August 2013 – Page 5 – { feuilleton }

Weekend links 172

Complete Stop (2008), an oil painting by Gregory Thielker from his Under the Unminding Sky series.

• For Halloween last year I watched a very poor copy of a BBC Play For Today production, Robin Redbreast, a piece of rural horror by John Bowen which received a single screening in 1970. That poor copy—black-and-white, timecoded, multi-generation video—has been circulating for years, so it’s good to know that the BFI will be releasing Robin Redbreast on DVD in time for this year’s Halloween. This might be news enough but the following month the BFI also releases Leslie Megahey’s stunning adaptation of Schalcken the Painter in a dual DVD/Blu-ray edition. I wrote a short review of the latter film last October.

• Mixes of the week: August Sun High from The Advisory Circle, and John Wizards’ Quietus Mix “African music, R&B and chamber pop, filtered through gentle electronic arrangements that cross-pollinate with South African house, Shangaan electro and dub”.

• A trailer has surfaced for The Counselor, a film by Ridley Scott from an original screenplay by Cormac McCarthy. Trailers are too spoilerish so I’m refusing to watch it but for those interested Slate has the details.

Luckhurst makes an admirable attempt to link Lovecraft’s most frustrating writing tic to this theme of the unknown when he claims that Lovecraft’s “catachresis”—deliberate muddling of language through the use of mixed metaphors and the like—is a tool he uses to bolster the atmosphere of futility in the face of “absolute otherness.” The trauma of encountering something so far outside the realms of imagination triggers a collapse of logic in the language itself.

Cate Fricke reviews The Classic Horror Stories of HP Lovecraft, a collection from Oxford University Press edited by Roger Luckhurst.

• “Contemporary audiences found it too weird, too wonky and even borderline distasteful…” Xan Brooks goes looking for the locations from Powell & Pressburger’s 1943 film, A Canterbury Tale.

• Two songs from Julia Holter’s forthcoming album, Loud City Song: World and Maxim’s I. Also unveiled this week: Evangeline, a new track by John Foxx & Jori Hulkkonen.

• Have Ghost, Will Find: Colin Fleming on William Hope Hodgson’s Carnacki, The Ghost Finder.

• At PingMag: Urban Calligraphy: Turning the Streets into Big, Loud Canvases.

• Sex, Spirit, and Porn: Conner Habib talks to Erik Davis.

• Serendip-o-matic: Let Your Sources Surprise You

• The Pronunciation of European Typefaces

• Twilight (2004) by Robin Guthrie & Harold Budd | Luminous (2009) by John Foxx & Robin Guthrie | Cling (2011) by Robin The Fog

Inauguration of the Pleasure Dome: The Eldorado Edition

More Cameron, and her finest cinematic moment as she plays two roles—The Scarlet Woman and Kali—in Kenneth Anger’s erotic/psychedelic/thaumaturgic Bacchanal from 1954. Ordinarily there wouldn’t be much reason to draw attention to this, it’s been available on DVD and Blu-ray for several years, and various plunderings are scattered all over YouTube. The version here, however, gives an opportunity to experience the film as it was screened in the 1970s.

Inauguration of the Pleasure Dome, like many of Kenneth Anger’s films, existed in several different forms, with the tinkering and re-editing going on for years after the original footage had been captured. An early edit made in the 1950s was fashioned into a version known as the “Sacred Mushroom Edition” which Anger screened to acid heads in the 1960s. I’ve never seen any mention of the soundtrack used for this version, or the other early editions, but in 1978 Anger released a new version with the film soundtracked by most of the Eldorado (1974) album by the Electric Light Orchestra. The note on the Vimeo page says the 1978 edition has only ever been publicly screened once but this isn’t the case. My first viewing of the film was in 1990 when the Magick Lantern Cycle was touring arts cinemas in the UK, and I very well remember sitting in the dark thinking “What the hell?… Is this the Electric Light Orchestra?” The version that’s seen today is soundtracked with Janácek’s Glagolitic Mass, a choice that seems much more suitable. For some time I’d thought of getting hold of the ELO album and running it with the film to remind myself of that initial viewing but there’s no need now that this version exists. The implication is that what you see here is the actual 1978 edit but the footage seems no different from the DVD version aside from missing a few seconds of credits at the beginning. The ELO album came with a cover photo showing Dorothy’s ruby slippers from The Wizard of Oz, a detail that may explain why the Hollywood-obsessed Anger was drawn to the album in the first place.

