René Bull’s Salomé

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An illustration by René Bull (1872–1942) from The Russian Ballet (1913) by AE Johnson. Bull seems to be primarily known as one of the many illustrators of that Golden Age staple, The Arabian Nights, although his interpretation is a little too comical for my taste. You can judge for yourself here.

Other Salomés turning up recently include a George Barbier picture in this BibliOdyssey post, Salomé, la Gran Diva at Bajo el Signo de Libra, and the Guardian’s review of David McVicar’s Pasolini-esque opera production.

Elsewhere on { feuilleton }
The illustrators archive
The Salomé archive

Johann Theodor de Bry’s Neiw Kunstliches Alphabet

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A page from Johann Theodor de Bry’s Neiw Kunstliches Alphabet (1595) which can be found in a free PDF version here, the scans being taken from a Victorian reprint. The late, lamented Giornale Nuovo featured some of these curious letter designs in 2005. Each capital is embellished with various symbolic figures—Moses appears perched on the letter M, for example—whilst also being draped with fruit, lobsters and even insects. I used a smaller redrawing of De Bry’s letter S for one of the page designs in Jeff VanderMeer’s City of Saints and Madmen in 2002. Probably not the use that De Bry intended but then I expect he’d be surprised that his work was still being used at all after four hundred years. Via BibliOdyssey.

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Previously on { feuilleton }
The Book of Ornamental Alphabets
Paul Franck’s calligraphy
Gramato-graphices
John Bickham’s Fables and other short poems
Letters and Lettering
Studies in Pen Art
Flourishes

Weekend links: Ghosts, Spooks and Spectres edition

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Cover design by Philip Gough.

Ghosts, Spooks and Spectres (1972 reprint). Editor Charles Molin collected nineteen ghost stories by writers including Oscar Wilde (The Canterville Ghost), Charles Dickens (The Signal-Man), J. Sheridan Le Fanu (Madame Crowl’s Ghost) and HG Wells (The Inexperienced Ghost). This was one of my favourite books when I was ten-years old. There’s nuffin like a Puffin. Puffin Books’ parent company, Penguin, is 75 this year.

• The good people at the Outer Alliance have posted an interview with me here in which I talk about the subversive sexualities of sf in the 1970s and also admit to writing fiction.

• There’s just time to mention It Came From Pebble Mill, an event which includes another screening of David Rudkin’s Penda’s Fen.

• “In our society, there has tended to be a very strong compartmentalization of different experiences, different cultural forms, different genres. We can talk in a very broad sense and say art is separate from science, for example, or body is separate from mind, or we can talk in a specific sense and say one certain form of dance music is separate from one form of, say, heavy metal. I don’t really buy those compartmentalizations. I understand why they exist, how they’ve come into being and why they’re convenient, but it’s not the way I think, it’s not the way I experience the world, it’s not the way I believe things should be.” From an interview by Colin Marshall with David Toop at 3QD. Toop’s latest book is Sinister Resonance: The Mediumship of the Listener.

The Kingdom of the Pearl by Léonard Rosenthal, illustrated by Edmund Dulac.

Ghost Stations by Dollboy, a CD package. And then there’s the Ghostly Bento.

7 Inch Cinema are Birmingham-based cultural historians.

• Mark Pilkington’s Mirage Men now has its own site.

Borges on Pleasure Island: JLB and his love of RLS.

• RIP Arne Nordheim, Norwegian composer.

• Charlie Visnic’s Modular Ghost Synth.

On the trail of Tutankhamen’s penis.

Photos by Thom Ayres.

Ghosts by Japan | Spooky Rhodes by Laika | Purple Dusk by Spectre.

Crush Depth by Chrome Hoof

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Chrome Hoof photographed by Steve Bliss.

How to describe London’s Chrome Hoof? A difficult proposition but that hasn’t stopped people trying. The BBC labels them a “10+ piece glam clad death disco outfit” which isn’t a bad start. Their record label offers more detail:

Cathedral bassist Leo Smee started a bass and drums duo under the moniker Chrome Hoof with his brother Milo at the turn of the millennium to celebrate their shared love of mid-seventies funk and disco. Like sequined pied pipers, they recruited everywhere they played, building an army of multi-instrumentalists, including a full horn and string section, generating a devoted cult following with their legendary live shows. A veritable orchestra of musicians perform, decked out in futuristic monks’ robes, kicking it like some unholy hybrid of Sun Ra, ESG, Goblin, Parliament-Funkadelic and Black Sabbath, complete with choreographed dancers, actors taking vaudeville interludes, and a twelve-foot tall metallic ram dominating the dancefloor.

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Crush Depth (2010). Design by Fergadelic.

Crush Depth is their latest album and the cover graphic here doesn’t convey the mirrored grooviness of the metallic gatefold package. Inside you get thirteen tracks with titles such as Witch’s Instruments and Furnaces and Anorexic Cyclops. Musically it’s like a collision between Magma, Igor Wakhévitch, Acid Mothers Temple and, I dunno…X-Ray Spex? The Androids of Mu? With disco rhythms…and riffs…and Mellotrons…and squalling synths…and harps…and violins…and Cluster! (Yes, Moebius & Roedelius Cluster). The Cluster-embellished track, Deadly Pressure, even manages to make a reference to “Old Ones” waking from their sleep in the depths of the sea, so I suppose we can throw Cthulhu’s squamous bulk into the mix as well. Chrome Hoof are so far beyond the legions of characterless indie clones they’re not even on the same planet. It makes a real change finding a band with this level of musical imagination and the technical authority to deliver the goods. One of the albums of the year, without a doubt.

Elsewhere on { feuilleton }
The album covers archive

Previously on { feuilleton }
A cluster of Cluster
Chrome: Perfumed Metal
Metabolist: Goatmanauts, Drömm-heads and the Zuehl Axis
The music of Igor Wakhévitch