Weekend links 269

cluster.jpg

Grosses Wasser (1979) by Cluster. Cover art by Dieter Moebius.

• RIP Dieter Moebius: one half of Cluster (with Hans-Joachim Roedelius), one third of Harmonia (with Roedelius and Michael Rother), and collaborator with many other musicians, including Brian Eno and Conny Plank. Geeta Dayal, who interviewed Moebius for Frieze in 2012, chose five favourite recordings. From 2008: Cosmic Outriders: the music of Cluster and Harmonia by Mark Pilkington. At the Free Music Archive: Harmonia playing at ATP, New York in 2008. Live recordings of Cluster in the 1970s have always been scarce but in 1977 they played a droning set at the Metz Science-Fiction Festival, a performance that was broadcast on FM radio (the Eno credit there seems to be an error).

• “I’ve since had the feeling that, if the attacks against The Satanic Verses had taken place today, these people would not have defended me, and would have used the same arguments against me, accusing me of insulting an ethnic and cultural minority.” Salman Rushdie on the fallout from the Charlie Hebdo killings.

• “The effect of these memories is to make you think you know the film better than you do, and wonder what it’s like actually to sit down and watch it.” Michael Wood on rewatching Orson Welles’ Touch of Evil (1958). Related: Tipping My Fedora on the film’s source novel, Badge of Evil (1956).

“To me, it’s simple,” he says. “Fantasy became as bland as everything else in entertainment. To be a bestseller, you’ve got to rub the corners off. The more you can predict the emotional arc of a book, the more successful it will become.

“I do understand that Game of Thrones is different. It has its political dimensions; I’m very fond of the dwarf and I’m very pleased that George [R R Martin], who’s a good friend, has had such a huge success. But ultimately it’s a soap opera. In order to have success on that scale, you have to obey certain rules. I’ve had conversations with fantasy writers who are ambitious for bestseller status and I’ve had to ask them, ‘Yes, but do you want to have to write those sorts of books in order to get there?’”

Michael Moorcock talking to Andrew Harrison about fantasy, science fiction, the past and the present.

• “Architects love Blade Runner, they just go bonkers. When I was working on the film, it was all about, let’s jam together Byzantine and Mayan and Post-Modern and even a little bit of Memphis, just mash it all together.” Designer and visual futurist Syd Mead talking to Patrick Sisson.

• “Lucian of Samosata’s True History reads like a doomed acid trip,” says Cecilia D’Anastasio, who wonders whether or not the book can be regarded as the earliest work of science fiction.

• Mixes of the week: A Tribute to Dieter Moebius by Vegan Logic, and another by Totallyradio.

• The Phantasmagoria of the First Hand-Painted Films by Joshua Yumibe.

Islamic Geometric: calligraphic tessellations by Shakil Akram Khan.

Michael Prodger on The Dangerous Mind of Richard Dadd.

A chronological list of synth scores and soundtracks.

Touch Of Evil (Main Theme) (1958) by Henry Mancini | Badge Of Evil (1982) by Cabaret Voltaire | Touch Of Evil (2009) by Jaga Jazzist

Weekend links 268

paul.jpg

A City on Pluto (1940) by Frank R. Paul. Related: Paul’s predictions about life on other planets.

23 Skidoo’s Peel Session from September 16th, 1981. Only 18 minutes of music but I’m thrilled for its being unique material that’s never been given an official release. There are many more Peel Sessions at the uploader’s channel, not all of which were reissued on the Strange Fruit label. Download favourites in their as-broadcast form (some with John Peel’s introductions) before they vanish or get blocked like the 1981 Cabaret Voltaire session. Related: Wikipedia’s list of Peel Sessions.

• Mixes of the week comprise two collections by Jon Dale of strange and beguiling Italian music: The Prevarications Of The Sky Against The Earth and La Verifica Incerta; the Summer Window Mix (“telly detritus, new-not-new synth nonsense & off-colour pop oddities”) by Moon Wiring Club; and Secret Thirteen Mix 158 by Haunter Records.

• “Hello, this is David Bowie. It’s a bit grey out today but I’ve got some Perrier water, and I’ve got a bunch of records…” Two hours of the Thin White Duke playing favourite music on BBC Radio One, 20th May, 1979.

Some of Vidal’s guests were writers, not exactly his favorite group. “Writers are the only people who are reviewed by people of their own kind,” Vidal said in an interview. “And their own kind can often be reasonably generous—if you stay in your category. I don’t. I do many different things rather better than most people do one thing. And envy is the central fact of American life.”

Frank Pizzoli reviews Sympathy for the Devil: Four Decades of Friendship with Gore Vidal by Michael Mewshaw

• Yair Elazar Glotman’s new album, Études, conjures “bone-rattling resonance, thick, alien-like atmospheres, and percussive fragments”. Stream it in full here.