Previously on { feuilleton }
• Brush of Baphomet by Kenneth Anger
• Anger Sees Red
• Kenneth Anger’s Hollywood Babylon
• Lucifer Rising posters
• Missoni by Kenneth Anger
• Anger in London
• Arabesque for Kenneth Anger by Marie Menken
• Edmund Teske
• Kenneth Anger on DVD again
• Mouse Heaven by Kenneth Anger
• The Man We Want to Hang by Kenneth Anger
• Relighting the Magick Lantern
• Kenneth Anger on DVD…finally

The Wormwood Star

I’ve waited about 20 years to see this one, after first learning of it via a Curtis Harrington interview in Michael Weldon’s Psychotronic magazine in the 1990s. The Wormwood Star (1956) is a 10-minute study of the occult art and witchy persona of Harrington’s friend Marjorie Cameron (1922–1995), best known these days for her memorable incarnation as the Scarlet Woman in Kenneth Anger’s Inauguration of the Pleasure Dome (1954), a film in which Harrington also appeared. With her flame-red hair, green eyes and basilisk gaze, Cameron (as she preferred to be called) would have made an impression wherever she landed. Her presence in Anger’s film is so striking that stills of her face have often been used to stand for the entire Magick Lantern Cycle.

In The Wormwood Star Harrington ramps up the mystique with oblique shots and at least half the running time given to Cameron’s strange drawings and paintings. The subtitle, “Concerning the Knowledge and Conversation of the Holy Guardian Angel” harks back to the 1940s and her husband, Jack Parsons, a rocket researcher and, for a time, the American head of Aleister Crowley’s Ordo Templi Orientis. Harrington later gave Cameron a wordless role as the “Water Witch” in his low-budget horror film, Night Tide (1961), where she drifts around Venice Beach looking suitably mysterious. Night Tide is out-of-copyright so can be watched in full at YouTube. The Wormwood Star appeared on a Curtis Harrington DVD only last month which is no doubt where this copy originates. It may not stick around so watch it while you can.

Previously on { feuilleton }
• Street Fair, 1959
• House of Harrington
• Curtis Harrington, 1926–2007
• The art of Cameron, 1922–1995
• Kenneth Anger on DVD…finally

Tonto’s expanding frog men

I wasn’t going to write about album cover art three times in a row but things keep catching my attention this week. Anyone interested in the history of electronic music knows the name Tonto’s Expanding Head Band, the duo formed by Malcolm Cecil and Robert Margouleff to create music with Cecil’s huge, custom-built TONTO (The Original New Timbral Orchestra) synthesizer. Cecil and Margouleff recorded two albums together: Zero Time (1971) and It’s About Time (1974), the latter credited to Tonto only. Zero Time was incredibly advanced for 1971, not classical adaptations like those being produced by Wendy Carlos and her many imitators, but all-original pieces created polyphonically, a feat that only the TONTO synth could easily achieve.

Given how successful the album is musically I’ve always thought it a shame that the sleeve art, inside and out, was the kind of amateurish “psychedelic” doodling that you find on many albums of this period. The design above was for a 1975 reissue, something I’d not seen before. The artist was illustrator Jeffrey Schrier who has a small, and no doubt incomplete, listing at Discogs with nothing similar to this in evidence. At a guess I’d say the evolving frog men are derived from the lyrics of Riversong, a meandering piece with singing processed via early vocoder-style technology, something that Wendy Carlos was also experimenting with. It’s not all hippy ambience: Jetsex sounds like an outtake from Kraftwerk’s Autobahn (albeit three years early) while Timewhys wouldn’t have been out-of-place on The Human League’s Travelogue album almost a decade later. Easy to see why Stevie Wonder and others were eager to work with Malcolm Cecil throughout the 1970s.

Elsewhere on { feuilleton }
• The album covers archive

Previously on { feuilleton }
• A Clockwork Orange: The Complete Original Score

Newspaper record covers

Gazette Vol. 2 (1961) by Pete Seeger.

More elaborate record sleeve design. Was Pete Seeger the first artist to have a fake newspaper as a cover design? Gazette Vol. 2 is the earliest example I can find. Some of these examples were suggested by this earlier overview. If anyone knows of any omissions then please leave a comment.

Newspaper covers offered understandable attractions to a musician: a vinyl sleeve is almost the same width as a newspaper, and, for the more verbose artist, they give an opportunity to wax satirical at the expense of print media and newspaper readers. Disadvantages would include increased production costs, more design and copywriting, and sleeves that don’t always last very long, especially if actual newsprint is used for the paper. Given the recent resurgence of vinyl I wouldn’t be surprised if we soon see further examples of this kind of design.

The Genuine Imitation Life Gazette (1968) by The 4 Seasons. Design: Desmond Strobel.

The 4 Seasons album is a surprise since it’s not so well-known yet features a very detailed newspaper sleeve. An 8-page insert continues the theme, and even includes a colour comic strip.

Volunteers (1969) by Jefferson Airplane. Design: Gut (Allen Turk).

Did Jefferson Airplane copy the 4 Seasons album? Seeing the progression of these designs you have to wonder who was imitating who. The Airplane album also had an insert with more newspaper pages.

Thick As A Brick (1972) by Jethro Tull.

Jethro Tull went further than everyone by making their album a 12-page newspaper which wraps around the vinyl. The content of the pages is filled with a satirical jab at concept albums and numerous in-jokes. Even if you don’t like the band’s music very much (I’ve never been keen) you have to admire the amount of work that went into this.

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