Can (group) – { feuilleton }

Weekend links 834

A Bigger Splash (1967) by David Hockney.

• I was interviewed this week at Retrofuturista, the first interview I’ve done in a while, and more wide-ranging than they sometimes are. Subjects covered include illustration, design, weird fiction, the Reverbstorm comics, the Bumper Book of Magic, underground culture, and the deficiencies of AI art. Also my ongoing, mostly unseen, Axiom project.

• At Nautilus: Kristen French conducts a lengthy and fascinating interview with Andrew Gallimore and Donald Hoffman, a pair of reseachers seeking to upend theoretical physics by making consciousness the foundation of reality, rather than its inconvenient and inexplicable by-product.

• “My audience is film-smart, and I always say, ‘If they don’t get something, then do your homework.’ Sometimes you have homework when you come to see my movies to figure out what the references are.” John Waters talking to Marya E. Gates at RogerEbert.com.

• The Morgan Library & Museum in NYC launches an exhibition later this month: Tarot! Renaissance Symbols, Modern Visions. At Colossal there’s a look at some of the 20th-century art, while Smithsonian Magazine has a selection of older card designs.

• Inferno by Boards Of Canada is “probably as close to a political statement as these mystery men will ever approach.” Thus Simon Reynolds looking back over the history of the group following the release of their marvellous new album.

• Among the new titles at Standard Ebooks, the home of free, high-quality, public-domain texts: The Necromancers by Robert Hugh Benson.

• New music: Demand To Be Taken To Heaven Alive by Horse Lords; A Wave Of Alarm by Comdex; Teleportations by Danalogue.

• Dennis Cooper’s favourite fiction, poetry, non-fiction, film, art, and internet of 2026 so far. Thanks again for the link here!

• At Public Domain Review: Venetian Bridge Brawls in 17th and 18th Century Art.

• At Door of Perception: Sibylle Ruppert—The Inward Gaze of the Flesh.

• RIP David Hockney and James Blood Ulmer.

• The Strange World of…Melinda Gebbie.

• Splash One (Now I’m Home) (1966) by 13th Floor Elevators | Splash (1968) by Miles Davis | Splash (1974) by Can

Weekend links 826

Hexa (1971) by Victor Vasarely.

• New music of the week is Tape 05, three minutes from Boards Of Canada following their thirteen-year silence, which was released on Thursday after several days of the group and their record label teasing a comeback with mysterious VHS cassettes and cryptic posters. I’ve been listening to the Sandison brothers’ discography for most of the week while trying to get a major illustration commission finished; this revelation has been the icing on a deteriorated, over-processed cake. I’m now looking forward to whatever emerges next.

• The Long London Uncovered: Alan Moore (again) and Iain Sinclair (again) in conversation. Alan’s second novel in the Long London cycle, I Hear A New World, will be published next month.

• RIP Chris Mullen. Not a name that most will recognise but Mullen’s sprawling website, The Visual Telling of Stories, has been linked here on many occasions. A remarkable resource.

• More new music: Boots On The Ground by Massive Attack, Tom Waits; Angel Lost by Luca Formentini; Phaser For The Ocean, Chorus For The Moon by Hatchback.

• Coming soon from Strange Attractor: Sensual Laboratories, Light Shows, Experimental, Film and Psychedelic Art by Sophia Satchell-Baeza.

• At Public Domain Review: “A beautiful purplish hue”: Frank Dudley Beane’s experience with ergot and Cannabis Indica (1884).

• Mixes of the week: An Invisible Jukebox mix for Irmin Schmidt at The Wire; and DreamScenes – April 2026 at Ambientblog.

• At The Quietus: Greg Anderson and Stephen O’Malley of Sunn O))) discuss their love of hiking.

• At Film Quarterly: Elinor Dolliver on the surprising folklore of analogue horror.

• Steven Heller’s font of the month is Gilway Paradox.

• The Strange World of…Spacemen 3.

• Tape Kebab (1974) by Can | The Attic Tapes (1975/6) by Cabaret Voltaire | The Black Mill Video Tape (2012) by Pye Corner Audio

Ulrich Eichberger album covers

El Condor Pasa (Paul Nero In South-America) (1970) by Paul Nero Sounds.

It’s the groovy look again. Since compiling a list of artists and designers working in this post-psychedelic style I keep finding practictioners I hadn’t noticed before. German designer and art director Ulrich Eichberger is someone I might have spotted earlier if I’d examined his discography, especially when several of the albums he worked on are ones I’ve owned for many years. The covers of those albums aren’t very psychedelic, however, and don’t even look like the work of the same designer until you scrutinise the credits. The examples here are those where he was working as a cover artist as well as designer, favouring the ones where the pop-psych hallmarks are in evidence: vivid colours, bold outlines, and faces or figures treated to various degrees of stylisation. Elsewhere, the influence of Heinz “Yellow Submarine” Edelmann may be seen in the watercolour blooms that fill the backgrounds. Most of these designs are for the German wing of United Artists Records (or its Liberty affiliate) which means that Eichberger got to work for two of the major German groups of the early 70s, Can and Amon Düül II.

