{film} – Page 11 – { feuilleton }

Weekend links 719

The Decoy (1948) by Edith Rimmington.

• “Among other things, [Dalí’s] storyboards involved [Ingrid] Bergman turning into a statue that would then break up into ants.” Tim Jonze talks to film scholar John Russell Taylor about the storyboards for Alfred Hitchcock’s films, including the ones for Spellbound which Taylor found in a bric-a-brac sale.

• “Of all the pop acts that proliferated in the early 80s, it was Soft Cell who retained punk’s sharp, provocative edges.” Matthew Lindsay on 40 years of Soft Cell’s This Last Night In Sodom.

• Coming soon from White Rabbit books: Futuromania: Electronic Dreams, Desiring Machines and Tomorrow’s Music Today by Simon Reynolds.

Anathema to many philosophical systems, or perhaps philosophy itself, Lovecraft’s philosophical project fundamentally holds that contemplations of higher reality or the nature of things can never be fully realised. Ultimately, the search for knowledge does not constitute some telos, some purpose, for humankind, but rather leads to the violent dissolution of the self. Higher reality is that which the limited human psyche can never fully comprehend.

Sam Woodward on the cosmic philosophy of HP Lovecraft

• At Public Domain Review: Grotesqueries at Gethsemane: Marcus Gheeraerts’ Passio Verbigenae (c.1580).

• “Here is a remarkable form of popular heraldry.” Mark Valentine on the mystique of old inn signs.

• At Bandcamp: Brad Sanders on where to begin with Lustmord’s cosmic ambient.

• New music: Eleven Fugues For Sodium Pentothal by Adam Wiltzie.

• At Aquarium Drunkard: Jason P. Woodbury talks to Roger Eno.

• Gomorrha (1973) by Can | Sodom (1978) by Can | Spellbound (1981) by Siouxsie And The Banshees

Weekend links 718

Chatting Cats (c.1960) by Tomoo Inagaki.

• New/old music: Follow The Light by Broadcast, a song which will appear on Spell Blanket—Collected Demos 2006–2009 in May. The album will be followed by another collection, Distant Call—Collected Demos 2000–2006, in September, with both releases being described as the last ever Broadcast albums. This was always going to happen eventually but I thought there might be a final collection of all the tracks the group recorded for compilations which have never been reissued.

• “Cats are all over Turkey. In Istanbul, which I visited before traveling to eastern Turkey, cats are welcome not just in cafes but in houses, restaurants, hotels, and bars.” Emily Sekine on the cats of Turkey.

• “El Shazly’s music is like a rush of new energy, a link between the past and present of Egyptian music that is fresh and vital.” Geeta Dayal on Egyptian singer and composer Nadah El Shazly.

• More werewolves: A trailer for Wulver’s Stane, a contemporary refashioning of werewolf lore. Director Joseph Cornelison is a reader of these pages. (Hi, Joseph!)

• Among the new titles at Standard Ebooks, the home of free, high-quality, public-domain texts: Ghost Stories by EF Benson.

• At Colossal: Sacred geometries and scientific diagrams merge in the metaphysical world of Daniel Martin Diaz.

• At The Quietus: What does dying sound like? Jak Hutchcraft on music and the near-death experience.

• At Unquiet Things: Languid Dreams and Unsettling Poetry: The Art of Jason Mowry.

• At Dennis Cooper’s: Spotlight on…Ronald Firbank Caprice (1917).

• Ashkasha, a short animated film by Lara Maltz.

• New music: Chimet by Mining.

• I’m The Wolf Man (1965) by Round Robin | The Werewolf (1972) by Barry Dransfield | Steppenwolf (1976) by Hawkwind

Weekend links 717

Bookplate of Charles P. Searle (1904) by Sidney Lawton Smith.

• “If Minute 9 is the first time we hear the names Deckard and Blade Runner, it’s also the first time we meet the plainclothes cop who will play a key role in LAPD surveillance of Deckard—and in the changed emphasis of four subsequent versions of Blade Runner released over the next twenty-five years.” Des Barry in the latest Minute 9 installment at 3:AM Magazine, in which a writer analyses the ninth minute of a favourite film.

• “I’ve really started to respect the journalists who are documenting what artists are doing… There’s so much reliance on social media for artists to express themselves, but maybe some don’t want to express themselves on social media all the time. Maybe they’d rather talk to a professional journalist who could parse through it for them. It can be more interesting that way.” Julia Holter talking to Skye Butchard about music-making.

• “I didn’t use any instruments that had been manufactured after 1980, but vintage analogue gear to sound like the tracks that they’re trying to evoke.” Matt Berry discussing his enthusiasm for library music, and his new album of the same for the KPM label.

• Mixes of the week: Monument Waves 002 at A Strangely Isolated Place, and DreamScenes – March 2024 at Ambientblog.

• At Public Domain Review: The Art of Sutherland Macdonald, Victorian England’s “Michelangelo of Tattooing” (ca. 1905).

• At Colossal: Unearthly characters populate Spencer Hansen’s salvaged universe.

• At Bandcamp: A Guide to Can by George Grella.

• Galerie Dennis Cooper presents…Amir Zaki.

• New music: Shoures Soote by Cerfilic.

• Queens Of The Circulating Library (2000) by Coil | Library Of Solomon Book 1 (2011) by Demdike Stare | The Equestrian Library (2013) by Broadcast

New Moon Safari

In the mail today from Burning Shed, the debut album by Air French Band [sic] in an expanded three-disc set, housed in a card wallet and featuring blu-ray audio and video. On the second CD there’s a live version of Funkadelic’s Maggot Brain. Who knew? etc. The duo’s last album was in July 2014, so it’s anyone’s guess when they might record again, but this will do nicely for now, thanks.

Previously on { feuilleton }
• Le Voyage dans la Lune

The groovy video look

Under Water/In Air.

This recently-released video for Under Water/In Air by Starfucker (or STRFKR, as they often have to style themselves) is an animated production by Edward Carvalho-Monaghan, an artist whose visuals may be seen to similar effect in an earlier animation for Starfucker’s Armatron. Carvalho-Monaghan’s artwork has appeared on a number of the group’s record sleeves, including the latest album, Parallel Realms, which combines a Surrealist dose of the visual style that I refer to as the groovy look with the kind of impossible architecture popularised by MC Escher. Armatron, meanwhile, features more architecture in what may be borrowings from Giorgio de Chirico.

Armatron.

I lost interest in music videos years ago, I’d much rather listen to the music than have to experience it as a soundtrack to some director’s attempt to illustrate a song with visual novelty. But animated music videos are easier to take, in part because the pairing of animation with music goes back to the earliest days of the medium. The Starfucker videos have had me wondering how much video or animation might suit the “groovy” definition if you went looking for it. And by this I mean following the limits defined by my earlier post which is predominantly concerned with heavy outlines and flat, bold colours rather than quasi-psychedelic effects. I don’t have the time just now to start searching for other examples but The Beatles’ Yellow Submarine is the Ur-text in this department, and the film’s influence may be found in both Carvalho-Monaghan animations.

Sing, Sang, Sung.

One other music video that does come to mind is for Sing, Sang, Sung by Air, directed by Mrzyk & Moriceau. The colour palette is desaturated but the rest of the graphics are definitely in the groovy zone, with the video as a whole coming across like a Surrealist take on those endlessly scrolling, mutating computer games. When the black ball reaches its destination you’re tempted to watch it all again.

(Under Water/In Air tip via Scotto Moore’s This Newsletter Cannot Save You.)

Previously on { feuilleton }
• The groovy look
• Tadanori Yokoo animations