Weekend links 246

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Love Hunter by Victo Ngai.

• “The strangeness of the lyric style, the misuse of words and awkward phraseology that have been criticized even by Poe’s fervent admirers, are here taken as virtues, heightening as they do, a given poem’s conscious and calculated formalism.” Marjorie Perloff reviews The Poet Edgar Allan Poe: Alien Angel by Jerome McGann.

• Mix of the week: Secret Thirteen Mix by Jeremy Kolosine. Starting with Michael Rother is apt when I’ve spent the past week in a Cluster/Harmonia/Kraftwerk/La Düsseldorf/Neu!/Rother loop.

• Court records “suggest that the supposedly prudish Victorians had a far more relaxed attitude to sex between men than their 1960s counterparts”. Historian Jeff Evans has the data.

• “Part of HP Lovecraft’s acknowledged debt to Machen also lies in hearing without seeing.” London Sound Survey on Arthur Machen’s “sounds from beyond the veil”.

• “…pity the designer who has to enact the stage direction that instructs rats to carry away a character’s feet.” Andrew Dickson on the extreme theatre of Sarah Kane.

• Psychedelic collage artist Wilfried Sätty receives a mention in Carey Dunne‘s piece about how LSD helped shape California’s ecstatic design legacy.

• More psychedelia: The Psychedelic Sex Book by Eric Gotland & Paul Krassner, edited by Dian Hanson.

• At Dangerous Minds: Robert Fripp demonstrates Frippertronics on The Midnight Special, 1979.

• Dreams from a Glass House: artist Josiah McElheny on the glass architecture of Paul Scheerbart.

• Director Peter Strickland on six films that fed into The Duke of Burgundy.

• Vintage trade card designs

• The Zero Of The Signified (1980) by Robert Fripp | Heptaparaparshinokh (1981) by Robert Fripp & The League of Gentlemen | 1984 (1981) by Robert Fripp

Leitkegel

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Gatefold interior for Doppelalbum (1974), a double-disc compilation album by Kraftwerk.

More Kraftwerkiana. “Leitkegel” is the German name for traffic cones, and it’s immediately obvious to anyone browsing Kraftwerk’s pre-Autobahn recordings that Ralf and Florian had a fixation with these objects. The closest thing I’ve found for a rationale is in Tim Barr’s history of the group, Kraftwerk: From Dusseldorf to the Future (1998), which features some musings about the influence of Joseph Beuys and the Düsseldorf arts scene of the late 60s. Prior to Kraftwerk, Florian Schneider was a member of a short-lived art collective/music outfit with the very un-Kraftwerkian name of Pissoff. Recordings exist of the group performing with Beuys. A more straightforward explanation might be to look towards Pop Art (something that Barr also suggests), with the traffic cone serving as a symbolic objet trouvé that’s also the first inkling of the future Kraftwerk obsessions with roads, trains and cycling. Whatever the impulse behind its adoption, between 1969 and 1973 the traffic cone was turning up everywhere that Ralf and Florian went.

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Cover design by “Comus” (Roger Wooton).

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The first instance is on Tone Float (1970), the pre-Kraftwerk album by Organisation, a collection of freeform improvisations that’s very much of its time. The album wasn’t very successful, and matters weren’t helped by the poor cover artwork. That multicoloured head and Ringlet typeface are also very much of their time but if you look on the back of the sleeve you find a traffic cone beside the album credits.

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Organisation live (1970).

Before the group split they were recorded by German TV, a performance that gives a good idea of the Organisation sound and of how odd they all look together. Ralf Hütter isn’t visible but you do glimpse a traffic cone for a moment when Florian is moving his microphone stand. I suspect the proliferation of cones around Florian (see below) is an indicator that their adoption was his doing.

Continue reading “Leitkegel”

Eugène Grasset’s calendar

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I was going to post a few more paintings depicting the month of February but now I’ve circled the calendar with the monthly theme suitable candidates are harder to find. Searching wasn’t a waste of time, however, since I turned up a complete set of the prints by Art Nouveau designer Eugène Grasset (1845—1917) that depict the months of the year. Some of these have appeared here before but I’d not seen a complete set until now. Grasset was commissioned by the Parisian department store La Belle Jardinière in 1894 to produced twelve artworks to be used as a calendar. The portfolio was published as The Months in 1896. The prints also serve as zodiac when you notice that each woman has an astrological symbol on her clothing. See them at larger size here.

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Continue reading “Eugène Grasset’s calendar”

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

Autobahnen

1: Autobahn (1974), an album by Kraftwerk.

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Cover art by Emil Schult.


2: Autobahn (1974), a single by Kraftwerk.

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3: Doppelalbum (1974), a double-disc compilation album by Kraftwerk.

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4: Exceller 8 (1975), a compilation album by Kraftwerk.

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Cover by Grafad.

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5: Autobahn (1979), an animated film by Roger Mainwood.

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6: Autobahn (1980), a compilation album by Kraftwerk.

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7: Possessed (1992), an album by the Balanescu Quartet. Track 3: Autobahn.

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8: Traffic Jam On Autobahn (1993), a Kraftwerk bootleg from a live soundboard recording at Hummingbird, Birmingham, UK, on July 15th 1991.

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9: Autobahn Tour (1998), a Kraftwerk bootleg. The Japanese release of Concert Classics, a live soundboard recording from a concert in Denver, USA on 20th May, 1975.

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10: El Baile Alemán (2000), an album by Señor Coconut Y Su Conjunto. Track 6: Autobahn (Cumbia Merengue).

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11: Dark Side Of The Autobahn (2003), a single by Mordant Music. The Pink Floyd/Kraftwerk/Joy Division collision that the world was waiting for.

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12: Autobahn II (no date) by Kraftwerk. A Russian flexi-disc.

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13: Autobahn (2009), an album by Kraftwerk. The remastered release.

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Elsewhere on { feuilleton }
• The album covers archive

Previously on { feuilleton }
• Ralf and Florian
• Reworking Kraftwerk
• Autobahn animated
• Sleeve craft
• Who designed Vertigo #6360 620?
• Old music and old technology
• Aerodynamik by Kraftwerk