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Victor Vasarely album covers

Terretektorh / Nomos Gamma (no date; late 60s) by Iannis Xenakis.

Xenakis and Victor Vasarely are paired again on this album cover from the late 1960s. Given how often record companies have used abstract artwork on the sleeves of classical recordings, especially those by 20th-century composers, you’d expect there to be more examples. There may well be but Discogs (always the easiest place to search) only turns up the following examples.

Chamber Concerto For 11 Instruments / Symphonic Variations (no date) by
Neils Viggo Bentzon / The Royal Danish Orchestra conducted by Jerzy Semkow.

Kontakte For Electronic Sounds, Piano And Percussion / Refrain For Three Instrumentalists (1968) by Aloys Kontarsky, Christoph Caskel, Karlheinz Stockhausen.

David Bowie (1969) by David Bowie.

I confess that until I began searching for Vasarely covers I hadn’t known that this was an early example. That’s partly down to David Bowie’s second album (the first in his official canon) having been reissued for years in a different cover with Bowie’s face filling the sleeve. The album reissues in 1999 restored the original design, one of the artist’s Folklore Planetaire series. The credit is to “Vaserelli”.

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Vasarely, a film by Peter Kassovitz

I’ve always liked Victor Vasarely’s brand of Op-Art so this short film from 1960 would be of interest even without the addition of a score, Neg-Ale, by Iannis Xenakis. Considering the stature of the composer the music fails to add much at all so it’s no surprise to read at Ubuweb that Xenakis later withdrew it from his catalogue. Kassovitz’s film is worth watching for Vasarely’s artworks, however, especially some three-dimensional creations I hadn’t seen before.

Previously on { feuilleton }
• Escher and Schrofer

Weekend links 210

Crashing Diseases And Incurable Airplanes (2014) by USA Out Of Vietnam. Artwork by Amy Torok.

Amy Torok’s cover art for the debut album by Canadian band USA Out Of Vietnam is pleasingly reminiscent of the surreal and psychedelic collages of Wilfried Sätty. The music within has been described as “a cross between ELO and Sunn O)))” which it is up to a point, although to these ears the group are more in the Sunn O))) camp than the post-Beatles pop of Jeff Lynne and co. The sound is big whatever label you apply, and promises much for the future.

• Mysterious creatures of Monterey Bay Aquarium’s ‘Tentacles’. The Aquarium bought one of my drawings last year for this exhibition which juxtaposes tentacular artwork with live creatures. The show runs until 2016.

• Jon Hassell’s 1990 album, City: Works Of Fiction, has been reissued in an expanded edition including a live concert collaboration with Brian Eno, and a collection of remixes/alternate takes.

• Photographer Jonathan Keys uses antique camera equipment to give his views of contemporary Britain a patina of the past.

• Roman Polanski and the man who invented masochism. Nicholas Blincoe on Leopold von Sacher-Masoch and Venus in Fur (sic).

• Mixes of the week are by James Pianta, E.M.M.A. (whose Blue Gardens album I helped design), and Balduin.

• Sweet Jane unearths another great article about psychedelic London: The Fool and Apple Boutique, 1968.

• “Did Chris Marker think history to be not only an infinite book but a sacred one?” asks Barry Schwabsky.

• Front Free Endpaper on the story behind the cover photo of A Boy’s Own Story by Edmund White.

• Mapping the Viennese Alien Event Site. Christina Scholz explores another Zone.

• Moondog: The Viking of 6th Avenue. The first and only movie about Moondog.

• Rick Poynor on rediscovering the lost art of the typewriter.

• At BLDGBLOG: 100 Views of a Drowning World.

• Miguel Chevalier’s magic carpets

• Venus In Furs (1967) by The Velvet Underground | Sex Voodoo Venus (1985) by Helios Creed | Venus As A Boy (1993) by Björk

The sphinx of Wolf City

Wolf City (1972) by Amon Düül II.

Behold another favourite album cover by a favourite band, one of several superb designs for Amon Düül II by Falk-U Rogner who was also the group’s keyboard player. Rogner’s suitably hallucinogenic cover images are worth a post of their own but this one requires attention today since I happened to solve the mystery of the location of the Düül sphinx during the recent hiatus.

Ever since I began these blog posts I’ve had a feeling that the endless trawling of image archives might one day turn up the location of this stone creature. It was only ever going to be something you’d find by accident, and that’s precisely what happened with the discovery of the drawing below in volume 4 of Materials and Documents of Architecture and Sculpture (1915) by A. Raguenet, a set of books I’ve been plundering recently for architectural details.

Compare with this photo.

The notes for the drawing offer enough information to trace the location to the Brunswick Monument in Geneva, a mausoleum built in 1879 for the Duke of Brunswick. The monument is a typically Gothic edifice guarded by a number of stone lions plus this splendid sphinx on a plinth by a pool of water. On the opposite side of the monument there’s a matching bird-headed sculpture. Amon Düül II were a German group so it was always likely that the sphinx would be in Europe somewhere, if not Germany itself. The photo below is a detail from this Flickr shot which is the best match I’ve found for the angle of the cover photo. Jean Franel was the monument architect but statues are often the work of specialist artists, and I’ve yet to find a name attached to these examples.

Photo by Till Westermayer.

Elsewhere on { feuilleton }
• The album covers archive

Previously on { feuilleton }
• Frémiet’s Lizard

Weekend links 209

Soundcarriers poster by Julian House.

A new release on the Ghost Box label is always a welcome thing but Entropicalia by The Soundcarriers, out on May 20th, is one I’m especially looking forward to. Julian House has made a video for new song Boiling Point, and there’s also the poster above which can be downloaded at larger size here. The Ghost Box Guest Shop has a couple of new additions including the recent Man Woman Birth Death Infinity album by Raagnagrok.

• “It’s a funny time to be making music, because we’re a generation of people who make music with screens instead of with ears.” Ben Frost talking to Tristan Bath.

• At Dangerous Minds: You Gotta Say Yes to Another Excess, a rare glimpse of Yello live in concert, 1983.

Our movements about London are closely circumscribed, and while we may imagine ourselves to be free, the truth is that the vast majority of our journeys are undertaken for commercial imperatives: we travel either to work or to spend. All about us during our daily existence we are presented with buildings we cannot enter, fences we cannot climb and thoroughfares it would be foolhardy to cross. We are disbarred from some places because we don’t have the money — and from others because we don’t have the power. The city promises us everything, but it will deliver only a bit.

The place-hackers draw our attention to how physically and commercially circumscribed our urban existence really is. […] As more and more international capital flows into London, so public space is increasingly eroded — it’s just too valuable for us ordinary folk to paddle about in any more.

Give the freedom of the city to our urban explorers, says Will Self. Related: Robert Macfarlane accompanied urbexer Bradley Garrett on a night-time jaunt.

• Black Sabbeth: Metal band Gonga covering a classic with Portishead’s Beth Gibbons on vocals.

• Pelican books take flight again; Paul Laity on the resurrection of the non-fiction imprint.

• Finland’s homoerotic stamps are an ocular feast for women, too, says Nell Frizzell.

• “I guess you could say I am a Pagan.” Kenneth Anger on the occult.

• “How much gay sex should a novel have?” asks Caleb Crain.

• Mix of the week: Secret Thirteen Mix 112 by Kyoka.

• The Gibraltar Encyclopedia of Progressive Rock

• Zombi’s Guide to Goblin

• Decadence Comics

• Zombie Warfare (1979) by Chrome | Escape From The Flesheaters (Zombie) (1979) by Fabio Frizzi | Zombie’ites (1993) by Transglobal Underground