Weekend links 547

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Anti-Vanitas (2018) by Carrie Ann Baade.

• RIP Richard Corben, an artist whose work I wasn’t always keen on but whose enthusiasm for pulp weirdness and cosmic horror was matched by a pulp vitality of his own. Corben’s Den was the first story in the first issue of Heavy Metal, a strip in which Den’s ever-present penis provided some rare equality of nudity in American comics. Corben was also a lifelong Lovecraftian; his 1972 adaptation of The Rats in the Walls is one of the earliest Lovecraft-derived comic strips.

• “Wit was the great man’s defence. Once, crossing Leicester Square with a friend, he looked up and saw a cinema marquee advertising a new film: Michael Redgrave and Dirk Bogarde in The Sea Shall Not Have Them. Coward turned to his friend and said: ‘I don’t see why not. Everyone else has.'” Philip Hoare on Noël Coward’s private lives: the photographs that could have landed him in jail.

• The end of the year brings the lists: Strange Flowers’ Secret Satan, 2020 is a guide to a surfeit of delectable volumes, while at 3 Quarks Daily Dave Maier selects his favourite ambient music of the year.

It’s not an easy life, but for Layne it is better than the alternative. “There is a generation of writers who think that it is a perfectly acceptable thing to accumulate a couple of hundred thousand dollars in student loan debt and go write “takes”—contrary opinion on things like ‘Why Dogs Are Actually The Worst Pet.’” None of it is new, he says, “it’s what people were doing when Rome burned.” But it has left us worse off, he says.

“I feel like we are post-language now,” he says. “Things are more symbolic. The relationship between words and facts and objectivity and their impact seems to have separated to the point where most of the writing that I see, especially on something like Twitter, is by people baffled that people don’t get what they are trying to say. It’s depressing.”

Dominic Rushe on how Ken Layne created an alternative to clickbait in the desert

• “Underworlds, otherworlds, so many passageways on this earth to elsewheres, especially during these weeks of the year.” Nina MacLaughlin on The Shadows below the Shadows.

Dennis Cooper‘s favourite fiction, poetry, non-fiction, film, art, and internet of 2020. Thanks again for the link here!

• The week in strange worlds: The Strange World of Colossive Press, and The Strange World of Robbie Basho.

• The Images Wish To Speak: An interview with artist Carrie Ann Baade.

Jackson Arn on why so many filmmakers have paid homage to Pieter Bruegel.

Physicists nail down the “Magic Number” that shapes the Universe.

Dreams, Built By Hand

Shadow (1990) by Nusrat Fateh Ali Khan | Shadows (1994) by Pram | Shadow Of A Twisted Hand Across My House (2001) by I.E.M.

Weekend links 543

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Adolph Sutro’s Cliff House in a Storm (c. 1900) by Tsunekichi Imai.

• Good to see a profile of Wendy Carlos, and to hear that she’s still working even though all her albums (to which she owns the rights) have been unavailable for the past two decades. I’d be wary of praising Switched-On Bach too much to avoid giving new listeners a wrong impression. The album was a breakthrough in 1968 but was quickly improved upon by The Well-Tempered Synthesizer (1969) and Switched-On Bach II (1973). And my two favourites, A Clockwork Orange – The Complete Original Score (1972) and the double-disc ambient album, Sonic Seasonings (1972), are superior to both.

• “[Sandy Pearlman] told me that one of the main inspirations was HP Lovecraft. I said, ‘Oh, which of his books?’ He said, ‘You know, the Cthulhu Mythos stories or At The Mountains Of Madness, any of those.'” Albert Bouchard, formerly of Blue Öyster Cult, talks to Edwin Pouncey about BÖC’s occult-themed concept album, Imaginos (1988), and his affiliated opus, Re Imaginos.

• More electronica: Jo Hutton talks to Caroline Catz, director of the “experimental documentary” Delia Derbyshire: The Myths and Legendary Tapes.

• At the V&A blog Clive Hicks-Jenkins talks to Rebecca Law about his award-winning illustrations for Hansel and Gretel: A Nightmare in Eight Scenes.

• New music: Archaeopteryx is a new album by Monolake; What’s Goin’ On is a further preview of the forthcoming Cabaret Voltaire album, Shadow Of Fear.

Celebrating A Voyage to Arcturus: details of two online events to mark the centenary year of David Lindsay’s novel.

• “Streaming platforms aren’t helping musicians – and things are only getting worse,” says Evet Jean.

• At Spoon & Tamago: the cyberpunk, Showa retro aesthetic of anime Akudama Drive.

• At A Year In The Country: a deep dive into the world of Bagpuss.

Sinister Sounds of the Solar System by NASA on SoundCloud.

• At Dennis Cooper’s: Shirley Clarke Day.

Mary Lattimore‘s favourite albums.

• Solaris, Part I: Bach (1972) by Edward Artemiev | Bach Is Dead (1978) by The Residents | Switch On Bach (1981) by Moderne

Weekend links 542

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The Reverse of a Framed Painting (between 1668 and 1672) by Cornelis Norbertus Gysbrechts.

