That old black magic: A Dark Song

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Catherine Walker.

Among the Halloween viewing this year was A Dark Song (2016), a debut feature written and directed by Liam Gavin. I’d known about this one for some time thanks to recommendations from friends but for various reasons hadn’t seen it until now. Part of the interest was nakedly egotistical: one of the lead characters wears a T-shirt bearing a design based on the Epigenesis album cover that I created for Melechesh in 2010. The cover art—a variation on the Kabbalistic Tree of Life—suits the occult theme of the film, while Steve Oram’s character is also the kind of person who might be a metal-head.

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Steve Oram in that shirt.

Ego matters aside, it’s the occult business that really sets this film apart. Had I known earlier that the story concerns an enactment of the famously arduous Abra-Melin ritual I’d have sought it out much sooner. Catherine Walker plays Sophia, a woman looking for supernatural vengeance following the murder of her young son. Her ritual guide, Oram’s Joseph Solomon, is evidently her last resort after attempts to hire other occultists have failed. Her determination forces her to engage the man despite his obvious unsuitability as a mentor for the Abra-Melin’s psychic assault course. Solomon is a surly recovering alcoholic; once the ritual begins he turns into a belligerent bully. With the pair locked into a remote house that neither of them can leave for fear of the occult consequences, the ensuing battle of wills makes an already hazardous ritual all the more dangerous.

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More Things to Come

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The organisers of the Things to Come exhibition at the Petach Tikva Museum of Art, Israel, sent me their photos of the show earlier this week. As with the other recent exhibitions that I haven’t managed to attend it’s good to see how everything looks in situ, and also see some of the other exhibits.

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The art pieces are all related to science fiction old and new, with my airship illustration (as seen in The Steampunk Bible) and a couple of other works representing the old (or new-as-old) side of things. I’m not used to seeing my work enlarged to such a huge size so this was a treat. The only larger reproductions have been a window display for one of the Cradle of Filth album covers which filled a whole window of Tower Records, London, in 2001, and stage backdrops for Cradle of Filth and Melechesh. I can’t identify any of the other exhibits until the catalogue arrives but I really like the iridescent metal construction that’s lying on the gallery floor. All the photos are by Elad Sarig, and are shown courtesy of the Petach Tikva Museum of Art. My thanks again to Doreet LeVitte Harten for selecting my work, and to Avshalom Suliman for dealing with the printing and other details.

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The Tidal Path by Watch Repair

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When it comes to my work for the music world, this week has ranged from one pole to the other. On Tuesday Enki , the album whose cover I designed last year for Melechesh, was released in the US on multiple formats including coloured vinyl and (if you want the expensive option) a CD with bundled T-shirt; on Wednesday local musicians Watch Repair released The Tidal Path, a hand-crafted CD-R limited to 100 copies for which I designed the Risographed insert.

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Musically you can’t compare these releases, and it would be unwise to do so, they’re both operating in very different areas. Watch Repair (who otherwise prefer to remain anonymous) have for the past two years been producing a distinct form of improvised music that combines acoustic instruments, ambient recordings and treated/processed sounds. The predominant atmosphere on The Tidal Path is winter, frozen water and icy wastes, hence the choice of an old map of the northern polar regions for the insert artwork. The map also features a few surreptitious references to related works by other artists but I’ll leave it to informed listeners to detect those. The Tidal Path is a release on Manchester’s Ono label which may be ordered from Piccadilly Records.

Previously on { feuilleton }
Watch Repair

Weekend links 245

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First English-language edition of Hard to Be a God, 1973. Cover design by Alan Peckolick.

A group of scientists is sent to the planet Arkanar to help the local civilization, which is in the Medieval phase of its own history, to find the right path to progress. Their task is a difficult one: they cannot interfere violently and in no case can they kill. The scientist Rumata tries to save the local intellectuals from their punishment and cannot avoid taking a position. As if the question were: what would you do in God’s place?

Hard to Be a God is a 170-minute Russian science-fiction film based on a novel by Arkady & Boris Strugatsky, the authors of Roadside Picnic. The film was the magnum opus of director Aleksey German (1938–2013) who died shortly before post-production was complete. German’s wife and son finished the film.

“…the wonder about this exhausting, astonishing film is not that it took so long to make, it’s that it got made at all,” says Gabriel Winslow-Yost; “one of the most consistently disgusting films ever made,” says Glenn Kenny, “…not only an unforgettable individual masterpiece but probably one of the capital-G Great Films.”; “There are no bones to be made about it, Hard to Be a God is a modern masterpiece,” says Matt Thrift.

This pushes all of my cinematic buttons, of course, so now I’m itching to see it. YouTube has trailers, and (if you must) you can also find the entire film without subtitles. I’d rather wait for a disc version. Meanwhile, Chicago Review Press have republished the novel with a new translation by Olena Blumberg and a foreword by Hari Kunzru.

• At the Guardian John Doran recommends new Middle Eastern and North African music; the playlist includes a song from the forthcoming album by Melechesh which features my cover art. At the Quietus this week Doran explored Manchester’s urban wastelands with local musician Julie Campbell aka Lonelady.

• “Research into psychedelics, shut down for decades, is now yielding exciting results,” says Michael Pollan. Related: Ryan Cooper on why the [US] government should be funding mass scientific studies of Ecstasy, magic mushrooms, and LSD, and “Early humans used magic mushrooms, opium“.

Dad combined porn with all manner of genre fiction. He wrote pirate porn, ghost porn, science-fiction porn, vampire porn, historical porn, time-travel porn, secret-agent porn, thriller porn, zombie porn and Atlantis porn. An unpublished Old West novel opens with sex in a barn, featuring a gunslinger called Quiet Smith, without doubt Dad’s greatest character name. By the end of the decade, Dad claimed to have single-handedly raised the quality of American pornography.

Chris Offutt on the prolific writing career of his father, Andrew Jefferson Offutt V

The Sound Repository 2 by Wizards Tell Lies, a free collection of “rare tracks, demos, early and alternative versions” at Bandcamp.

Jennifer Rothwell‘s new fashion collection uses prints based on Harry Clarke’s stained-glass windows.

• Mix of the week: My Body Full Of Stars, an Afrofuturism mix by Oyinboy.

Terry Gilliam’s title sequence for Cry of the Banshee (1970).

Endless Endless: Kraftwerk at Tumblr.

Sehr Kosmisch (1974) by Harmonia | Walky-Talky (1975) by Harmonia | Sometimes In Autumn (1976) by Harmonia 76

Enki by Melechesh

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Another album cover, and this time the artwork is my own, being my third cover for metal band Melechesh. The album won’t be released until February but the record label, Nuclear Blast, revealed the cover earlier this week so I thought I may as well post it myself. See a larger copy here. Note that other copies in circulation at the moment show a temporary title design (not my doing) which will probably be changed by release time.

This is my third cover for the band whose songs are preoccupied with Sumerian mythology, as should be evident from the symbolism. The artwork was also one of two elaborate (unconnected) designs I’d been working on over the autumn. The other one may be revealed next week so watch this space.

Elsewhere on { feuilleton }
The album covers archive

Previously on { feuilleton }
The Epigenesis by Melechesh