Weekend links 634

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Cover for Amazing Stories, October 1992, by Douglas Chaffee. A delightfully strange painting that suggests a no doubt unintentional homoerotic scenario when divorced from its original context. Via.

• “The most curious aspect of Buckminster Fuller’s arc is that he became a counterculture icon while entrenched in the very things that betrayed its spirit.” Pradeep Niroula on Buckminster Fuller (again) whose self-importance is deflated in a new biography, Inventor of the Future: The Visionary Life of Buckminster Fuller by Alec Nevala-Lee.

• “I love both King Diamond and Weird Al. Lana del Rey and Anna von Hausswolff. Golden age illustrations of elegantly levitating fairies in a lush vibrant summer garden and the gothic charcoal rendering of melancholy moth singed by a candle’s flame.” S. Elizabeth talking to Luna Luna Magazine about inspirations and The Art of Darkness.

• “I’m writing this from my office which has a record player, currently about eight thousand records, and just one CD.” Vinyl-head Jonny Trunk talking to Norman Records about the finding and releasing of rare music.

A painter’s brilliant achievements, the unique traits of his particular style, rest on an abiding substratum of coordinated specialized crafts, a body of knowledge and practice safeguarded by a tradition upheld by the guilds. Beneath the glimmer and foreground of art history, like a powerful underground river, flow the patterns of training and production developed in the crafts. Art history is centred on individual talents romantically bringing forth their creations on their own, out of nothing. Craft is collective and anonymous. Someone had to weave the pieces of cloth that form the giant canvas of Las Meninas. Someone had to sew them together so that the stitching would show as little as possible. Someone had to cut and to assemble the struts for its support and then nail to them a canvas which in fact is not of the highest quality. It seems that Velázquez enjoyed the roughness of a surface that favoured his subtle veils and ambiguities. The loose manner of painting developed in Venice is linked to the quality of the pigments that could be purchased there, as well as to the oil medium and the thick, porous quality of a cloth that allowed subtle veils and ambiguities that are impossible to achieve on the surface of a wood panel.

Antonio Muñoz Molina on the materiality of painting, and its highest expression in the art of Diego Velázquez

• The films of Japanese director Kinuyo Tanaka are criminally overlooked, says James Balmont.

Winners of the Nature TTL Photographer of the Year 2022.

• From 2012: The Disappeared by Salman Rushdie.

• At Dennis Cooper’s: Standish Lawder Day.

• New music: Octopus by Sunfear.

Come Sta, La Luna (1974) by Can | Fontana Di Luna (1978) by Michael Rother | La Luna En Tu Mirada (2003) by Ry Cooder & Manuel Galbán

Weekend links 605

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UFO Mk2 (1967), a poster for the UFO club by Hapshash and the Coloured Coat (Michael English & Nigel Waymouth).

• Link of the week without a doubt is Yuka Fujii’s raw video footage of the sessions for David Sylvian’s solo debut, Brilliant Trees, which includes appearances by Jon Hassell, Holger Czukay and Ryuichi Sakamoto. Czukay’s contribution to this and other albums in the 1980s included the use of a second-hand IBM Dictaphone, a machine which was often credited on album sleeves but seldom discussed in interviews beyond Czukay’s claims that it was a superior sound-sampling tool. You can see the mysterious “instrument” in this film and discover (at last!) more about the machine here. Big thanks to Colin for the tip!

• “Part of what makes watching it so compelling now is Berger’s fascinated immersion in the culture of images itself.” Olivia Laing on 50 years of Ways of Seeing by John Berger.

• At The Wire: David Toop on what happens when the performance of music is extended over long durations, from all night concerts to sacred rituals that last for weeks.

• At Bandcamp: Tony Rettman profiles Audion magazine and its editors, indefatigable Krautrock experts Alan & Steve Freeman.

• New music: W by Boris, a remix of Laurie Anderson’s Big Science by Arca, and a cover of King Crimson’s Red by Hedvig Mollestad.

