Weekend links 458

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Photo by Dezo Hoffmann, 1968.

If there’s one thing everyone can agree on about the late Scott Walker it’s that his career was not only improbable but almost impossible in its range and trajectory. My mother saw the Walker Brothers perform in Blackpool 52 years ago, headlining a touring bill that featured Cat Stevens (the artist she most wanted to see) and the soon to be very famous Jimi Hendrix. She enjoyed good pop songs and big orchestras, so even though she’s never expressed a preference for the Walker Brothers or Walker solo I’m sure she could listen to an album or two. But she wouldn’t be able to stand more than a minute of Walker’s output from Tilt (1995) onwards, and even the four watershed tracks on Nite Flights (1978) would be deemed unacceptable. Walker’s progress inverted the stereotype of the 20th-century pop career, the all-too-common descent into blandness and irrelevance, by following a course closer to that taken by painters and literary artists. He walked the walk.

• When Scott Walker’s Climate Of Hunter was announced in 1984, Richard Cook persuaded its introverted creator to talk to the press for the first time in many years. Cook and Walker met again in 1995 when Tilt was released. From 2008: Sean O’Hagan talking to Scott Walker two years after the release of The Drift; at The Wire again: a recording of Rob Young discussing Walker’s career; at the BFI: Scott Walker’s selection of some favourite films; at The New Yorker: Amanda Petrusich on the weird and vast and periodically devastating music of Scott Walker.

• At The Paris Review: Jane Alison suggests meanders, spirals, radials, fractals and cells as alternative to the narrative arc, while Peter Bebergal argues for seeing belief and disbelief in a superposition when it comes to art and the occult.

Sarasota Half in Dream, a feature-length documentary by Derek Murphy and Mitchell Zemil about a decaying Florida suburb.

• Chris Marker, Always Moving: Max Nelson on a Paris exhibition, Chris Marker, les 7 vies d’un cinéaste.

• There’s a little more Scott Walker, inevitably, in this interview with Stephen O’Malley of Sunn O))).

Michael Moorcock talking to The Austin Chronicle about his long association with Hawkwind.

M. John Harrison chooses favourite stories for Jonathan Gibb’s Personal Anthology series.

• Rat Cunning and Bloodshed: An interview with Simon Sellars by Lee Rourke.

In Search of the Seas of Pleiades, a free download by Jenzeits.

• Rammstein are back with a video epic: Deutschland.

Sex Magick is Satanic doo-wop by Twin Temple.

Time, Forward! by Georgi Sviridov.

Orpheus (1967) by The Walker Brothers | Lullaby (By-By-By) (2000) by Ute Lemper | Darkness (2006) by Scott Walker

Weekend links 194

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Untitled glass sculpture by Richard Roberts.

Lord Horror: Reverbstorm, my collaboration with David Britton, makes The Quietus list of Literary Highlights of 2013. At the same site there’s Russell Cuzner talking to English Heretic. “His methodology takes in magick, psychogeography and horror film geekdom, along with firm roots in Britain’s industrial music culture of the early 1980s, to form potent, novel topographies of an otherwise unconnected world of occultists and psychopaths.”

• A slew of London links this week: Geoff Manaugh on how the capital was redesigned to survive wartime blackouts, a piece which inadvertently explains why you see so much black-and-white street furniture in post-war films | Bob Mazzer’s photos of the London Underground in the 1970s and 1980s | Philipp Ebeling’s photos of the capital and its inhabitants today.

• “Science has become an international bully. Nowhere is its bullying more outrageous than in its assault on the phenomenon known as subjectivity.” David Gelernter on “The Closing of the Scientific Mind”. Related: “When Science Becomes Scientism” by Stanislav Grof.

• My favourite book about Orson Welles is This is Orson Welles (1992), a collection of Peter Bogdanovich’s interviews with Welles edited by Jonathan Rosenbaum. Bogdanovich’s interview tapes can now be heard at the Internet Archive.

• Brian Dillon on Dada collagist Hannah Höch who he calls “art’s original punk”, and Sean O’Hagan talking to another collage artist, Linder Sterling, who says “Lady Gaga didn’t acknowledge I wore a meat dress first”.

• One Hundred Years Of Weird Fear: Daniel José Older on HP Lovecraft’s literature of genealogical terror. More fear (and Lovecraft): Will Wiles on the growth of Creepypasta.

The Last Alan Moore Interview? A lengthy discussion with Pádraig Ó Méalóid. Shunning interviews hasn’t done Cormac McCarthy any harm so if I was Alan I wouldn’t worry.

• And speaking of Cormac McCarthy, the headline of the week: “Cormac McCarthy’s ex-wife busted after pulling gun from vagina during alien argument“.

• Where the bodies are buried: Mick Brown presents a potted biography of Kenneth Anger who offers a few reluctant quotes.

• A short animation for gore-obsessed kids: Pingu’s The Thing by Lee Hardcastle.

Helen Yentus designs a 3D-printed slipcase for a novel by Chang-rae Lee.

Ralph Steadman‘s illustrations for Alice’s Adventures in Wonderland.

• Mix of the week: Secret Thirteen Mix 103 by Lustmord.

Collage art at Pinterest.

No Escape (1966) by The Seeds | Pushin’ Too Hard (1966) by The Seeds | No Escape (1979) by Cabaret Voltaire | Pushin’ Too Hard (1982) by Paul Parker