Darran Anderson – { feuilleton }

Weekend links 807

Poster art by Nicholas Kouninos for Procol Harum / Pink Floyd / HP Lovecraft at the Fillmore, San Francisco, 1967.

• Take a break from so-called reality with Gruesome Shrewd, more queasy psychedelia by Moon Wiring Club. MWC’s Ian Hodgson described his intentions to Simon Reynolds in a Reynolds roundup which notes the 20th anniversary of the Ghost Box project. The label is apparently on hold for the moment but I have to admit that my interest waned some time after the 10th anniversary, when it became increasingly apparent that the ghost had fled the box. Reynolds ends his piece with a list of favourite GB recordings which I mostly agree with, although I’d shuffle the order and swap some entries with Pye Corner Audio.

• “‘You know that feeling you get when you’ve just gotten back from the dry cleaners a pair of slacks, Dacron slacks, and you reach your hand in a pocket and you feel those fuzzy sandwiches with your fingers? Well, that’s the feeling I’m looking for.’ I just nodded and replied, ‘OK, Dave, I know exactly what you mean.’” Barry Gifford remembers David Lynch.

• Aschenbach’s Last Journey: Lesley Chamberlain, the most recent translator of Thomas Mann’s Death in Venice, approaches the text by following the progress of its doomed protagonist from Brioni to the Venetian Lido. Related: Polly Barton describes to Katy Whimhurst some of the difficulties involved in translating Japanese fiction to English.

• From The Shout to Bait: Darran Anderson on the uses of sound in cinema. Rupert Hines’ soundtrack to The Shout has just been released by Buried Treasure.

• Video footage of modular synthesists Arc (Ian Boddy & Mark Shreeve) performing Arcturus live in 2004: part one | part two.

• At Aeon: “Black holes may be hiding something that changes everything,” says Gideon Koekoek.

• At the BFI: Michael Brooke selects 10 great Hungarian films.

• Steven Heller’s font of the year is Fillmore.

• Shout The Storm (1984) by :Zoviet:France: | Shout At The Devil (2002) by Jah Wobble & Temple Of Sound | Shout (2005) by Tod Dockstader

Weekend links 804

Poster for The Phantom of the Opera, 1925. The first Universal horror film, and the best screen adaptation of Gaston Leroux’s novel, was released 100 years ago this month.

• “Evolution seems to have a thing for mind-bending molecules here on planet Earth. Psychedelics are more widespread in nature than you might think. These remarkable compounds, which can profoundly alter consciousness, arose repeatedly across evolutionary time, stretching back at least 65 million years. To date, some 80 species of fungi, at least 20 plants, and a species of toad have been documented to produce psychoactive molecules. And scientists continue to identify new ones.” Kristin French presents a trip around our surprisingly psychedelic planet.

• “There was no condescending sense with Potter —all too present today as then—that the public were idiots who needed to be intellectually housetrained, by their enlightened ‘betters’. […] Television was not treated as a particularly serious medium, something Potter upended not by performing ‘seriousness’ but by bringing out the possibilities few had believed it contained.” Darran Anderson on the television plays of Dennis Potter.

• At Public Domain Review: AD Manns on a possible origin for the occult lore presented in Charles Godfrey Leland’s Aradia, Or the Gospel of the Witches, a founding text for the witchcraft revival of the 20th century.

• New music: Implosion by The Bug vs Ghost Dubs; Herzog Sessions by Mouse On Mars; VHS Days Vol. 1 by Russian Corvette.

• At Wyrd Britain: A link to a video interview in which the great Ian Miller about his long illustration career.

• At the BFI: David West selects 10 great Hong Kong action films of the 1980s.

• Mix of the week: DreamScenes – November 2025 at Ambientblog.

• At The Wire: Stream the new album by Ann Kroeber & Alan Splet.

• Seb Rochford’s favourite records.

• RIP Tatsuya Nakadai, actor.

• Phantom Lover (2010) by John Foxx | Phantom Cities (2020) by The Sodality Of Shadows | Phantom Melodies (2018) by Cavern Of Anti-Matter

Weekend links 763

I Live in Shock (1955) by Mimi Parent.

• At Public Domain Review: “Ben Hecht’s Fantazius Mallare (1922) is at turns obtuse, grotesque, and moralizing—and sought to provoke the obscenity trial of the century. Only it didn’t, quietly vanishing instead. Colin Dickey rereads this failed satire, finding a transcendent rhythm pulsing beneath the novel’s indulgent prose.”

• “There are no surprises when a pallet of CDs arrives at my office, but when a pressing plant alerts me to a shipment of records headed my way I start to worry.” John Brien, head of Important Records, on the problems involved in the manufacture of vinyl albums.

• The sixth installment of Smoky Man’s exploration of The Bumper Book of Magic has been posted (in Italian) at (quasi).

