Weekend links 476

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Man’s body dish for Sashimi under the cherry blossom (2005) by Ryoko Kimura.

• Godley & Creme’s Consequences (1977) is reissued this month on CD and vinyl. Originally a three-disc concept album with a theme of climate disaster and the natural world’s revenge on humanity, Consequences was released at a time when punk and prog rock were fighting for the attention of music listeners. 1977 wasn’t the end of prog by any means (many of the vilified bands had some of their greatest successes at this time) but Godley & Creme’s transition from the smart pop songs of 10cc to extended instrumental suites was abrupt, and their concept, such as it was, lacked the drama and accessibility of Jeff Wayne’s The War of the Worlds, even with the addition of Peter Cook providing a multi-voice comic narrative between the musical pieces. (Kevin Godley ruefully referred to the album in later years as Con Sequences.) The album flopped, and has been a cult item ever since.

• “A word of caution, though. Once you do read it, it’s hard to let it go.” Philip Hoare on Herman Melville and Moby-Dick. Related: William T. Vollmann on how a voyage to French Polynesia set Herman Melville on the course to write Moby-Dick.

Samm Deighan on The “Faraway Forest” in Peter Strickland’s Katalin Varga, The Duke of Burgundy, and The Cobbler’s Lot.

Brian Eno, Roger Eno, and Daniel Lanois discuss the recording of Apollo: Atmospheres & Soundtracks.

John Boardley on the first fashion books, Renaissance pixel fonts and the invention of graph paper.

Melanie Xulu looks back at a time where major labels were releasing witchcraft rituals.

• “Tom Phillips’ A Humument is a completely novel project,” says Rachel Hawley.

John Foster on the evolution of Stereolab’s analogue-inspired record sleeves.

• At Dennis Cooper’s: a history of le Grand Guignol by Agnes Peirron.

Casey Rae on William S. Burroughs and the cult of rock’n’roll.

• An Austin Osman Spare image archive.

Consequences (1965) by John Coltrane | Moby Dick (1969) by Led Zeppelin | Consequence (1995) by Paul Schütze

Echoes And Reverberations

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Echoes And Reverberations, the latest themed collection of music presented by A Year In The Country, has a title that might refer to the Hauntological idiom in general. Not so much nostalgia, more the refashioning of memories, or imagined remembrances of the past, into something new.

Echoes And Reverberations is a field recording-based mapping of real and imaginary film and television locations.

It is in part an exploration of their fictional counterparts’ themes; from apocalyptic tales to never-were documentaries and phantasmagorical government-commissioned instructional films via stories of conflicting mystical forces of the past and present, scientific experiments gone wrong and unleashed on the world, the discovery of buried ancient objects and the reawakening of their malignant alien influence, progressive struggles in a world of hidebound rural tradition and the once optimism of post-war new town modernism.

Track list:
1) Grey Frequency—King Penda
2) Pulselovers—The Edge Of The Cloud
3) Dom Cooper—What Has Been Uncovered Is Evil
4) Listening Center—From Bull Island To Avondale
5) Howlround—Smashing
6) A Year In The Country—Not A Playground
7) Sproatly Smith—Gone Away
8) Field Lines Cartographer—Mr Scarecrow
9) Depatterning—The Ogham Stones
10) The Heartwood Institute—Ribble Head Viaduct

Using field recordings as a basis for music or sound art is as old as musique concrète, but the processes of Pierre Schaeffer and his followers were cumbersome and limited, and the results were invariably placed in the frame of Serious Music. The limitations of the approach can be seen in how quickly this avenue of exploration ran its course. It’s taken the flexibility and widespread use of digital sound tools to revitalise a moribund form to a degree that an acclaimed TV series like Chernobyl can use field recordings for a score (by Hildur Guðnadóttir) that matched the power of the on-screen drama.

The first piece in Echoes And Reverberations, King Penda, immediately caught my attention for the reference to David Rudkin’s Penda’s Fen, another TV drama with notable sound design by Paddy Kingsland of the Radiophonic Workshop. I thought the industrial thuds and clangs summoned by Grey Frequency might be taken from the scene where Stephen and his mother travel into Birmingham, but the release notes reveal that the sound source is the church where Stephen plays the organ, and in a later scene experiences a different kind of summoning. Whatever the source, the suggestion of menace suits a film whose transcendent message has to rise through an atmosphere of oppressive malevolence.

