Ptooff!

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There’s a sub-genre of the psychedelic album cover in which florid, unfocused and vividly polychrome doodles by friends of the band are used as the principal artwork. (The cover of The Parable Of Arable Land [1967] by The Red Crayola is a typical example.) The art which decorates the fold-out sleeve of Ptooff! (1967), the debut album by British group The Deviants, isn’t quite in the doodle league but it treads a narrow divide between drug-addled scribbles and American comic-strip art à la Jack Kirby. Someone named “Kipps” receives the art credit. Viewed today the swirls and explosions on the sleeve’s outer panels also seem to predict the graffiti art which would flourish a decade later.

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The Deviants were the first musical vehicle for writer and singer Mick Farren who died last week. At the time Farren was known as a journalist for International Times which explains the disembodied head of Theda Bara (from the paper’s logo) floating in the top right-hand corner of the front cover. The lysergic wildness continues inside with an incoherent scene and the promise that “APSARAS—is an Epic forthcoming—a marvel of the Universe—an illustrated saga of a Godwoman. On sale soon.” John Peel provided some sleeve notes. See the artwork at larger size here.

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Charles Shaar Murray penned a memorial note for Mick Farren last week. My favourite track from Ptooff! is the opening song I’m Coming Home, a number that demonstrates the group’s ability to combine humour with hard-rock freakout.

Elsewhere on { feuilleton }
The album covers archive

Previously on { feuilleton }
International Times archive

Valerie and Her Week of Wonders

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First English translation, 1970. Faux-Penguin edition by gregoreverb.

1: A Surrealist novel (1932) by Vítezslav Nezval.

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Design by Rudolf Nemec.

2: A feature film (1970) by Jaromil Jires (director), Ester Krumbachová (screenplay) and Jirí Musil (dialogue). (Region 2 DVD from Second Run.)

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Design by Josef Vylet’al. Figure originally by Aubrey Beardsley from The Comedy Ballet of Marionettes III (1894).

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3: Valerie: A song (2003) by Broadcast.

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4: The Valerie Project: A musical group and album (2007).

Previously on { feuilleton }
The Robing of The Birds

Weekend links 171

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Jeune moine à la Grecque (1771) by Benigno Bossi. Via Monsieur Thombeau.

Victoriana: The Art of Revival is an exhibition which will run throughout the autumn at the Guildhall Art Gallery, London. Some of my steampunk work will be included. Related: Rick Poynor on Soft Machine’s Dysfunctional Mechanism.

• “The egg glows and hovers in the middle of a field of mesmerizing color. The spell is broken when the guard finally says, “Everybody up off the floor.'” Morgan Meis on Aten Reign by the amazing James Turrell.

• Mix of the week: a “heatwave mix” of psychedelic songs compiled by Jaime Williams. Anything that includes Vacuum Cleaner by Tintern Abbey gets my vote.

Because sex is so compartmentalized — it’s often considered separate from the rest of life and hidden away — porn performers, who have sex publicly, are in a unique position to consider and talk about integrating private and public aspects of life.

Writer and porn performer Conner Habib on the issue of nomenclature in the porn business.

• Still Hopscotching: Peter Mendelsund posts some unused cover designs for Julio Cortázar.

A Hymn For Megatron, an hour-long drone work, and a free download, by The Black Dog.

• Vagrancy and drift: Sukhdev Sandhu on the rise of the roaming essay film.

• A Flickr set of Peter “Sleazy” Christopherson’s musical instruments.

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“Whether flower-pressing in the garden, hallucinating in the summerhouse, fainting inside stifling sites of historical interest, pirouetting along the promenade, or even sea-cruise thalassophobia complications, barely a moment will pass that isn’t made all the sweeter by obsessively listening to Down to the Silver Sea.”

The TM Research Archive: sate yourself on Swiss graphic design.

• A Lecture on Johnson and Boswell by Jorge Luis Borges.

• Words, sounds and robots from Sarah Angliss.

Never Built Los Angeles

Nautilus (2012) by Anna Meredith | Nature Of Light (2012) by Isnaj Dui | Popcorn (Ealing Feeder Mix) (2012) by SpacedogUK (Sarah Angliss)

Ads for The Yellow Book

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More Beardsley ephemera, and more from the recently upgraded NYPL Digital Collections. These US ads for The Yellow Book date from late 1894 to early 1895, a couple of months before Oscar Wilde was arrested and Aubrey Beardsley had to leave the magazine despite having no connection with Wilde’s activities.

