{drugs} – Page 26 – { feuilleton }

Coca fiends

The latest post at Strange Flowers details some of the celebrity endorsements for Vin Mariani, the 19th-century tonic that famously blended wine with an extract of cocaine. Those antique ads reminded me that others may be found in the Leonard de Vries collections of old newspaper ads which is where these examples originate. The Victorians invented mass advertising, and were quick to realise the potential of the celebrity endorsement. What’s surprising today is seeing a product like Vin Mariani promoted by Popes and crowned heads alongside writers such as Émile Zola and Octave Mirbeau, neither of whom had glowing reputations among moral guardians of the time.

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Weekend links 251

Beliel (2013) by Dan Quintana.

• Guida essenziale all’Italian Occult Psychedelia. Out next month: Nostra Signora Delle Tenebre, a tribute to “movies that…retained a decidedly Italian flavour, a bizarre mix of nasty violence, lurid sexuality and feverish Catholic mysticism, all filtered through a manic obsession with death, blood and the sins of the flesh.” In the meantime, try the Italic Environments mix by Lay Llamas.

• “His work matters more than ever now because it stands in contrast to all the sequels, the comic-book adaptations, that Hollywood makes to sell lunchboxes.” Ryan Gilbey looks at a new documentary about the great Robert Altman.

• Psychedelic Culture at the Crossroads: Erik Davis on the ongoing reappraisal of the value of psychedelic drugs. Related: Dude, You Can Draw Magic Mushrooms With an Oscilloscope.

Like [Ellen Sofie] Lauritzen, what I appreciate about music, writing, and films that vary from dated to downright misogynist is the rawness I see expressed, a sheer energy that can’t toe the line of perfect political obeisance. I join her in hoping that we back down from using “problematic” as a censorious bludgeon against creative achievements, no matter how problematic they are.

Sarah Seltzer on whether feminists can enjoy misogynist art

• Mixes of the week: Roger Eagle’s jukebox selection for Eric’s club, Liverpool; Switched On! Vol. 4 by AnchSounds; T-P-F Mix 3: Bucolic Intrigue Romance by The Pattern Forms.

• At Dangerous Minds: Paul Gallagher on the whimsical anarchism of the White Bicycle revolution.

• Opening the Ghost Box: Dave Thompson on a record label that’s mentioned here more than most.

• Abominations Of Yondo (2007), a free album inspired by the weird fiction of Clark Ashton Smith.

• Placards of earthly delight: Isabel Stevens on Vera Chytilová’s film posters.

• I’m an artist to watch according to Nakid Magazine.

• Tomb of Insomnia

• Death Surf (2012) by Heroin In Tahiti | Voices Call (2015) by Lay Llamas | Averno (2015) by OVO

Weekend links 249

The Philosophers (Homage to Courbet) by Christopher Ulrich. Another great tip from Full Fathom Five.

• “Mushrooms are the only psychedelic drugs that I take, and I don’t take them very often. But I would trust them. Once you’ve done them a few times it’s very easy to feel a sense of entity. You can feel that there is a characteristic in this level of consciousness which almost seems…playful? Or aware, or sometimes a bit spooky.” Alan Moore discussing art and psychedelics in Mustard magazine. Related: “Psychedelics not linked to mental health problems or suicidal behavior: A population study.”

• “Leonora Carrington transcended her stolid background to become an avant-garde star,” says Boyd Tonkin. At the BBC Chris Long looks at Leonora Carrington’s journey from Lancashire to Mexico. The Carrington exhibition at Tate Liverpool opened on Friday.

• A Savoyard’s First Brush with Censorship, Clara Casian’s proposed documentary film about Savoy Books, is looking for Kickstarter funding.

Warner suggests that there are four characteristics that define a veritable fairy tale: first, it should be short; second, it should be (or seem) familiar; third, it should suggest ‘the necessary presence of the past’ through well-known plots and characters; fourth, since fairy tales are told in what Warner aptly calls ‘a symbolic Esperanto’, it should allow horrid deeds and truculent events to be read as matter-of-fact. If, as Warner says, ‘the scope of a fairy tale is made by language’, it is through language that our unconscious world, with its dreams and half-grasped intuitions, comes into being and its phantoms are transformed into comprehensible figures like cannibal giants, wicked parents or friendly beasts.

Alberto Manguel reviewing Once Upon a Time: A Short History of Fairy Tale by Marina Warner

• De Natura Sonorum (1976) by Bernard Parmegiani: a free download at AGP of the original vinyl recording, something I overlooked several years ago.

• At Dangerous Minds: Real Horrorshow!: Malcolm McDowell and Anthony Burgess discuss Kubrick and A Clockwork Orange.

• Meeting Bernard Szajner, a short film about the French electronic musician by Tom Colvile, Nathan Gibson & Abdullah Al-wali.