• The latest exploration of psychedelic graphics by DJ Food is a collection of posters for London’s UFO Club.

• Wolf Moon: Nina MacLaughlin has some questions for our ancient satellite.

• At Dennis Cooper’s: Frank’s Box: The Real Telephone to the Dead.

• Mix of the week: XLR8R Podcast 731 by Anthea.

• At Strange Flowers: 22 books for 2022.

UFO (1970) by Guru Guru | UFO Over Paris (1978) by Steve Hillage | El UFO Cayó (2005) by Ry Cooder

Weekend links 535

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The Wagnerites (1894) by Aubrey Beardsley.

• “Part of my problem with influence is that the concept is too univocal; most of us are impacted by many others during our lifetimes, but often in oblique ways. So many of the most interesting bits of cultural transmission happen nonlinearly, via large groups of people, and in zigzag mutations. Assigning influence can also have the unintentional effect of stripping artists of their own originality and vision.” Geeta Dayal reviewing Wagnerism by Alex Ross.

• “Buñuel stubbornly refused to have any group affiliation whatsoever. Even though critics always tried to categorize him, he never wanted to explain the hidden meanings of any of his films and often denied that there were any.” Matt Hanson on the surreal banality of Luis Buñuel’s The Exterminating Angel.

• Next month Soul Jazz release the fourth multi-disc compilation in their Deutsche Elektronische Musik series devoted to German music from the 1970s and 80s. The third collection was the weakest of the lot so I wasn’t expecting another but this one looks like it may be better.

James Balmont chooses the five best films by Kiyoshi Kurosawa, who he calls “cinema’s master of horror”. I’ve yet to see any of these so I can’t say whether the label is warranted or not.

• At Wormwoodiana: Mark Valentine in a two-part post here and here charts the emergence of an under-examined sub-genre, the metaphysical thriller.

• Power Spots: 13 artists choose favourite pieces of music by Jon Hassell. A surprising amount of interest in his first album, Vernal Equinox.

• At Spine: George Orwell’s Animal Farm receives new cover designs for its 75th anniversary.

• “Pierre Guyotat’s work is more relevant now than ever,” says Donatien Grau.

• Mix of the week: FACT mix 775 by Sarah Davachi.

May 24th by Matthew Cardinal.

• Ry Cooder with Jon Hassell & Jim Keltner: Video Drive-By (1993) | Goose And Lucky (1993) | Totally Boxed In (1993)

Weekend links 532

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An alchemical illustration from Theatrum Chemicum Britannicum (1652) by Elias Ashmole.

• “Originally the idea was to do four parallel feuilleton stories, linked at the beginning of each episode by still shots connecting with the other episodes, rather like the old serials.” Jacques Rivette mentions a familiar word during a 1974 discussion with Carlos Clarens and Edgardo Cozarinsky about Out 1 and Céline and Julie Go Boating. I watched all 775 minutes of Out 1 last year, followed by a re-viewing of Céline and Julie, so this was good to read. Elsewhere: “The dizzying Céline and Julie Go Boating is apt viewing for a chaotic present,” says Phillipa Snow.

Away is a wordless feature-length animated film in which a boy is pursued by a lumbering monster after parachuting from a crashing aircraft. It was directed, written, edited, animated and scored by Gints Zilbalodis. Christopher Machell reviewed the film here. Watch the trailer.

• Jean Lorrain’s novel of Decadent dandyism, Monsieur Bougrelon, receives a new English translation by Brian Stableford for Side Real Press. (The Spurl translation by Eva Richter was reviewed here a few years ago.) The new edition includes illustrations by Etienne Drian (1885–1961).

El Topo again, among other things: Mike Soto on the anti-Western genre set in America’s surreal borderlands. Cormac McCarthy is a surprising absence from Soto’s lists despite almost all of his later work being concerned with the border region.

• “Whatever their pursuits, they were extremists who created literature that wasn’t so much great as it was relentless. Even now they make passive reading impossible.” Chris R. Morgan on Swift, Sade and the art of upsetting people.

