{music} – Page 215 – { feuilleton }

Weekend links 173

Icarus (1974–75) by Lili Ország.

• The Cabaret Voltaire albums released on the Virgin label in the 1980s have suffered the same shoddy treatment on CD as other Virgin reissues, a situation to be rectified in November with an extensive revisiting of the CV back catalogue. The long-overdue reappraisal will also include the release of Earthshaker, a collection of previously unavailable recordings from the Virgin period.

• It’s that book again: Design Observer has the preface from Lolita — The Story of a Cover Girl: Vladimir Nabokov’s novel in art and design, a book by John Bertram and Yuri Leving. At The Millions John Bertram talks to designer John Gall about the problems Lolita poses for cover designers.

• Jerry Lewis’s The Day the Clown Cried (1972) has acquired legendary status over the years for the apparent tastelessness of its subject matter—a clown in Auschwitz—and the fact that its director/star has never allowed the film to be seen in public. This week some footage arrived on YouTube.

• Candy Bullets And Moon (1967), a one-off psychedelic collaboration between Don Preston and Meredith Monk.

• What’s the collective term for many bookshops? Whatever it is, there’s a lot of them in this Pinterest collection.

• At Dangerous Minds: Artist Gail Potocki’s exploration of Alice in Wonderland and the passing of time.

• Anne Billson on the late Karen Black and why horror movies deserve our respect.

• Tobias Carroll on the Surreal life and fiction of Leonora Carrington.

• More details emerge about The Wicker Man – The Final Cut.

• Issue 35 of Arthur Magazine is now available for order.

• Graphics, drawings and collages by Jan Švankmajer.

• Every film poster designed by Saul Bass.

• Cabaret Voltaire: Just Fascination (1983) | Sensoria (1984) | I Want You (1985)

Elric 1: Le trône de rubis

The closest I ever got to illustrating Michael Moorcock’s Elric character was the sleeve for The Chronicle of the Black Sword in 1985, a Hawkwind concept album based on the first couple of Elric books. That design favoured a decorative approach over anything illustrative, however. At the time I felt too intimidated by the renderings of Elric’s first illustrator, James Cawthorn, and subsequent depictions by book cover artists such as Michael Whelan, to attempt my own version of the character. These days I pay little attention to heroic fantasy of any kind but I do look out for new depictions of Moorcock’s anti-hero. Earlier this year the French bande dessinée publisher, Glénat, released the first album in a planned series of five comic-strip adaptations of the Elric books. Many creditable Elric comics have appeared since the 1970s, not least the Cawthorn version of Stormbringer, one of the earliest and best, and Philippe Druillet’s own somewhat eccentric production. Mike Moorcock very generously sent me a copy of the Glénat volume this week, and I’d say this is now the one to beat.

Writer Julien Blondel has adapted the books with the art duties being taken by Didier Poli and Robin Recht. Jean Bastide is the colourist. I’ve always preferred the French and Belgian approach to comic art over the American style so I’m naturally biased towards a book such as this. That said, the art is marvellous, and so many of the details feel just right. Moorcock portrays the Melnibonéans as decadent and cruel, something that Poli and Recht portray with scenes of naked slaves being bled, butchered, and even used as human torches for the blithe amusement of their masters. The general atmosphere in the opening pages is like something from Flaubert’s Salammbô with its combination of antique depravity and the massing of great armies prior to battle. They don’t slouch with the monstrosities, either, there’s a spot of Lovecraftian weirdness when Elric is rescued by Straasha, the Sea King. I look forward to seeing how they deal with Arioch (who puts in an appearance at the end) and the other Chaos Lords. The dialogue is all in French, of course, but if you know the books it’s easy to follow even with French as limited as mine.

The Glénat site has a few more page samples. Moorcock has been watching these books being adapated and re-adapted for decades, and he says this is among the very best. For anyone with more than a passing interest in the brooding albino prince it’s well worth seeking out.

Previously on { feuilleton }
• Salammbô illustrated
• Jim Cawthorn, 1929–2008

Ralf and Florian

Ralf and Florian, 1973. Back cover photo by Barbara Niemöller.

Kraftwerk’s third album, Ralf and Florian, is forty years old this year. It was recorded and mixed from May to July, 1973, and released three months later. As with the first two Kraftwerk albums, it still hasn’t been given an official CD reissue. When so many albums by the big names of the 1970s have been reissued multiple times Kraftwerk are pretty much unique in suppressing part of their catalogue.

Photo by Robert Franck.

The reason usually given for this is that the fourth album, Autobahn (1974), was the first to adopt the conceptual style that became a hallmark of the group’s output. Well, yes and no. The celebrated sleeve design for Autobahn went through several variations, and the motoring theme only applies to the first side of the album. The second side doesn’t match the theme at all, and with its melodies and instrumentation (Florian was still using his flute) is much closer to the previous albums, especially the third one, than those that came after. What Kraftwerk prefer to see as a clean break is really more of a gradual evolution.

The sleeve for the first UK release. No designer credited.

I’ve always liked the Ralf and Florian album, and don’t mind so much that it’s not been given a proper reissue. Bootleg copies circulate, and even the original vinyl isn’t so scarce. A couple of things related to the album are more difficult to find, however. The first German copies came with a large poster-insert illustrated by the group’s artist/designer Emil Schult. This item more than anything shows a charming, human side to Ralf and Florian which was later overshadowed by the machine-obsessed conceptualism. Large scans of the insert were recently posted at Mostly Retro.

