![\"wilson\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2019\/11\/wilson.jpg\")
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Cover art by Gahan Wilson for Monster (1980) by Herbie Hancock.<\/em><\/p>\n \u2022 RIP Gahan Wilson<\/a>, a great cartoonist with a flair for horror, the macabre and grotesque. Many of his best cartoons are buried in back issues of The New Yorker<\/em>, Playboy<\/em> and National Lampoon<\/em> but book collections of his work are worth seeking out. He also wrote regularly, and for several years was a film reviewer and columnist for The Twilight Zone Magazine<\/em>, back issues of which may be found at the Internet Archive<\/a>. Related: Gahan Wilson and the Comedy of the Weird<\/a>, an interview with Wilson by Richard Gehr; The Beautifully Macabre Cartoons of Gahan Wilson<\/a> by Michael Maslin.<\/p>\n \u2022 The Unanswered Question: Irmin Schmidt<\/a>, the last surviving member of Can, interviewed by Duncan Seaman. The conversation is mostly about his solo work but he also mentions plans to release a collection of live Can recordings next year.<\/p>\n \u2022 Valerie and Her Week of Wonders<\/em><\/a> (1970), the Surrealist fable directed by Jaromil Jires, receives a welcome region-free blu-ray release by Second Run in January.<\/p>\n At its best, the true psychedelic experience is an analogue of psychotherapy: you are encouraged to lean in to something potentially rupturing or even disturbing, in an attempt to achieve deep personal resolution rather than simply mind-scrambling hedonism or entertainment (which, to be fair, the group can provide as well). […] Despite clear and longstanding links with the extreme worlds of black metal, power electronics, industrial, sludge metal and doom, Sunn O))) have created a space that now stands beyond any obvious scene signifiers. This zone of pure affect\u2014and what they hope will be a healing experience\u2014is welcome to all.<\/p>\n John Doran<\/a> on the vibrational power of Sunn O)))<\/em><\/p><\/blockquote>\n \u2022 Neuland<\/em><\/a> is an electronic collaboration by two ex-members of Tangerine Dream, Peter Baumann and Paul Haslinger.<\/p>\n \u2022 Flying teapots and electric Camembert: the story of Gong, prog’s trippiest band by Simon Reynolds<\/a>.<\/p>\n \u2022 Conversations with Ursula: Clive Hicks-Jenkins<\/a> answers some questions about his art.<\/p>\n \u2022 Mix of the week: Test Transmission Archive Reel 38 by Keith Seatman<\/a>.<\/p>\n \u2022 Limitation of Life: Tim Pelan<\/a> on John Frankenheimer\u2019s Seconds<\/em>.<\/p>\n \u2022 Anthony Madrid<\/a> on the most famous coin in Borges.<\/p>\n \u2022 At Dennis Cooper’s: Jacques Tati<\/a> Day.<\/p>\n \u2022 Dutch Graphic Roots<\/a><\/p>\n \u2022 The Magic Yard<\/a><\/em> (1970) by Lubos Fiser | Valerie<\/a><\/em> (2003) by Broadcast | Introduction<\/a><\/em> (2007) by The Valerie Project<\/p>\n","protected":false},"excerpt":{"rendered":"