaron Brookner, has a documentary about his uncle released next year.

• “…beautifully articulated bawdiness, perverse pleasures and a radical, though nondidactic, political view.” Melissa Anderson reviews Boyd McDonald’s Cruising the Movies: A Sexual Guide to Oldies.

The crisis, as Ellis and Silk tell it, is the wildly speculative nature of modern physics theories, which they say reflects a dangerous departure from the scientific method. Many of today’s theorists — chief among them the proponents of string theory and the multiverse hypothesis — appear convinced of their ideas on the grounds that they are beautiful or logically compelling, despite the impossibility of testing them. Ellis and Silk accused these theorists of “moving the goalposts” of science and blurring the line between physics and pseudoscience. “The imprimatur of science should be awarded only to a theory that is testable,” Ellis and Silk wrote, thereby disqualifying most of the leading theories of the past 40 years. “Only then can we defend science from attack.”

Natalie Wolchover on A Fight for the Soul of Science

• Mixes of the week: A mix by Front & Follow, and The Ivy-Strangled Path Vol. XIV by David Colohan.

• “Psychedelics can’t be tested using conventional clinical trials,” says Nicolas Langlitz.

• At Dangerous Minds: Ralph Steadman illustrates Ray Bradbury’s Fahrenheit 451.

• Why does Moby-Dick (sometimes) have a hyphen? Erin Blakemore investigates.

• My thanks again to Dennis Cooper for including this blog on his year-end list.

• Cian Traynor was given 20 minutes to ask Ennio Morricone some questions.

Lolita at 60: Ten writers reconsider Nabokov’s novel, page by page.

• At Ballardian: High-Rise: Wheatley vs Cronenberg.

Poison Ivy: The Queen of Psychobilly Punk

The Cinema of Hotels: a list

Solo intimacy DIY

Moby Dick (1970) by Led Zeppelin | William Burroughs Don’t Play Guitar (1996) by Islamic Diggers | Physical (2001) by Goldfrapp

Weekend links 219

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Grendel Monster (2013) by Anna & Elena Balbusso.

Rick Poynor looks at the Guide de la France mystérieuse (1964), a fantastic (in every sense) doorstop of a volume whose collage alphabet by Roman Cieslewicz can be seen on the cover of Carnival In Babylon (1972) by Amon Düül II.

• Boolean mathematics, Charles Howard Hinton, The Voynich Manuscript, and the effects of surveillance on the political process: Adam Curtis firing on all cylinders as usual.

• At Strange Flowers: The Picture of John Gray, remembering the minor fin de siècle figure who gave Oscar Wilde a surname for his most famous creation.

In “32 Cardinal Virtues of Dennis Cooper,” Wayne Koestenbaum remarks: “Cooper’s quest for the unseeable is virtually religious. I mean: sedulous, abstract, perpetual, unrewarded, unreasonable.” There’s much more to be said of Gone, its power, its pain, its odd intrigues, but perhaps it will suffice to say that it is revealing: unlike Burroughs’ scrapbooks hidden away by some private collector, never to see the light of day, Gone (and its sister texts at the Fales Library) illuminate in perpetuity Cooper’s obscure quest for the unseeable.

Diarmuid Hester looks at Dennis Cooper’s scrapbooks

The Sallow Tree, a single by Lutine. More music: An hour of Julia Holter‘s St John’s Sessions performance.

• At Dangerous Minds: Christian televangelists listen to Stairway To Heaven forwards.

• Cathy Camper reviews Fearful Hunter, a graphic novel by Jon Macy.

• Mix of the week: FACT mix 452 by Claude Speeed.

Roman Cieslewicz at Pinterest.

The Adobe Illustrator Story

The House of Julian

Unofficial Britain

• Amon Düül II singles: Rattlesnakeplumcake (1970) | Between The Eyes (1970) | Light (1971) | Lemmingmania (1971)

Storm Thorgerson, 1944–2013

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Wish You Were Here (outer and inner sleeve, 1975) by Pink Floyd.

Whenever people ask questions about your work at some point the subject of influences always turns up. Influences for me are usually few, they’re those things which skew your perception to such a degree—or which enlarge the range of possibilities—that they make you follow a path you might otherwise have never pursued. I’ve said on many occasions that the window of our local record shop in the 1970s was an art gallery whose contents changed every week, with gatefold sleeves offering an endless variety of fantastic visions and smart designs. I was often indifferent to the music the sleeves were intended to advertise, if a favourite band happening to have a great record sleeve then so much the better. It wasn’t that I wanted to be a record sleeve designer as such, more that the views (as Roger Dean called his first book) were incredibly stimulating, and they excited me enough that I wanted to have the creation of images like that in my future.

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Wish You Were Here shrinkwrap and George Hardie’s sticker design.

I’ve written at some length about Roger Dean and Barney Bubbles but it was Hipgnosis that dominated those window displays during the golden age of record sleeve design. Obituaries of Storm Thorgerson have rightly been acknowledging the contributions of his Hipgnosis design partners Aubrey Powell and Peter Christopherson, but Thorgerson always came across as the driving force, a position reinforced by his text for the group’s first book collection, An ABC of the Work of Hipgnosis: Walk Away René (1978), and by his post-Hipgnosis career which continued to generate even more startling images. Walk Away René is like the designs of Hipgnosis themselves: witty, clever, and beautifully produced, while Thorgerson’s commentary is refreshingly honest both about the details of album sleeve production, and in its lack of the affectation which afflicts many design books. Working in the music business probably helped maintain a no-bullshit attitude; it’s difficult to imagine many other designers cheerfully announcing in their first public showcase that their studio is so primitive that everyone has to piss in the sink. Or, as I noted in December, drawing attention to your least favourite covers in an even more lavish showcase.

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The Dark Side Of The Moon (1973) by Pink Floyd.

The cover examples here have been chosen via the essays in For the Love of Vinyl: The Album Art of Hipgnosis (2008) where several people were asked to choose their favourite sleeves. I’d find it impossible to choose a favourite although at a push I’d probably go for Wish You Were Here. With its absence/four elements concept, in its original package—the postcard insert, the unlabelled sleeve shrink-wrapped in black cellophane then stickered with a George Hardie drawing which I once laboriously copied—it comes close to perfection when you’re discussing album covers as works of art.

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Presence (1976) by Led Zeppelin.

The Hipgnosis Covers site is the place to see more work by Storm Thorgerson and company.

Storm Thorgerson, Pink Floyd and the final secret of the world’s greatest record sleeve designer
The Guardian: “The best album designer in the world”
Storm Thorgerson remembered by Aubrey Powell
Adrian Shaughnessy at Creative Review
Mark Blake at MOJO
Telegraph obituary

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Go 2 (1978) by XTC.

Elsewhere on { feuilleton }
The record covers archive

Previously on { feuilleton }
Hipgnosis turkeys
Peter Christopherson, 1955–2010
Storm Thorgerson: Right But Wrong
Battersea Power Station