• London’s Lost Department Store of the Swinging Sixties: Inge Oosterhoff on the splendours of Biba.

• It’s that Ungeziefer again: Richard T. Kelly on 100 years of The Metamorphosis by Franz Kafka.

• The History of Creepy Dolls: Linda Rodriguez McRobbie explores the uncanny valley.

• At Dangerous Minds: Matt Groening tells the story of The Residents in 1979.

• The NYT collects NASA’s photos from the New Horizons Pluto flyby.

The Museum of Imaginary Musical Instruments

Written on the Body: tattoos in cinema

The Doll’s House (1981) by Landscape | Voodoo Dolly (1981) by Siouxsie and the Banshees | Devils Doll Baby (1986) by Sonny Sharrock

The Plutonian Drug

amazing.jpg

Cover art by Leo Morey.

To HP Lovecraft, Pluto was the planet Yuggoth, home to the fungoid, brain-harvesting Mi-go whose exploits are detailed in The Whisperer in Darkness (1931). Clark Ashton Smith wasn’t averse to imagining the planets of the Solar System as exotic worlds, but in The Plutonian Drug, a short story published in Amazing Stories for September 1934, he stayed closer to what was known of Pluto at the time, albeit with an exception or two:

“There are some other drugs, comparatively little known, whose effects, if possible, are even more curious than those of mnophka. I don’t suppose you have ever heard of plutonium?”

“No, I haven’t,” admitted Balcoth. “Tell me about it.”

“I can do even better than that — I can show you some of the stuff, though it isn’t much to look at — merely a fine white powder.”

Dr. Manners rose from the pneumatic-cushioned chair in which he sat facing his guest, and went to a large cabinet of synthetic ebony, whose shelves were crowded with flasks, bottles, tubes, and cartons of various sizes and forms. Returning, he handed to Balcoth a squat and tiny vial, two-thirds filled with a starchy substance.

“Plutonium,” explained Manners, “as its name would indicate, comes from forlorn, frozen Pluto, which only one terrestrial expedition has so far visited — the expedition led by the Cornell brothers, John and Augustine, which started in 1990 and did not return to earth till 1996, when nearly everyone had given it up as lost. John, as you may have heard, died during the returning voyage, together with half the personnel of the expedition: and the others reached earth with only one reserve oxygen-tank remaining.

This vial contains about a tenth of the existing supply of plutonium. Augustine Cornell, who is an old school friend of mine gave it to me three years ago, just before he embarked with the Allan Farquar crowd. I count myself pretty lucky to own anything so rare.

“The geologists of the party found the stuff when they began prying beneath the solidified gases that cover the surface of that dim, starlit planet, in an effort to learn a little about its composition and history. They couldn’t do much under the circumstances, with limited time and equipment; but they made some curious discoveries — of which plutonium was far from being the least.

“Like selenine, the stuff is a bi-product of vegetable fossilization. Doubtless it is many billion years old, and dates back to the time when Pluto possessed enough internal heat to make possible the development of certain rudimentary plant-forms on its blind surface. It must have had an atmosphere then; though no evidence of former animal-life was found by the Cornells.

“Plutonium, in addition to carbon, hydrogen, nitrogen, and oxygen, contains minute quantities of several unclassified elements. It was discovered in a crystalloid condition, but turned immediately to the fine powder that you see, as soon as it was exposed to air in the rocketship. It is readily soluble in water, forming a permanent colloid, without the least sign of deposit, no matter how long it remains in suspension.”

“You say it is a drug?” queried Balcoth. “What does it do to you?”

“I”ll come to that in a minute — though the effect is pretty hard to describe. The properties of the stuff were discovered by chance: on the return journey from Pluto, a member of the expedition, half delirious with space-fever, got hold of the unmarked jar containing it and took a small dose, imagining that it was bromide of potassium. It served to complicate his delirium for a while — since it gave him some brand-new ideas about space and time.

“Other people have experimented with it since then. The effects are quite brief (the influence never lasts more than half an hour) and they vary considerably with the individual. There is no bad aftermath, either neural, mental, or physical, as far as anyone has been able to determine. I”ve taken it myself, once or twice, and can testify to that.

“Just what it does to one, I am not sure. Perhaps it merely produces a derangement or metamorphosis of sensations, like hashish; or perhaps it serves to stimulate some rudimentary organ, some dormant sense of the human brain. At any rate there is, as clearly as I can put it, an altering of the perception of time — of actual duration — into a sort of space-perception. One sees the past, and also the future, in relation to one’s own physical self, like a landscape stretching away on either hand. You don’t see very far, it is true — merely the events of a few hours in each direction; but it’s a very curious experience; and it helps to give you a new slant on the mystery of time and space. It is altogether different from the delusions of mnophka.”

