Weekend links 485

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Art by Augustus Jansson for the Queen City Printing Ink Company (c.1906).

• Much of my music listening for the past couple of weeks has been the compositions and soundtracks of the late Jóhann Jóhannsson, so these links are pertinent: Jóhannsson and ensemble live at KEXP in 2010, and a memorial performance of Virdulegu Forsetar from last year.

• “[Her] approach to making electronic music was hard work, too, but it was less about controlling sounds and more about surrendering to them.” Geeta Dayal on Éliane Radigue whose Chry-Ptus has been reisssued by Important Records.

• Safe From Harm: Tim Murray on how Coil helped AIDS awareness on VHS. The video in question, The Gay Man’s Guide to Safer Sex, may be viewed at the Internet Archive.

• In the LRB podcast Ian Penman and Jennifer Hodgson discuss Penman’s new collection of essays, It Gets Me Home, This Curving Track.

• “A land of fog and emotional nightmares.” Oliver Wainwright on why Britain booted out the Bauhaus.

• Mapping Scotland’s Grim History of Witch-Hunting by Feargus O’Sullivan.

• Long-Haired Stars & the End of the World: John Boardley on comets.

My Will by Minimal Compact, a new version of an old song.

• La Danse Des Comètes (1970) by Nino Nardini | Kohoutek-Kometenmelodie 1 & 2 (1973) by Kraftwerk | Cometary Wailing (Valley Plateau) (1981) by Bernard Xolotl

Weekend links 301

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The Music from the Balconies (1984) by Edward Ruscha.

• At The Quietus: High-Rise director Ben Wheatley runs through his favourite films. Kudos for mentioning Elem Klimov’s Come and See (1985) among the more familiar fare, a nightmarish masterwork that everyone should watch at least once. On the same site, author Joe R. Lansdale also lists some favourite films while discussing the new TV series of his Hap and Leonard books.

Electric Hintermass (Sound Apart) by Hintermass, a track from The Apple Tree, their debut album on the Ghost Box label.

Michael Mann’s Heat: “A complex, stylistically supreme candidate for one of the most impressive films of the Nineties”.

• Despair Fatigue: David Graeber on how [political] hopelessness grew boring, and what happens next.

• Mix of the week: FACT Mix 541 by Tortoise, and Blowing Up The Workshop 56 by Eric Lanham.

• At Dennis Cooper’s: “Some books (1961–1975) that either faked ingesting LSD or did”.

• David Litvinoff again: “Was he only an opportunistic hustler?” asks David Collard.

John Carpenter’s The Thing rescored with one of the director’s Lost Themes.

Overlooked: a book by Marina Willer about the manhole covers of London.

• Pam Grossman (words) and Tin Can Forest (art) ask What is a Witch?

• A long way down: Oliver Wainwright on JG Ballard and High-Rise.

• A conversation with designer and typographer Erik Spiekermann.

• The BFI compiles a list of “The 30 Best LGBT Films of All Time“.

• Decoding the spiritual symbolism of artist Hilma af Klint.

Sabat Magazine

Heat (1983) by Soft Cell | The Heat (1985) by Peter Gabriel | Heat Miser (1994) by Massive Attack

Weekend links 300

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Observatoire IX from the Observatoires series by Noemie Goudal.

• “Before Lady Raglan’s intervention, this figure had been anonymous. She gave him a name: the Green Man.” Josephine Livingstone on the persistence of a supposed figure from pagan folklore.

Ben Wheatley: “Financing a film as crazy as [High-Rise] takes good casting”. Related (in a Ballardian sense): the abandoned hotels of the Sinai Desert.

• “We were in danger of becoming full-time, paid up musicians…” Drew Daniel and Martin “MC” Schmidt of Matmos look back over their career.

Fahey didn’t make many new friends with his scything dismissal of the folk revival. He distrusted the way that folkies regarded music as a carrier for the correct political messages of the moment. As Lowenthal puts it: “To him, the student idealists had naïve worldviews and dreamed of unrealistic political utopias,” whereas Fahey “attempted to channel darkness and dread through his music.” For Woody Guthrie and Pete Seeger devotees, the ideological message came first, with musical tone or trickery a distant second. As Fahey saw it, the dizzyingly strange source music they borrowed from and then built their careers on emerged as little more than a scrubbed-up ventriloquist’s doll, all the coarse grain and troubling metaphysic of its original voices jettisoned. He also detected high condescension and low reverse racism in how the folk-revival people preferred their old blues guys barefoot and wearing dungarees—even if they now usually dressed in sharp suits and often preferred to play amplified, electric urban blues.

Ian Penman on John Fahey

• “It’s amazing how quickly a sound can lose its moorings and float off into this kind of unchartered territory,” says Robin The Fog.

• Mixes of the week: FACT Mix 540 by Via App, and Secret Thirteen Mix 178 by BlackBlackGold.

Oliver Wainwright on Edward Johnston, designer of the typeface for the London Underground.

• At Dennis Cooper’s: DC’s: Spotlight on…The Free-Lance Pallbearers (1967) by Ishmael Reed.

Each drop of Hennessy X.O is an Odyssey: Nicolas Winding Refn makes an alcohol ad.

Wayne Shorter & Herbie Hancock pen an open letter to the next generation of artists.

Japan’s scariest manga artist (Junji Ito) loves Japan’s creepiest cosplayer (Ikura).

• “He was a sexual outlaw.” Jack Fritscher‘s love affair with Robert Mapplethorpe.

Peter De Rome: the RAF pilot who became “the grandfather of gay porn”.

The Strange Case of Mr William T. Horton

• RIP Big George Martin and Ken Adam.

Shortwave Radio World

Viriconium FAQ

Nine Feet Underground (1971) by Caravan | Green Bubble Raincoated Man (1972) by Amon Düül II | Betyárnóta (Outlaw Song, 1989) by Muzsikás