The Radiophonic Workshop is the ghost at this particular feast, unsurprisingly when the majority of the pieces are based on film and TV dramas from the Workshop’s golden decade, the 1970s: Flambards (The Edge Of The Cloud by Pulselovers, a beautiful piece of solo violin and piano with birdsong accompaniment); Survivors (Gone Away, a brittle instrumental by Sproatly Smith); and No Blade of Grass (Ribble Head Viaduct by The Heartwood Institute, a lumbering theme for one of the many angry and violent apocalypse films of the 70s). Of the other pieces Dom Cooper’s What Has Been Uncovered Is Evil takes the Hammer film of Quatermass and the Pit as its focus, creating a soundscape of sinister electronics in a nod to Tristram Carey’s Martian soundtrack, while the equally sinister electronics of Field Lines Cartographer’s Mr Scarecrow follows Stephen Gallagher’s gene-splicing thriller, Chimera, to the rain-drenched Lake District. The shadows of disaster lying over this release feel uncomfortably timely when the past week in Britain saw a heatwave like something from The Day the Earth Caught Fire, while this week we’ve had a village evacuated after torrential rains have threatened a dam with collapse, and an announcement from China about “hybrid chimeras“.

Echoes And Reverberations will be released on 16th August, and is available for pre-order now.

Previously on { feuilleton }
The Watchers
The Corn Mother
The Quietened Mechanisms
The Shildam Hall Tapes
Audio Albion
A Year In The Country: the book
All The Merry Year Round
The Quietened Cosmologists
Undercurrents
From The Furthest Signals
The Restless Field
The Marks Upon The Land
The Forest / The Wald
The Quietened Bunker
Fractures

Weekend links 474

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AS11-40-5877 (1969).

• A minimum of Moon-related links this week because this is a subject I always return to. Previous links to NASA’s photo archives are now redundant after they changed their website but the archive of photos from the Apollo missions are currently hosted on Flickr…while Flickr lasts, anyway. The Albums section features whole film rolls from each of the missions.

• Mixes of the week: Stephen O’Malley presents In Session: Richard Pinhas (a re-posting of a mix from last year), and The Ivy-Strangled Path Vol. XVII by David Colohan.

• Living With The Human Machines: experimental artist Sarah Angliss speaks to Matthew Neale about the cyborgs, dummies and ghosts that populate her work.

• On And On And On: A Guide to Generative Electronic Music. Related: Deconstructing Brian Eno’s Music for Airports.

• At Dennis Cooper’s: Jesse Bransford presents…A List of Grimoires for the Twilight of the Age of the Book.

A Dandy in Aspic exclusive: Paul Gallagher interviewed cult author Derek Marlowe in 1984.

• From Ted Hughes to HG Wells: Jeanette Winterson picks the best books about the Moon.

• Tate acquires vast archive of British surrealist Ithell Colquhoun.

• At Greydogtales: Ten supernatural stories which stay with you.

• Emptyset turn to machine learning on new album Blossoms.

• Paul Grimstad on the absolute originality of Georges Perec.

• Valerie Stivers on cooking with Bruno Schulz.

• Blown out ’77: in the studio with Suicide.

Astronauts on record covers.

Back Side Of The Moon (1991) by The Orb | Moonshot (1999) by Hallucinator | Under The Moon (2019) by Brian Eno with Daniel Lanois & Roger Eno

Tomita’s Mind of the Universe

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In the week that celebrates the 50th anniversary of the Apollo 11 mission to the Moon here’s a cosmic flashback from 1984. (I wrote about my own memories of the Apollo era in July, 2009.)