What’s most interesting for me about these ads is the small vignettes, two of which I’m sure I haven’t seen before. This suggests that there’s still material in the pages of The Yellow Book which has been overlooked despite the many books which collect Beardsley’s art. The Internet Archive has several volumes of the magazine but I’ve been daunted in the past by its thousands of pages of not-so-interesting Victorian prose. (The Savoy was the superior publication where quality of writing was concerned.) Maybe it’s time to take a deep breath and dive in.

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Elsewhere on { feuilleton }
The Aubrey Beardsley archive

The Outer Church

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Compilation albums: on the one hand they’re in the lowest echelon of the musical world, all those cheap pop collections you see in any supermarket; on the other they provide an introduction to zones of activity which might seem too rich or too obscure to easily investigate; Soul Jazz Records is a master at this kind of collection.

There’s also another level of compilation album where the collection becomes an opus in its own right, and which can also help to define a new movement or moment. In this category I’d think of favourites such as Kevin Martin’s Isolationism set from 1994 which first identified the emergence of what we now think of as Dark Ambient music; and Devendra Banhart’s The Golden Apples of the Sun (2004) which showcased a new generation of American folk artists. To these I’d add Joseph Stannard’s The Outer Church, a 2-CD set compiled for Front & Follow which is released this month. My hand-crafted, letterpressed edition just arrived so I’ve been relishing the new music after forcing myself to avoid the preview tracks which have been available for the past couple of weeks. Regular readers won’t be surprised to learn that the emphasis is very much on the Hauntological end of things; this blog nurses a Ghost Box fetish, and there are Ghost Box connections in the presence of Pye Corner Audio, Hong Kong In The 60s, and Baron Mordant. The latter pair and another artist, Robin The Fog, all provided tracks for the recent Restligeists, the cassette compilation that came with The Twilight Language of Nigel Kneale. Of the new collection, Joseph Stannard says in his notes:

Wind the tape all the way back to Brighton in 2009. The uncanny influence seeping into contemporary music from ‘elsewhere’ had become impossible to ignore. Magazine pieces I had written in my capacity as a music critic were revealed to contain subliminal memos for my own attention. Unusually vivid dreams and unsettling anonymous telephone calls imparted curious instructions. I was to establish a space in which various forms of unheimlich audio would converge with moving images of a similarly anomalous nature. Equipped only with a well-thumbed copy of The Beginner’s Guide To Psychic Architecture, I resolved to build a Church.

This compilation presents a selection of the artists who have performed at The Outer Church, with the exception of illustrious filmmaker and composer Graham Reznick, who lives in faraway Brooklyn and kindly permitted us to screen his tremendous psychedelic campfire tale, I Can See You, in Brighton and Dublin. All of the recordings here are previously unreleased. Together they advance the argument that something weird is stirring in modern music which resists categorisation, manifesting itself in unsettling cadences and temporal distortions across a wide variety of occult strategies.

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Illustration by Alexander Tucker.

And they aren’t the only ones exploring this territory: Demdike Stare and the very excellent Haxan Cloak might also have been included here. I am, of course, especially partial to any kind of doom-laden timbres, whether electronic, orchestral or guitar-oriented, so I can’t be an unbiased reviewer. But it has been a relief to see contemporary electronica (in the UK at least) find a way out of the rut of abstraction into which it had fallen in the late 1990s. That’s it’s done this by delving into our nation’s long history of ghost and folk mythology is no bad thing. Not all the artists on The Outer Church are attempting to spook their audience; there are songs as well as drones. Hong Kong In The 60s produce the kind of uptempo pop you’d expect from a band with that name. It’s to Stannard’s credit that he manages to sequence things without the mix of styles being too disjunctive.

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One of the mini-postcards inside the limited edition. Photo by Joseph Stannard.

The first edition of The Outer Church has been selling well so anyone looking for a copy is advised to make haste and use the links on this page. There’s a related event in Brighton this (Friday) evening, and another in Manchester on Saturday. I’m now looking forward to following some of the paths revealed by this opening of the portals.

Previously on { feuilleton }
The Ghost Box Study Series
A playlist for Halloween: Hauntology
The Séance at Hobs Lane
Ghost Box