Weekend links 721

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Incomparable Pleasure (1952–3) by Judit Reigl.

• Steven Heller’s Font of the Month is Atol. Heller’s other haunt, The Daily Heller, looked this week at the incredible calligraphy and illuminated graphics of Arthur Szyk.

Okashi, an exhibition of Japanese art and photography at the Michael Hoppen Gallery in London. Hoppen talks about the exhibition here.

• At Unquiet Things: A Vibrant Rascality of Shenanigans: The Fantasticalicizm of Anna Mond.

• At Public Domain Review: Signs and Wonders: Celestial Phenomena in 16th-Century Germany.

• New music: Alchemia by Scanner, and Disconnect by KRM And KMRU.

• Mix of the week: Artificial Owl Recordings Mix by Niko Dalagelis.

• At Bandcamp: Jóhann Jóhannsson’s Luminous Sounds.

• DJ Food found some Victor Moscoso poster originals.

• At Dennis Cooper’s: Luis Buñuel Day.

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Alchemistry (1991) by Jon Hassell | Surrealchemist (1992) by Stereolab | Alchemagenta (1996) by Zoviet France

Weekend links 669

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Love (1973), a poster by Nicole Claveloux.

• “Warner Brothers had been keen on a Rolling Stones movie. Jagger was keen on being a movie star. But Donald Cammell’s script was no Beatles’ jolly japes musical comedy…” Des Barry examines the ninth minute of Cammell & Roeg’s Performance.

• “…part of what made his 1970s work so original was the degree to which his band cross-pollinated guitar with synthesizer.” Aquarium Drunkard explores the esoteric jazz-rock of Steve Hillage.

• Magma, the cosmic jazz-rock group from France, have been around for 50 years without making a music video. Hakëhn Deïs is their first.

There was half-Tarkovsky embedded in async, “Solari” and “Stakra” and “Walker”, a hand outstretched to those great poems of living and light that we call films. “I had a strange dream last night,” Andrey Tarkovsky wrote in one of the diary entries collected in Instant Light, “I was looking up at the sky and it was very, very light and soft; and high, high above me it seemed to be slowly boiling, like light that had materialised like the fibres of a sunlit fabric, like silken living stitches in a piece of Japanese embroidery.”

David Toop remembers Ryuichi Sakamoto

• “Floor796 is an ever-expanding animation scene showing the life of the 796th floor of the huge space station…”

• The Electrifying Dreamworld of The Green Hand: Dan Clowes on the comic-art of Nicole Claveloux.

• At Bandcamp: Andy Thomas on the post-punk pop subversion of David Cunningham.

• At Unquiet Things: An enigmatic baroness and her collection of skulls.

• New music: River Of Dreams by Romance & Dean Hurley.

• Steven Heller’s font of the month is Ray Gun.

• Mix of the week: DreamScenes – April 2023.

• RIP Al Jaffee.

Skulls Of Broken Hill (1996) by Bill Laswell | The Bees Made Honey In The Lion’s Skull (2008) by Earth | Black Skulls (2018) by Jóhann Jóhannsson

Weekend links 655

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The Surrealist (1947) by Victor Brauner.

• At Dennis Cooper’s: Terry Ratchett presents…18 needlessly obscured avant-garde films by Thomas White, Teinosuke Kinugasa, George Barry, Standish Lauder, Helge Schneider, Dusan Makavejev, Oliver Herrmann, Mauricio Kagel, Mamoru Oshii, Gian Carlo Menotti, Pat O’Neill, Vera Chytilová, Shozin Fukui, Willard Maas, Djouhra Abouda and Alain Bonnamy, Juraj Herz, and Jay Schlossberg-Cohen.

• “When I’m convinced that a certain type of book is completely beyond the capacities of my temperament and my technical skills, I sit down at my desk and start writing it.” Italo Calvino discussing his approach to writing in 1983. The essay, The Written World and the Unwritten World, gives its title to a collection of previously unavailable Calvino pieces translated by Ann Goldstein. John Self reviewed the book.

• New music: Komplett Kollaps (A Dedication To Jóhann Jóhannsson) by Rúnar Magnússon, and Composition 1 by Deathprod.

Brann’s new book sweeps across the vast range of things that hold her interest. It thus invites us to enjoy the life of the mind and to live from our highest selves. A thoughtful encounter with this book will make you, I swear, a better person. The book includes chapters on Thing-Love, the Aztecs, Athens, Jane Austen, Plato, Wisdom, the Idea of the Good. The first half provides an on-ramp to the chapter titled “On Being Interested,” which falls in the dead centre of the book. This central chapter serves as more than a cog in the wheel: it is an ars poetica. Addressing issues of attention, focus, and interest itself, as well as how and where to deploy these functions throughout our lives, “Being Interested” offers a solution for any seeker intrigued by the notion that happiness is not an accident but a vocation. Brann characterizes the pursuit of happiness as “ontological optimism […] to be maintained in the face of reality’s recalcitrance.”

Peggy Ellsberg reviewing The Habit of Interestedness by Eva Brann

• “God told me I should take more LSD.” Sari Soininen on her acid-induced photographs.

• At Public Domain Review: The Procession of the Months by Walter Crane.

• At Smithsonian Magazine: See the chilling beauty of winter on Mars.