Mind Of The Universe was an ambitious outdoor performance of music by Isao Tomita for the annual Ars Electronic Festival in Linz, Austria. I’d known about this event ever since the release of the subsequent live album, and always wondered if there was more of a visual record than the one or two short clips to be found on YouTube. This 65-minute documentary from NHK TV was made following Tomita’s death in 2016, and features a much longer recording of the concert, together with a look at the preparations undertaken by the composer and his Japanese team. The documentary is in Japanese throughout, but I’ve had Tomita’s albums on continual play for the past couple of weeks so it was a welcome discovery. The Linz footage is bracketed by a short studio discussion of Tomita’s work and the concert itself with two of his assistants, Hideki Matsutake and Akira Senju. Matsutake is better known for his programming work with Yellow Magic Orchestra, and his own albums under the name Logic System, but he began working with synthesizers as Tomita’s studio assistant in the 1970s; Senju is a composer of anime soundtracks. The documentary includes some all-too-brief film footage of Tomita’s studio in 1974, and a sequence (with Tomita-san on a motorbike!) concerning the Dawn Chorus (1984) album which incorporated recordings of the electromagnetic “Dawn Chorus” phenomenon.

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Part of Tomita’s Moog system, the backbone of his early electronic recordings.

Mind Of The Universe (or Tomita’s Universum as it was advertised to the citizens of Linz) comprised a nocturnal performance spanning the River Danube, with Tomita combining some of his earlier recordings with new pieces created for the event, including an extract from Stravinsky’s Rite of Spring. This was conducted by the maestro and assistants from within a transparent pyramid suspended by crane on the river bank. Speakers were positioned on both banks of the river, and there was a lavish lightshow with fireworks and lasers, all of which was somehow meant to depict the entire history of the Universe, from Big Bang to the present moment.

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Discussing Dawn Chorus, and a visit to a radio telescope.

If this wasn’t ambitious enough, Tomita had musicians and a choir floating on boats and platforms in the river: Goro Yamaguchi played a traditional Japanese piece on shakuhachi while seated in a perilously small craft being towed behind a larger vessel; the bigger boat provided a stage for violinist Mariko Senju whose excellent performance of Vaughan Williams’ The Lark Ascending is the musical highlight of the concert. This was followed by a violin rendition of the five-note motif from Close Encounters of the Third Kind, a nod to Tomita’s UFO-themed Bermuda Triangle album, which introduced one of the less successful aspects of the event in the noisy arrival of a helicopter bearing a platform laden with lights and speakers. The helicopter provided the booming response of the Close Encounters mothership although this isn’t obvious on the live album where all you have is the music and the noise of the rotors. Tomita’s concept of “pyramid sound” is more evident in the TV documentary than on record.

Continue reading “Tomita’s Mind of the Universe”

Weekend links 473

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“Spectra of various light sources, solar, stellar, metallic, gaseous, electric”, print by René Henri Digeon; plate IV in Les phénomènes de la physique (1868).

• More polari: Thom Cuell this time with another review of Fabulosa!: The Story of Polari by Paul Baker. Good as it is to see these articles, one thing they all share is paying tribute to the polari-enriched radio series Round the Horne without crediting its writers, Barry Took and Marty Feldman.

• “…with its conspiracy theories, babbling demagogues and demonised minorities, Bahr’s investigation is sadly all too relevant today.” Antisemitism (1894) by Hermann Bahr, is the latest new translation from Rixdorf Editions.

Isao Tomita in 1978 showing a presenter from NHK around his tiny studio. Japanese-only but the discussion reveals that the words “synthesizer”, “tape recorder” and “mixer” sound the same as they do in English.

Ben Frost talks to Patrick Clarke about his music for German TV series, Dark.

• PYUR composes a guide through limbo with Oratorio For The Underworld.

• Steven Heller on Don Wall’s book design for a Paolo Soleri retrospective.

• Coming soon from Fulgur Press: Ira Cohen: Into the Mylar Chamber.

Will Harris compiles an oral history of Q: The Winged Serpent.

• Mix of the week: a mix for The Wire by Overlook.

• At Dennis Cooper’s: Magic Shop Internationale.

Shadow In Twilight by Pram.

The Feathered Serpent Of The Aztecs (1960) by Les Baxter | The Serpent (In Quicksilver) (1981) by Harold Budd | Black Jewelled Serpent Of Sound (1986) by The Dukes Of Stratosphear