• Dismembrance of the Thing’s Past: Dave Tompkins on John Carpenter’s The Thing.

• That Battle Is Over, a new song by Jenny Hval.

• Mushroom (1971) by Can | The Mushroom Family (2010) by The Time And Space Machine | Growing Mushrooms Of Potency (2012) by Expo ’70

Falk-Ulrich Rogner album covers

All The Years Round (7-inch single, 1972).

I mentioned earlier that Falk-Ulrich Rogner’s cover art for Amon Düül II was worthy of a post so here you are. Amon Düül II were slightly ahead of the pack in the German music scene of the 1970s, starting earlier and (arguably) finishing their prime period earlier. They were also closer in musical style and group ethos to the psychedelic/early prog groups in Britain and America, especially Hawkwind with whom they shared a record label and a bass player. Other German groups were often psychedelic to some degree but Amon Düül II went all-out for a German take on psych rock, with extended guitar-heavy jams played against oil-on-water projections.

Falk-Ulrich Rogner was one of the longer lasting members of the group’s shifting personnel, playing organ and electronics, writing lyrics and creating artwork that’s a perfect match for what I always think of as Amon Düül II’s Gothic Surrealism: a blend of lyrics and themes running through songs titled like Max Ernst paintings: Flesh-Coloured Anti-Aircraft Alarm, Archangel’s Thunderbird, Stumbling Over Melted Moonlight, Green Bubble Raincoated Man. The cover art is generally a collage of photographs, old paintings and other graphics, a familiar technique for psychedelic album covers. What gives Rogner’s work an edge is the way he blends multiple collages together by either photographic exposure or the photographing of projected transparencies. This has the effect of softening hard edges and transitions, and makes the resulting images all the more hallucinatory and dream-like. Effects like this are easy to achieve today with Photoshop but in the early 1970s they required a considerable effort.

Phallus Dei (1969).

At first glance the cover of the gloriously titled debut album looks like a painting but it’s a photograph of a tree silhouette juxtaposed against some vague collage business. This doesn’t really communicate the lysergic intensity of the music within which may explain why the cover was changed to something more typically psychedelic for its UK release.

The back cover inaugurates a pattern of placing the band on the back of the album, a reversal of the usual state of affairs even today.

The first CD release of Phallus Dei on the Mantra label featured what may be another Rogner photomontage, one that I’ve not seen anywhere else.

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The Kosmische Tarot

Revelation of the weekend has been the discovery that there are two sets of (for want of a better term) Krautrock Tarot cards. The first, Walter Wegmüller’s Zigeuner Tarot, is familiar for being included in the Tarot concept album released on the Kosmischen Kuriere label in 1973. The album was credited to Wegmüller but he only advised on the symbolism and acts as MC/narrator. Wegmüller’s cards are detailed and somewhat original, but their drawing is from the enthusiasm-over-technique school which goes against the grain of the rest of the album design and the accomplishment of the musicians.

Dreamlab (1975) by Mythos. Design by Peter Geitner.

As noted a few days ago, the designer of the Tarot album was Peter Geitner working under the direction of a pair of very hands-on label bosses, Rolf-Ulrich Kaiser and Gille Lettmann. The story of Kaiser’s rise and fall has been recounted in some detail over the years (see here and here). Given the colourful saga, and the cast of notable musicians, writers and artists, I’m surprised to have seen no mention of the second Tarot set that Peter Geitner designed and illustrated in 1975 while the Kosmische Musik empire was imploding. One illustration (The Lovers) was even used as cover art for the Dreamlab album by Mythos.

Card back for the Sternenmädchen’s Wahrsagespiel.

Sternenmädchen’s Wahrsagespiel (Star Girl’s Fortune Telling Game) is a specialised set of the Major Arcana presented as a spin-off from Gille Lettmann’s Sternenmädchen persona as featured on the Gilles Zeitschiff album; the back of the 22 cards features the photo of Gille from the album cover. I’ve said that Geitner illustrated the cards but some of the drawings may have originated as sketches by Gille Lettmann; information is scant but I’ve seen mention of her having been a textile or fashion designer. What’s most striking to me about these designs is how psychedelic they all are, more so than any of the Kosmische Musik album covers even though they maintain the cosmic themes of the record label. Many of those involved with the Kosmische empire were taking LSD at the time so this isn’t very surprising but psychedelia of this intensity was an outmoded thing by the mid-70s. Also of interest is the renaming of the cards which push the attributions away from medieval tradition and into the cosmos. I’ve not been able to find examples of all 22 designs but a list of the cards follows, together with examples of variable quality. The set was printed by AGM Müller but has never been reissued so it now commands high prices. (Many thanks to Jeff for drawing my attention to these!)

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