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Weekend links 311

Sphinx (2015) by Lupe Vasconcelos.

• I’ve been reading my way through Patricia Highsmith’s Ripley novels for the past couple of weeks, and may well progress to some of her other books once I’m finished. Highsmith had a long career so there’s a lot to read on the web. Catching my eye this week were 10 Best Patricia Highsmith Books recommended by her biographer, Joan Schenkar; The Patricia Highsmith Recommendation Engine; Highsmith on Desert Island Discs in 1979 (the book she said she’d take, Moby-Dick, is the same one chosen by JG Ballard, albeit for different reasons); and a prickly interview late in her life with Naim Attalah.

• Discovering 20th-century literature: books, manuscripts and other documents in the collection of the British Library.

• Signed copies of Paul Gorman’s Barney Bubbles monograph, Reasons To Be Cheerful, may be ordered from the author.

• How a mysterious ghost ship brought cosmic disco to Cape Verde. Related: Quirino Do Canto by Mino Di Mama.

• Zombi drummer AE Paterra and composer Paul Lawler make prog-synth epics as Contact.

• Mix of the week: Secret Thirteen Mix 185, a locked-groove mix by Massimo Carozzi.

• In London next weekend: Alchemy and Magic at Brompton Cemetery.

• Die or DIY?: scarcities from the post-punk outer limits.

• More Penda’s Fen: a lengthy appraisal by Jerry Whyte.

• Dennis Cooper salutes James Coburn

• Bandcamp is good for musicians.

• Vladimir Nabokov’s butterfly art.

• This Heat: Rimp Ramp Romp (1977) | 24 Track Loop (1979) | Health And Efficiency (1980) | Makeshift Swahili (1981)

Weekend links 309

From What is a Witch, “an illuminated manifesto on witchcraft” by Pam Grossman and Tin Can Forest.

• “The other strand of influence for me from dance music was a production house called Savoy in Manchester, England. They were a super underground publishing house that printed cartoons and comic books, and they also released a series of underground dance records. And they were always being shut down by the police and all their stuff was being confiscated, because it was considered ‘anti-society’ in England.” Anohni giving a shout to my colleagues at Savoy Books in a new interview.

• Belladonna of Sadness (1973), a feature-length animated film by Eiichi Yamamoto, has been restored, and is being given a premier release in the US. There’s a review here and a trailer here. No news as yet of a UK release but Finders Keepers has the soundtrack album.

• Alejandro Jodorowsky talks to Daniel Kalder about his new novel, Albina and the Dog-Men, while Jodorowsky’s comic-book collaborator, Ladrönn, talks to Smoky Man about their new graphic novel, The Sons of El Topo.

Pretty little watercolours these are not. Made by bulldozers and dynamite instead of a paintbrush and easel, the works—often sited on baking sandscapes—fuse minimalism and modern industrial aesthetics to evoke the otherworldly structures of ancient civilisations, from Stonehenge to Mayan temples and the Egyptian pyramids.

Alex Needham on America’s land artists. A few years ago I tracked down some of the structures he describes using Google Maps.

• In every dream home a heartache: High Rise director Ben Wheatley on adapting Ballard, practical special effects and ’70s parenting.

• Tom Phillips: From Prequel To Sequel, an exhibition of pages from A Humument at Shandy Hall Gallery.

• From fresh food to magic mushrooms: Michael Pollan probes the medicinal uses of psychedelic drugs.

• “Let’s not forget graphic design is an artistic discipline,” says Jonathan Barnbrook.

• Supervert discusses censorship and related matters at SomethingDark.

• “I’ve sung gospel music when in great despair,” says Diamanda Galás.

• Mix of the week: FACT Mix 550 by James K.

• Boy Club is a new gay magazine.

• Gospel Trane (1968) by Alice Coltrane | The Gospel Comes To New Guinea (1981) by 23 Skidoo | Gospel Train (1990) by African Head Charge

Weekend links 304

One of ten new stamps designed by The Chase for the Royal Mail’s Shakespeare celebrations.

• “I basically had this problem with bombast and intensity. And I started to feel like it was a nuclear arms race.” Tim Hecker talking to Rick Moody about loud sounds, Icelandic elves and Minimalism. Hecker’s new album, Love Streams, features contributions from Ben Frost and Jóhann Jóhannsson.

• “He joked in a letter to Edmund Wilson that he had ‘managed to get into Harvard with a butterfly as my sole backer.'” Laura Marsh on Nabokov the lepidopterist.

• The brutal musical legacy of JG Ballard by Tim Noakes. Ballard’s own musical taste, as revealed in his choice for Desert Island Discs, was mostly nostalgic.

One outcome of this sense that homosexual people existed in large numbers while still remaining more or less invisible to the naked eye was the suspicion that when they got together they were likely to engage in something more, something even worse than the indulging of a perversion. Notoriously, the networks of homosexuality seemed to transcend many more formal social and political boundaries, reifying crossovers not only between national and ethnic cultures, but between high society and the demi-mondes of bohemian artists, and so forth. The Homintern certainly helped cross-fertilise the arts.

Gregory Woods on the gay artists and writers who changed the world

• Mixes of the week: FACT Mix 544 by Tim Gane, Abs’s Cornerhouse Classics by Abigail Ward, and Secret Thirteen Mix 181 by Broken Bone.