Partyrausch – Das Ideale Tanzalbum 70/71 (1970) by Various Artists.

Tago-Mago (1971) by Can.

I’ve never thought this was a very good cover but it’s the most popular album of those listed here.

Partyrausch 71/72 (Das Ideale Tanzalbum) (1971) by Various Artists.

In The Groove (1972) by Charly Antolini.

Included mainly because of the title.

Continue reading “Ulrich Eichberger album covers”

Weekend links 757

The Breath of Creation (c. 1926–34) by Olga Fröbe-Kapteyn.

• At Wormwoodiana: “…Gresham was well-read enough to know that while magic can be more than a MacGuffin in a fantasy story, neither fantasy nor thriller fiction lets magic unsettle readers much. […] Even when it is good, the supernatural is never safe in a Williams story. Not conventional fantasy by half.” G. Connor Salter on William Lindsay Gresham’s enthusiasm for Charles Williams’ novels.

• At Harper’s Magazine: Christopher Tayler reviews Lawrence Venuti’s translations of Dino Buzzati’s Il deserto dei Tartari (now titled The Stronghold) which was published last year, and The Bewitched Bourgeois: Fifty Stories which will be out in January.

• Dennis Cooper’s favourite fiction, poetry, non-fiction, film, art, and internet of 2024. Thanks again for the link here!

• The Approach to J.L. Borges: A Borgesian pastiche in homage to the creator of Ficciones by Ed Simon.

• “HP Lovecraft meets Fafhrd and The Grey Mouser”: an essay from 1992 by Fritz Leiber.

• Can performing live on The Old Grey Whistle Test in January, 1974.

• DJ Food says “Let’s have some psychedelia”.

• RIP Zakir Hussain.

• Creation Dub 1 (1977) by Lee Perry & The Upsetters | Threat To Creation (1981) by Creation Rebel/New Age Steppers | Theme from ‘Creation’ (1992) by Brian Eno

Weekend links 735

The Adventure of the Giant Squid (c.1939) by NC Wyeth.

• Mix of the week is a superb XLR8R Podcast 860 by Kenneth James Gibson. Elsewhere there’s DreamScenes – July 2024 at Ambientblog, and Deep Breakfast Mix 267 at A Strangely Isolated Place.

• A trailer for a restored print of Time Masters (1982), the second animated feature by René Laloux, with character designs/decor by Moebius. Now do Gandahar.

• Coming soon from Strange Attractor: Music From Elsewhere: Haunting Tunes From Mythical Beings, Hidden Worlds, and Other Curious Sources by Doug Skinner.

Not only a prolific lyricist, Lovecraft considered his main vocation to be poetry. And at its best, his verse can be judged an apt expression of his philosophical vision, in which cosmic horror embodies the predicament of all sentient beings in a meaningless universe. That Lovecraft’s poetry never reaches the heights attained by such Modernists as T.S. Eliot or Ezra Pound should not diminish the fact that his is verse that, in the most archaic of ways, advances a startlingly modern metaphysic, a poetic encapsulation of what Thomas Ligotti in The Conspiracy Against the Human Race describes as an affirmation that the universe is a “place without sense, meaning, or value.” Lovecraft, with his antiquated prosody and his anti-human ethics, presented readers with a type of counter-modernist poetry. Ironically, he is the radical culmination of William Carlos Williams’s injunction of “No ideas but in things;” he is an author for whom there are only things. Graham Harman in Lovecraft and Philosophy describes Lovecraft as a “violently anti-idealist” who “laments the inability of mere language to depict the deep horrors his narrators confront.” Unpleasant stuff, for sure. It is verse that at best exemplifies something that controversial poet Frederik Seidel called for in the Paris Review: “Write beautifully what people don’t want to hear.”

Ed Simon on The Unlikely Verse of HP Lovecraft

• Among the new titles at Standard Ebooks, the home of free, high-quality, public-domain texts: The Case of Charles Dexter Ward, by HP Lovecraft.

• At Spoon & Tamago: An ethereal bubble emerges from a Japanese townhouse.

• New music: The Head As Form’d In The Crier’s Choir by Sarah Davachi.

• Mabe Fratti’s favourite albums.

• Bubble Rap (1972) by Can | Bubbles (1975) by Herbie Hancock | Reverse Bubble (2014) by Air