• Steven Heller’s font of the month is Edie & Eddy Slab.

• RIP Michael Snow, film-maker and musician.

Kollaps (1981) by Einstürzende Neubauten | Feed The Collapse (1992) by Main | Collapsing Inwards (2014) by Jóhann Jóhannsson

Drone Mass

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Design by Florian Karg.

You’d think someone would have used the title Drone Mass prior to this new release but it seems not. The album is the premiere recording of a late composition by Jóhann Jóhannsson, performed by the composer’s regular collaborators in the American Contemporary Music Ensemble, together with Theatre of Voices and their conductor Paul Hillier. The album title and the presence of a choral group raises expectations of a religious Mass but John Schaefer’s notes draw attention to the title’s ambiguities, Jóhannsson having said that he was thinking as much about airborne drones as sustained sounds. (The Khephri scarab on the cover has a rather drone-like appearance.) Schaefer also notes that the word “mass” can refer to physical substance as well as religious ritual.

As to the substance of the music, there is a superficially religious quality to the first two pieces, a feature deceptive enough to make the album the kind of thing I’d like to play to the unsuspecting. Without knowing what to expect you could easily imagine the rest of the suite developing like an Arvo Pärt composition (and Theatre of Voices/Paul Hillier have performed Pärt on several occasions) until you reach the dissonant waves of the third piece, Triptych In Mass, after which various electronic rumbles and distortions arrive to take the album into a very different sphere. One of the pleasures of Jóhannsson’s compositions was this juxtaposition between the familiar structures and instruments of classical composition with sounds processed by computer software. The combination isn’t exactly new, Edgard Varèse was doing the same as far back as the 1930s (he also discussed his music in terms of “sound masses”), but in 20th-century examples the orchestral component is always striving to seem as fresh and as different as the electronics genuinely were. What you didn’t get then—because any such music would have been deemed old-fashioned or even reactionary—is this blending of traditional chords and harmonies with sounds that originate in the latest digital processes. After the release of Last And First Men I hadn’t been expecting any new Jóhannsson compositions (although previously unreleased soundtracks keep turning up) so this is all very welcome.

If you’ve looked at Florian Karg’s cover and are wondering what any of the above has to do with Ancient Egypt, an explanation may be found inside the album where a photo shows the 2015 premiere performance of Drone Mass taking place outside the Temple of Dendur at the Metropolitan Museum of Art, New York. That bright yellow Deutsche Grammophon logo has become something to watch for in recent years. The DG cartouche has always been a trademark of quality where classical recordings are concerned but the label has a somewhat broader remit today, releasing many more soundtrack albums than they would have done in the past, in addition to non-soundtrack works by Jóhann Jóhannsson, Max Richter and others. Oddly enough (considering the news last week), the new direction was begun by Vangelis in 1985 when his Invisible Connections album was released on DG instead of its pop sibling, Polydor. This was very surprising at the time even though the label had been releasing avant-garde compositions for many years; the first Stockhausen album I bought in 1981 was a secondhand DG release of Mikrophonie I & II. Some of the recent remixes of old Berlin Philharmonic recordings will have set Herbert von Karajan spinning in his sarcophagus but the label hasn’t pushed things too far in that direction, and if the poppier works pay for new recordings such as this one then I’m not complaining.

Previously on { feuilleton }
Jóhannssonia
Last and First Men

Weekend links 608

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The Temple, an illustration from The Ship that Sailed to Mars (1923) by William Timlin.

• “With the grotteschi, Piranesi produced hybrid forms of ornament juxtaposed in an array without regard to single-point perspective. With his capricci, he brought disparate structures into a landscape that existed only within the borders of the plate. Perhaps because of his early fidelity to accuracy and the long tradition of printmaking as a medium for the measured representation of antique forms, Piranesi’s capricci take on a particularly fantastic aura.” Susan Stewart on the ruinous fantasias of Giovanni Battista Piranesi, one of whose etchings happens to be providing the page header this month.

• At Dangerous Minds: 23rd Century Giants, the incredible true story of Renaldo & The Loaf! Oliver Hall conducts a long and very informative interview with two of Britain’s strangest music makers.

• New music: Nightcrawler by Kevin Richard Martin, recommended to anyone who enjoys the nocturnal doom of Bohren & Der Club Of Gore; and Murmurations by Lea Bertucci & Ben Vida.

“Throughout the book, McCarthy writes as if he knows something that more conventional historians aren’t always keen to accept: that the past doesn’t always make sense, that it’s often cruel and irrational, and that some things aren’t so explainable. History is not a book waiting to be opened so much as a Pandora’s box that might curse us and leave us chastened by what we find inside.”

Bennett Parten on Cormac McCarthy’s baleful masterpiece, Blood Meridian

• “Inside me are two wolves and they are both paintings by Kazimierz Stabrowski.” S. Elizabeth‘s latest art discoveries.

• At Wormwoodiana: Mark Valentine on Arthur Machen and the mysteries of the Grail.

• RIP Betty Davis and Douglas Trumbull.

• At Dennis Cooper’s: Tobe Hooper Day.

Temple Bells (1959) by Frank Hunter And His Orchestra | Temple Of Gold (1960) by Les Baxter | Temple (2018) by Jóhann Jóhannsson