They were building a vast alternative religion with a lack of dictates but no shortage of rituals and icons. They’d pass through the end of the world to get there first; the next album was based on a vision of the Four Horsemen of the Apocalypse slaughtering their animals and constructing a earth-gouging machine from their jawbones, demonstrating they weren’t quite intending to settle down yet. It would take them far from mainstream culture, and indeed mainstream gay culture given their repeated disdain for sanitised queerness, and into enigmatic territory. Having scared away most fans of synth pop and industrial with provocation, and the weak and tyrannical with ambiguity, they were unencumbered and “allowed to mature in the dark”, sustained by a cult following (you rarely encounter a tepid fan of Coil, most are acolytes).

Darran Anderson looking back at Coil’s debut album, Scatology

• At Smithsonian Magazine: See 15 winning images from the Close-Up Photographer of the Year Competition.

• At The Daily Heller: How did pink become a colour? Meanwhile, Steven Heller’s font of the month is Vibro.

• New music: Even The Horizon Knows Its Bounds by Lawrence English.

• SciURLs: A science news aggregator.

• Shackleton’s favourite albums.

• RIP Marianne Faithfull.

• The Pink Panther Theme (1963) by Henry Mancini | The Pink Room (1988) by Seigen Ono | Pink (2005) by Boris

Weekend links 697

The Haunted Room, Painted at a Farmhouse on Exmoor (1952) by Alfred James Munnings.

• “In Scotland, children made terrifying jack-o’-lantern turnips and piled cabbage stalks around doors and windows, baiting fairies to bring them new siblings.” It’s that time of year again. Public Domain Review looks at The Book of Hallowe’en (1919) by Ruth Edna Kelley.

• At Wormwoodiana: Mark Valentine on the centenary of Visible and Invisible, EF Benson’s collection of horror stories.

• At Dennis Cooper’s: DC’s ostensibly favourite haunted attractions of Halloween season 2023 (international edition).

Mostly it was down to the environments of their sound. The aerial acrobatics of Fraser’s voice. The architecture of sound that came from Guthrie’s effects-treated guitars; not just the often-cited often-derided ‘cathedrals of sound’ but all manner of sunken ballrooms, tunnels, factories, attics, foundries, observatories, caverns. If any category was required, Cocteau Twins could have been placed within Symbolism, a hallucinatory death-rattle of romanticism in the industrial age, when all that had been discarded returned in dreams and decadence, orgiastic excess, disembodied spectral heads and ornate altars, lonely demons and alluring succubi, jewels and masks and apparitions, all the minutiae of things that the steam engine and the printing press had yet to fully exorcise.

Darran Anderson on the Cocteau Twins’ Head Over Heels at 40. His digs at the music press are a welcome riposte to the nostalgia that often attends discussion of the weekly snark-machine that was the NME, Sounds et al in the 1980s

• Follow the footsteps of the Beast in a guide to Aleister Crowley’s British haunts, with text by Gary Lachman and design by Michelle Merlin. Also at Herb Lester: Occult Paris: City of Night.

• At Print Magazine: Charlotte Beach talks to illustrator and author Edward Carey about his spooky drawings.

• “Silent movies are full of friendly ghosts.” Kathleen Rooney on Caspar, Colleen [Moore] and the Beyond.

• New music: Mizuniwa by Yui Onodera.

• Spooksville (1963) by The Nu-Trends | Spooks (1981) by Tom-Tom Club | Spooky Rhodes (1997) by Laika

Weekend links 672

Le Vice Errant (1902) by Vincent Lorant-Heilbronn.

• “So however surreal those cities, the invisible ones that he builds, they have their counterpart in the real. They always have their counterpart in visible cities.” Darran Anderson on Italo Calvino’s Invisible Cities.

• At Wormwoodiana: Mark Valentine on the centenary of The Riddle and Other Stories by Walter de la Mare, with special attention paid to The Vats, a very strange story.

• New music: A Bad Attitude by African Head Charge; Lapsed Gasps by Push For Night + Jon Mueller; Forevervoiceless by Brian Eno.

The strands of medicine, consciousness expansion, intoxication, addiction, and crime were tightly entangled in fin-de-siècle Paris, where ether and chloroform circulated among bohemian demi-mondaines alongside morphine, opium, cocaine, hashish, and wormwood-infused absinthe. These solvents were often carried in small glass vials and medicine bottles by the asthmatic, tubercular, and neurasthenic, added to patent tonics and syrups, and, on occasion, to cocktails: an ether-soaked strawberry floating in champagne produced a heady rush, the fruit preventing the volatile liquid from evaporating too quickly. Literary references to ether abounded, either as a signifier of decadence or as a literary prop to shift a realistic narrative into the landscape of dreams and symbols, where its dissociative qualities became a portal to strange mental states, psychological hauntings, uncanny doublings, and slippages of space and time.

Mike Jay on Jean Lorrain and the ether dreams of fin-de-siècle Paris

• At Aquarium Drunkard: Jim Jarmusch and Carter Logan talk about the recording of Silver Haze, their first album as Sqürl.

• James Balmont offers a beginner’s guide to the films of Dario Argento.

• At Unquiet Things: Rachael Bridge’s Luminous, Technicolor Shadows.

• Mix of the week: A mix for The Wire by Erika.

• Ether Ships (1978) by Steve Hillage | Ether (1998) by Redshift | Ether (2000) by Coil