• I Can’t Give Everything Away: Jonathan Barnbrook’s text-and graphics video for the song by David Bowie.

• “Chernobyl is spooky, in the manner of all disowned places.” Simon Parkin enters the Zone.

• Osman Ahmed on why Doreen Valiente is “the mother of modern witchcraft”.

• The camera obscura art of Abelardo Morell.

• An oral history of Taxi Driver.

• Swiss graphic design in CSS

• RIP Tony Conrad

• Lady Macbeth (1972) by Third Ear Band | In The Back Of A Taxi (1984) by Penguin Cafe Orchestra | Butterfly Mornings (2001) by Hope Sandoval & The Warm Vibrations

Weekend links 301

The Music from the Balconies (1984) by Edward Ruscha.

• At The Quietus: High-Rise director Ben Wheatley runs through his favourite films. Kudos for mentioning Elem Klimov’s Come and See (1985) among the more familiar fare, a nightmarish masterwork that everyone should watch at least once. On the same site, author Joe R. Lansdale also lists some favourite films while discussing the new TV series of his Hap and Leonard books.

• Electric Hintermass (Sound Apart) by Hintermass, a track from The Apple Tree, their debut album on the Ghost Box label.

• Michael Mann’s Heat: “A complex, stylistically supreme candidate for one of the most impressive films of the Nineties”.

• Despair Fatigue: David Graeber on how [political] hopelessness grew boring, and what happens next.

• Mix of the week: FACT Mix 541 by Tortoise, and Blowing Up The Workshop 56 by Eric Lanham.

• At Dennis Cooper’s: “Some books (1961–1975) that either faked ingesting LSD or did”.

• David Litvinoff again: “Was he only an opportunistic hustler?” asks David Collard.

• John Carpenter’s The Thing rescored with one of the director’s Lost Themes.

• Overlooked: a book by Marina Willer about the manhole covers of London.

• Pam Grossman (words) and Tin Can Forest (art) ask What is a Witch?

• A long way down: Oliver Wainwright on JG Ballard and High-Rise.

• A conversation with designer and typographer Erik Spiekermann.

• The BFI compiles a list of “The 30 Best LGBT Films of All Time“.

• Decoding the spiritual symbolism of artist Hilma af Klint.

• Sabat Magazine

• Heat (1983) by Soft Cell | The Heat (1985) by Peter Gabriel | Heat Miser (1994) by Massive Attack

Weekend links 300

Observatoire IX from the Observatoires series by Noemie Goudal.

• “Before Lady Raglan’s intervention, this figure had been anonymous. She gave him a name: the Green Man.” Josephine Livingstone on the persistence of a supposed figure from pagan folklore.

• Ben Wheatley: “Financing a film as crazy as [High-Rise] takes good casting”. Related (in a Ballardian sense): the abandoned hotels of the Sinai Desert.

• “We were in danger of becoming full-time, paid up musicians…” Drew Daniel and Martin “MC” Schmidt of Matmos look back over their career.

Fahey didn’t make many new friends with his scything dismissal of the folk revival. He distrusted the way that folkies regarded music as a carrier for the correct political messages of the moment. As Lowenthal puts it: “To him, the student idealists had naïve worldviews and dreamed of unrealistic political utopias,” whereas Fahey “attempted to channel darkness and dread through his music.” For Woody Guthrie and Pete Seeger devotees, the ideological message came first, with musical tone or trickery a distant second. As Fahey saw it, the dizzyingly strange source music they borrowed from and then built their careers on emerged as little more than a scrubbed-up ventriloquist’s doll, all the coarse grain and troubling metaphysic of its original voices jettisoned. He also detected high condescension and low reverse racism in how the folk-revival people preferred their old blues guys barefoot and wearing dungarees—even if they now usually dressed in sharp suits and often preferred to play amplified, electric urban blues.

Ian Penman on John Fahey

• “It’s amazing how quickly a sound can lose its moorings and float off into this kind of unchartered territory,” says Robin The Fog.

• Mixes of the week: FACT Mix 540 by Via App, and Secret Thirteen Mix 178 by BlackBlackGold.

• Oliver Wainwright on Edward Johnston, designer of the typeface for the London Underground.

• At Dennis Cooper’s: DC’s: Spotlight on…The Free-Lance Pallbearers (1967) by Ishmael Reed.

• Each drop of Hennessy X.O is an Odyssey: Nicolas Winding Refn makes an alcohol ad.

• Wayne Shorter & Herbie Hancock pen an open letter to the next generation of artists.

• Japan’s scariest manga artist (Junji Ito) loves Japan’s creepiest cosplayer (Ikura).

• “He was a sexual outlaw.” Jack Fritscher‘s love affair with Robert Mapplethorpe.

• Peter De Rome: the RAF pilot who became “the grandfather of gay porn”.

• The Strange Case of Mr William T. Horton

• RIP Big George Martin and Ken Adam.

• Shortwave Radio World

• Viriconium FAQ

• Nine Feet Underground (1971) by Caravan | Green Bubble Raincoated Man (1972) by Amon Düül II | Betyárnóta (Outlaw Song, 1989) by Muzsikás