The most immediately notable detail here is the word “plutonium” which Smith was using as his own six years before the radioactive element was officially named. (By coincidence, transuranic plutonium was discovered the year Smith’s story was published.) Also of note is yet more discussion in a Smith story of real drugs such as opium and hashish. I’ve never seen any evidence that Smith was a drug user but he was happy to exploit the visionary potential of these substances. The time-viewing effects of Smith’s plutonium might have made for an effective weird tale but the piece runs out of steam fairly quickly; this is one of those stories with a promising idea that needs someone like HG Wells to do it justice. Many of Smith’s stories were written in haste so this isn’t too surprising but The Plutonian Drug lacks the imaginative scope of a piece of psychedelic science fiction like The City of the Singing Flame. Nevertheless, it was druggy enough to open Michel Parry’s Strange Ecstasies which is how I came to revisit it recently.

I was hoping the story might have been illustrated for its early printings but it seems not. The best I can find is this card design; there’s also a metal song by a band named Innsmouth that was released as a double-bill single in 2012. Smith’s story may be read in full at Eldritch Dark.

Previously on { feuilleton }
More trip texts
Yuggoth details
The Garden of Adompha
The City of the Singing Flame
Haschisch Hallucinations by HE Gowers
Odes and Sonnets by Clark Ashton Smith
Clark Ashton Smith book covers

The Nicolas Roeg Guardian Lecture, 1983

roeg.jpg

More Roegery. The recent BBC documentary about Nicolas Roeg has yet to appear on YouTube but this Guardian Lecture appeared there a few days ago. Roeg was in the news in 1983 following the release of Eureka, a film with a solid reputation today but one which the distributors weren’t happy with at the time. There’s no mention of these problems in this 37-minute interview with the late Philip Strick which ranges throughout Roeg’s career, and even includes some mention of his ill-fated plan to direct Flash Gordon for Dino De Laurentiis. It’s too short, of course, as these things always are, and Roeg has always been a somewhat rambling interviewee, but for Roeg-philes it’s worth a watch. The documentary I’d really like to see again is Nothing As It Seems: The Films of Nicolas Roeg, made the year before by Paul Joyce, and featuring contributions from two key collaborators: Donald Cammell and Paul Mayersberg.

Previously on { feuilleton }
Beyond the Fragile Geometry of Space
Canal view

Weekend links 266

dune.jpg

Spine and cover art by John Schoenherr for the first American edition of Dune, 1965.

• “[Herbert] had also taken peyote and read Jung. In 1960, a sailing buddy introduced him to the Zen thinker Alan Watts, who was living on a houseboat in Sausalito. Long conversations with Watts, the main conduit by which Zen was permeating the west-coast counterculture, helped turn Herbert’s pacy adventure story into an exploration of temporality, the limits of personal identity and the mind’s relationship to the body.” Hari Kunzru on Frank Herbert and Dune, 50 years on. Related: “To save California, read Dune,” says Andrew Leonard. There’s a lot more Dune cover art at ISFDB.

• “Embedded in Adam’s footage were several dark forms, human-ish in outline, unidentifiable but unmistakable, visible within the leaves or the shadows.” Holloway is a short film by Adam Scovell based on the book by Robert Macfarlane, Dan Richards and Stanley Donwood.

The Library of the Lost: In Search of Forgotten Authors by Roger Dobson; edited and with an introduction by Mark Valentine. Roger and Mark were my first publishers in 1988 when their Caermaen Books imprint produced the large-format edition of The Haunter of the Dark.

• “…over the years he created a series of ‘Pharmacies’: rows of glass bottles filled not with medicines to cure the body…but objects to stimulate the mind.” Clare Walters reviews Joseph Cornell: Wanderlust, an exhibition at the Royal Academy, London.

• “The sound machines we build today are invariably one-offs, made from salvaged parts, with all the precariousness of a prototype.” Sarah Angliss on the art of making music machines.

Mission Desire is a new single by Jane Weaver whose video is “set to scenes from Marie Mathématique – the French 1960s mini-series about Barbarella’s younger sister”.

• Ghost signs, ginnels and hidden details: an alternative guide to Manchester by Hayley Flynn aka Skyliner.

• “I want to be despised,” says John Waters who has a new art exhibition at Sprüth Magers, London.

Sonic Praise, an album of “Krautprogbikermetal” by Ecstatic Vision.

• The Evolution of the Great Gay Novel: an overview by Rebecca Brill.

• At Bibliothèque Gay: more homoerotic drawings by Jean Cocteau.

Wyrd Daze Lvl2 Issue 3 is a free download.

Nicolas Winding Refn: vinyl collector.

Art With Naked Guys In It

Caladan (2011) by Roly Porter | Giedi Prime (2011) by Roly Porter | Arrakis (2011) by Roly Porter