Then there’s Kohoutek – Kometenmelodie, a 7-inch single released in December 1973 which forms a bridge between the third and fourth albums. Kometenmelodie subsequently appeared in two versions on Autobahn but the single sleeve is very much in the R&F zone with the faces from the album cover, while the back of the sleeve sports Emil Schult’s Kling Klang Verlag logo from the album insert. Kohoutek was a comet visible in the night skies in 1973. This was Kraftwerk’s debut single, presenting two unique versions of Kometenmelodie. It’s never been reissued but both tracks can be heard here. Elsewhere on YouTube there’s a performance of the R&F track Tanzmusik on a German TV programme, a clip which features new group member, Wolfgang Flür, playing his electronic drum pads.

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

Weekend links 172

Complete Stop (2008), an oil painting by Gregory Thielker from his Under the Unminding Sky series.

• For Halloween last year I watched a very poor copy of a BBC Play For Today production, Robin Redbreast, a piece of rural horror by John Bowen which received a single screening in 1970. That poor copy—black-and-white, timecoded, multi-generation video—has been circulating for years, so it’s good to know that the BFI will be releasing Robin Redbreast on DVD in time for this year’s Halloween. This might be news enough but the following month the BFI also releases Leslie Megahey’s stunning adaptation of Schalcken the Painter in a dual DVD/Blu-ray edition. I wrote a short review of the latter film last October.

• Mixes of the week: August Sun High from The Advisory Circle, and John Wizards’ Quietus Mix “African music, R&B and chamber pop, filtered through gentle electronic arrangements that cross-pollinate with South African house, Shangaan electro and dub”.

• A trailer has surfaced for The Counselor, a film by Ridley Scott from an original screenplay by Cormac McCarthy. Trailers are too spoilerish so I’m refusing to watch it but for those interested Slate has the details.

Luckhurst makes an admirable attempt to link Lovecraft’s most frustrating writing tic to this theme of the unknown when he claims that Lovecraft’s “catachresis”—deliberate muddling of language through the use of mixed metaphors and the like—is a tool he uses to bolster the atmosphere of futility in the face of “absolute otherness.” The trauma of encountering something so far outside the realms of imagination triggers a collapse of logic in the language itself.

Cate Fricke reviews The Classic Horror Stories of HP Lovecraft, a collection from Oxford University Press edited by Roger Luckhurst.

• “Contemporary audiences found it too weird, too wonky and even borderline distasteful…” Xan Brooks goes looking for the locations from Powell & Pressburger’s 1943 film, A Canterbury Tale.

• Two songs from Julia Holter’s forthcoming album, Loud City Song: World and Maxim’s I. Also unveiled this week: Evangeline, a new track by John Foxx & Jori Hulkkonen.

• Have Ghost, Will Find: Colin Fleming on William Hope Hodgson’s Carnacki, The Ghost Finder.

• At PingMag: Urban Calligraphy: Turning the Streets into Big, Loud Canvases.

• Sex, Spirit, and Porn: Conner Habib talks to Erik Davis.

• Serendip-o-matic: Let Your Sources Surprise You

• The Pronunciation of European Typefaces

• Twilight (2004) by Robin Guthrie & Harold Budd | Luminous (2009) by John Foxx & Robin Guthrie | Cling (2011) by Robin The Fog

Inauguration of the Pleasure Dome: The Eldorado Edition

More Cameron, and her finest cinematic moment as she plays two roles—The Scarlet Woman and Kali—in Kenneth Anger’s erotic/psychedelic/thaumaturgic Bacchanal from 1954. Ordinarily there wouldn’t be much reason to draw attention to this, it’s been available on DVD and Blu-ray for several years, and various plunderings are scattered all over YouTube. The version here, however, gives an opportunity to experience the film as it was screened in the 1970s.

Inauguration of the Pleasure Dome, like many of Kenneth Anger’s films, existed in several different forms, with the tinkering and re-editing going on for years after the original footage had been captured. An early edit made in the 1950s was fashioned into a version known as the “Sacred Mushroom Edition” which Anger screened to acid heads in the 1960s. I’ve never seen any mention of the soundtrack used for this version, or the other early editions, but in 1978 Anger released a new version with the film soundtracked by most of the Eldorado (1974) album by the Electric Light Orchestra. The note on the Vimeo page says the 1978 edition has only ever been publicly screened once but this isn’t the case. My first viewing of the film was in 1990 when the Magick Lantern Cycle was touring arts cinemas in the UK, and I very well remember sitting in the dark thinking “What the hell?… Is this the Electric Light Orchestra?” The version that’s seen today is soundtracked with Janácek’s Glagolitic Mass, a choice that seems much more suitable. For some time I’d thought of getting hold of the ELO album and running it with the film to remind myself of that initial viewing but there’s no need now that this version exists. The implication is that what you see here is the actual 1978 edit but the footage seems no different from the DVD version aside from missing a few seconds of credits at the beginning. The ELO album came with a cover photo showing Dorothy’s ruby slippers from The Wizard of Oz, a detail that may explain why the Hollywood-obsessed Anger was drawn to the album in the first place.

Previously on { feuilleton }
• Brush of Baphomet by Kenneth Anger
• Anger Sees Red
• Kenneth Anger’s Hollywood Babylon
• Lucifer Rising posters
• Missoni by Kenneth Anger
• Anger in London
• Arabesque for Kenneth Anger by Marie Menken
• Edmund Teske
• Kenneth Anger on DVD again
• Mouse Heaven by Kenneth Anger
• The Man We Want to Hang by Kenneth Anger
• Relighting the Magick Lantern
• Kenneth Anger on DVD…finally