• New music with a cinematic flavour: Disciples Of The Scorpion (Main Theme) Heavy Mix by The Rowan Amber Mill is a taster for the group’s forthcoming imaginary soundtrack, Disciples Of The Scorpion (also a sequel of sorts to The Book Of The Lost); The Quietened Dream Palace is this year’s final themed compilation from A Year In The Country. The subject this time is abandoned cinemas, past and present.

San Francisco Moog: 1968–72 by Doug McKechnie, a collection of early synthesizer music using a modular instrument that was later bought by Tangerine Dream. “The quiescent, meditative pulse of the music has much more in common with what would come to be known as the Berlin school of German electronic music than anything coming out of the US at the time,” says Geeta Dayal.

• Sarah Davachi released a new album recently, Cantus, Descant, so The Quietus asked her to discuss her favourite albums. Related: XLR8R has a mix of the music that Davachi regards as influences. Kudos for the choice of Why Do I Still Sleep by Popol Vuh, an overlooked piece from the end of the group’s career.

When I use relevance as a filter for determining what books to read, I’m failing to make myself available for an authentic encounter with otherness, something genuine art always offers. I’m presuming that I can guess, from the barest plot summary, whether a book will be useful in my life. But how can I know what I will find relevant about a work before I have submitted myself to the experience? I don’t think we are likely to be transformed by art if we try to determine that encounter in advance. Part of the vulnerability necessary for transformation is the recognition that I am, to a great extent, a mystery to myself. How could I know what I need?

Garth Greenwell on the idea that a novel is only worthwhile if it is somehow “relevant”

• “For a long time I had been encouraged by the world of fine art to remove references to the spiritual from my work,” says Penny Slinger in a piece by Hettie Judah exploring the resurgence of interest in occult art. Good to see S. Elizabeth and her book on the subject receiving a mention.

• Arriving on Region B blu-ray later this month is Spring (2014) by Justin Benson & Aaron Moorhead, which 101 Films describes as Richard Linklater channeling HP Lovecraft. I enjoyed Benson & Moorhead’s Resolution (2012) and The Endless (2017) so this one is on pre-order.

• Topical books dept: The Man in the High Chair and Other Tyrannies by Kurt Fawver, a benefit publication for the California Coalition for Women Prisoners.

• We never know exactly where we’re going in outer space: Caleb Scharf on the difficulties of aiming for distant objects in an ever-changing universe.

• Submissions open soon for the contemporary Dada journal Maintenant 15, with a theme of “Humanity: The Reboot”. Details here.

• At Dennis Cooper’s: Harry Smith, Filmmaker Day.

Pandemonium – Spring (1985) by Peter Principle | Silent Spring (2006) by Massive Attack feat. Elizabeth Fraser | Spring Stars (2009) by Simon Scott

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

Recoil and Cabaret Voltaire

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Since it was announced this week that Cabaret Voltaire will release a new album in November, here’s a short Cabs-related film that used to be impossible to see. A Sheffield art student, Nick Allday, made Recoil in 1981 as part of his course work, and managed to persuade Cabaret Voltaire to create a soundtrack:

The concept originated with raw material of video feedback and some sparse nuclear bomb footage available at the time. The idea was to represent in abstract form the cruel chaotic dysfunctional nature of the human condition with all its potential for self destruction. It was conceived as a manifestation of wretched anger, fury, and regret. (more)

Very typical of the early 1980s, in other words. The film was mentioned in a few of the group’s interviews around this time, and was also screened before some of their performances, but it otherwise remained a mystery until the footage was rediscovered and restored a few years ago. The copy of Recoil at Vimeo was uploaded by the organiser of the Gofundme launched to pay for the restoration, revealing music that sounds like an outtake from Red Mecca. (According to the post linked above this was mostly the work of Stephen Mallinder rather than the group as a whole.) And having written about Last and First Men a couple of days ago, it’s worth mentioning that Chris Watson, who was still a member of Cabaret Voltaire in 1981, recorded the natural sounds for Jóhann Jóhannsson’s film.

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As to the forthcoming album, Shadow Of Fear, I’m not the only person who finds everything credited to the group since Plasticity (1992) to be barely distinguishable from many of Richard Kirk’s solo works. Stephen Mallinder seems to be present in name only on these albums which makes you wonder what there is about a CV release that differs from a Kirk release, especially when the preview track, Vasto, sounds like more of the same. The real shadow of fear is the worry that a worthwhile project is being perpetuated for no good reason.

Previously on { feuilleton }
Pow-Wow by Stephen Mallinder
TV Wipeout revisited
Doublevision Presents Cabaret Voltaire
Just the ticket: Cabaret Voltaire
European Rendezvous by CTI
TV Wipeout
Seven Songs by 23 Skidoo
Elemental 7 by CTI
The Crackdown by Cabaret Voltaire
Neville Brody and Fetish Records