• The best batch yet? Sean Kitching talks to Gary Lucas and Eric Drew Feldman about the recording of Captain Beefheart’s Doc At The Radar Station.

• Malkovich, Malkovich, Malkovich… Photographer Sandro Miller persuaded John Malkovich to recreate 41 famous photographic portraits.

• An extract from Rated SavX in which Edwin Pouncey/Savage Pencil talks with Timothy d’Arch Smith about his artistic evolution.

• At Dennis Cooper’s: Pat O’Neill Day.

Siavash Amini‘s favourite music.

Get Away (1970) by Ry Cooder | Running Away (2002) by Radar | Fly Me Away (2005) by Goldfrapp

Fourth Worlds: A Jon Hassell Mix

As noted in the previous post, Jon Hassell has a new and very well-received album out this month, his first in several years. To honour the occasion I thought I’d finally post the Hassell mix I’ve had in mind for some time. The delay was mainly a consequence of not settling on a final version, so the album release has at least forced my hand. This still doesn’t feel completely satisfactory but it has the benefit of not being a recycling of familiar works.

About ten years ago I made a CD compilation of Hassell-related odds and ends: one-off works from compilations, interesting collaborations and the like. The CD set forms the basis of this mix although I’ve blended everything into a single piece rather than present separate tracks. Some of these pieces are either rare or overlooked so even those familiar with the Jon Hassell discography may hear something new.

Note: I only noticed after uploading the mix that the presence of more than five tracks by the same artist means that people in the US may not be able to play this one. Sorry about that: blame your laws/politicians, etc.

Malay (edit) (1981) by Jon Hassell

Shadow (1982) by Brian Eno
From Eno’s On Land.

Ba-Benzélé (1982) by Jon Hassell
A different version to the piece from Possible Musics which appears on Music And Rhythm, a WOMAD compilation album.

Passaggio A Nord-Ovest (1982) by Jon Hassell
One of several pieces unique to Sulla Strada (1995), a collection of Hassell music old and new compiled for an Italian stage work based on Jack Kerouac’s On the Road.

Map of Dusk (1982) by Jon Hassell
A special commission for Myths 3. La Nouvelle Sérénité, a Sub Rosa compilation.

Sketch Pad With Trumpet And Voice (1985) by Peter Gabriel
From the soundtrack to Birdy.

Heroin (1993) by Ry Cooder
More soundtrack work, this one being for Walter Hill’s Trespass which features Hassell’s trumpet timbres throughout. I always regard this album as a darker, nightscape parallel to Hassell’s sunnier City: Works Of Fiction, not least for the way both albums are hip-hop related. There’s more from Trespass later in the mix.

Tycho City (1997) by Bluescreen Project
From The Vertical Collection (Sketches). Bluescreen Project was a collaboration with Peter Freeman which remixes works from the Hassell catalogue to create new hybrids.

Pygmy Dance (1993) by Jon Hassell
Another unique commission, this time for Ai Confini / Interzone on New Tone Records.

Slow Loris Vs. Poison Snail (1997) by David Toop
A guest appearance with tabla player Talvin Singh.

Power Malay (1997) by Bluescreen Project

Anima (1991) by Les Nouvelles Polyphonies Corses With Hector Zazou
A collection of Corsican songs given contemporary settings by Hector Zazou.

A Day For Trade Winds (2000) by Ronu Majumdar, Ry Cooder & Jon Hassell, Abhijit Banerjee

Amsterdam Blue (Cortege) (2000) by Jon Hassell, Gregg Arreguin, Jamie Muhoberac And Peter Freeman
From a soundtrack for a film that few people have a good word for, Million Dollar Hotel. It does, however, feature a Jon Hassell cameo and this excellent piece of music.

The Seeds Of Fate (1998) by The Insects & Richard Grassby-Lewis Featuring Jon Hassell
From the soundtrack to Richard Kwietniowski’s film of Gilbert Adair’s funny and touching novel, Love and Death on Long Island.