Weekend links 360

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Threshold (2008) by Roku Sasaki.

• A previously unseen interview with Angela Carter from 1979 in which she talks to David Pringle about her evolution as a writer, literary influences and genre fiction.

• Among the highlights in the latest edition of Wormwood there’s Doug Anderson on Panacea by Robert Aickman, a “vast unpublished philosophical work”.

• The London Review Bookshop podcast: Marina Warner and Chloe Aridjis discuss Leonora Carrington.

The prose works, conversely, read like surrealist poetry. They were written according to a compositional method Roussel called le procédé (the procedure), in which a complicated system of puns rather than traditional narrative logic determines the progression of the story. In Locus Solus, the mad scientist Martial Canterel takes his colleagues on a tour of his country estate—“the lonely place” of the title—to show them the bizarre inventions generated by Roussel’s procédé. These include a device that constructs a mosaic made out of human teeth; a water-filled diamond in which a dancer, a hairless cat, and the head of Danton are suspended; and a series of corpses Cantarel has brought back to life with the fluid “ressurectine,” which compels them to act out the most important event of their former lives, to the scientists’ astonishment.

Ryan Ruby on Raymond Roussel, The Accidental Avant-Gardist

• The latest manifestation of paranormal electronica by The Electric Pentacle is entitled Black Ectoplasm.

Sergey Bessmertny‘s account of working as a camera technician on Andrei Tarkovsky’s Stalker.

• City Of Fallen Angels: The Bug vs. Earth. In conversation with Kevin Martin and Dylan Carlson.

• Sex and art by the Grand Canal: Judith Mackrell on Peggy Guggenheim in Venice.

• A Guide Through the Darkened Passages of Dungeon Synth.

• Mix of the week: XLR8R Podcast 489 by Samuel Rohrer.

• The late Mika Vainio/Panasonic live in 1996.

Xan Brooks on Cary Grant’s 100 acid trips.

Resurrection (1968) by Steppenwolf | Resurrection (1975) by Master Wilburn Burchette | Resurrection (1987) by Demons Of Negativity

Weekend links 354

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The Dolly, Dolly Spy (1968).

• As mentioned previously, Concrete Desert is a musical collaboration between The Bug (Kevin Martin) and Earth’s Dylan Carlson inspired, they say, by Los Angeles and the fiction of JG Ballard. Martin & Carlson talked to Patrick Clarke at The Quietus about the album’s creation. Elsewhere, Kevin Martin compiled a list for Bleep of ten musical influences on the album, and Dylan Carlson had a Fireside Chat with Red Bull Music.

• Phil Legard of Xenis Emputae Travelling Band and Hawthonn has released a new EP, Hesperian Garden, featuring compositions derived from the Monas Hieroglyphica of John Dee.

• More Ballard: Mike Holliday maps the evolution of Crash, a novel which is published in a new “Collector’s Edition” by Fourth Estate next week.

Teleplasmiste “bridge the oscillation gap from deep listening ambient music and the heaviest of doomy drones,” says Richard Fontenoy.

David Barnett on Adam Diment, “the superstar spy novelist who vanished for four decades”.

• The queer art underground of 1980s London as photographed by David Gwinnutt.

A sculpture of a Buddhist deity made from 20,000 beetles.

• Mix of the week: XLR8R Podcast 483 by Jane Fitz.

• RIP Gilbert Baker, designer of the rainbow flag.

• Rubber Dolly Rag (1930) by Uncle Bud Landress with Georgia Yellow Hammers | Voodoo Dolly (1981) by Siouxsie and the Banshees | Cosmic Funky Dolly (2003) by Acid Mothers Temple & The Melting Paraiso U.F.O.

Weekend links 223

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Step Up (2014) by Angelica Paez.

• Lots of attention this week for Kevin Martin whose latest album as The Bug, Angels And Devils, is out now on Ninja Tune. The previous Bug release, London Zoo (2008), was a fierce collection that stood apart from the Grime pack not only for its guest vocalists but also for being informed by Martin’s broad range of influences: industrial and extreme electronics, heavyweight dub, metal and avant-garde jazz. Martin was interviewed by The Quietus and FACT who also asked other musicians to choose their favourite Martin recordings. Elsewhere, The Wire has Swarm, a track not included on the album.

Related: Martin’s four superb compilation albums for Virgin Records have been deleted for years but are worth seeking out: Ambient 4: Isolationism, Macro Dub Infection Volume One & Volume Two, and Jazz Satellites Volume 1: Electrification (Virgin cancelled volume 2). From the NME, 1995: Kevin Martin’s Ten Commandments For All Time.

• “…it never becomes quite clear why two grown men would want to write to each other in the guise of a horse and a cat.” Henry Giardina reviews The Animals: Love Letters Between Christopher Isherwood and Don Bachardy, edited by Katherine Bucknell.

Shufflepoems: A Deck of Poetry by Lydia Swartz. “100 cards, four suits, one stanza per card. Shuffle for a new adventure every time.” The project needs a last-minute push to gain Kickstarter funding so if this sounds interesting go, go, go!

The Haxan Cloak’s favourite heavy metal albums. Metallica’s Master Of Puppets still gets my vote. More from The Quietus: David Stubbs on the Werner Herzog soundtracks of Popol Vuh.

• At Strange Flowers: Waking the witch, a remembrance of occult artist Rosaleen Norton and other characters from Sydney’s Kings Cross area, with news of a planned Norton documentary.

• A nine-note motif has for decades signalled “Asian” in popular music. Kat Chow looks at the history of a musical stereotype.

Joseph Conrad’s Heart of Darkness is the subject for entrants in the Folio Society’s latest illustration competition.

• Irradiating the Object: Rhys Williams talks to writer M. John Harrison.

Does the Sea Serpent Really Look Like an Art Nouveau Oar-fish?

Schrödinger’s cat caught on quantum film.

70s sci-fi art: a Tumblr.

Demodex Invasion (1995) by Techno Animal | Piranha feat. Toastie Taylor (2001) by Techno Animal | Poison Dart feat. Warrior Queen (2008) by The Bug

Night Music in two parts

Night Music One by Feuilleton on Mixcloud

Night Music I
The Hafler Trio – Soundtrack To “Alternation, Perception, And Resistance” — A Comprehension Exercise (1985)
Aphex Twin – Selected Ambient Works Volume II: Untitled 4/1 (Hankie) (1994)
Michael Brook – Earth Floor (1985)
Aphex Twin – Selected Ambient Works Volume II: Untitled 10/1 (Tree) (1994)
Biosphere – Startoucher (1994)
Black Lung – Rex 84 (1995)
Biosphere – Biosphere (1992)
Holger Czukay – Radio In An Hourglass (1993)
Rapoon – Rains (1993)
Clock DVA – Memories Of Sound (1992)

Night Music Two by Feuilleton on Mixcloud

Night Music II
Psychick Warriors Ov Gaia – Dust (At The Crossroads) (1994)
Aphex Twin – Selected Ambient Works Volume II: Untitled 2/2 (Parallel Stripes) (1994)
Harold Budd – The Gunfighter (1986)
Divination – Errata (1993)
Coil – Dismal Orb (1992)
Biosphere – Mir (1994)
David Toop and Max Eastley – Rising Up Before Us Like Things (1994)
Angelo Badalamenti – Night Life In Twin Peaks (1990)
Coil – The Sleeper II (1992)
Jon Hassell – Empire II (1983)
The Grid – Virtual (1990)
Biosphere – En-trance (1994)

After signing up to Mixcloud earlier this year I’ve only managed to compile one mix so here’s an unseasonal attempt to compensate.

Night Music was a bona fide mix on cassette tape that I put together in 1994, intended as a response to Kevin Martin’s double-disc compilation from the same year, Ambient 4: Isolationism. The three previous entries in Virgin’s Ambient… series were fairly routine reworkings of the label’s back catalogue, collections of more-or-less ambient material with light electronica. Martin’s compilation concentrated on the darker, doomier end of the musical spectrum, and also pulled in music from outside the Virgin fold. It arrived as a considerable tonic after several years of diluted techno and psychedelic clichés being marketed as “ambient”.

Night Music is much more of a genuine DJ mix than Ectoplasm Forming. I didn’t have any proper mixing equipment at the time so had to record every other track onto stereo videotape then play back the tape while fading the rest of the tracks in and out from the CD player. The whole thing was recorded live to a C-100 cassette. Rather than run the mix as a single track I’ve kept the two sides separate; both sides were programmed with beginnings and endings so work better this way. I transferred the mix to CD several years ago, and still listen to it every so often. There’s a little too much Biosphere but apart from that I wouldn’t alter the track list.

As usual I’ll be away for a few days so the { feuilleton } archive feature will be activated to summon posts from the past below this one. Enjoy your wassail.

Previously on { feuilleton }
A mix for Halloween: Ectoplasm Forming

The Outer Church

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Compilation albums: on the one hand they’re in the lowest echelon of the musical world, all those cheap pop collections you see in any supermarket; on the other they provide an introduction to zones of activity which might seem too rich or too obscure to easily investigate; Soul Jazz Records is a master at this kind of collection.

There’s also another level of compilation album where the collection becomes an opus in its own right, and which can also help to define a new movement or moment. In this category I’d think of favourites such as Kevin Martin’s Isolationism set from 1994 which first identified the emergence of what we now think of as Dark Ambient music; and Devendra Banhart’s The Golden Apples of the Sun (2004) which showcased a new generation of American folk artists. To these I’d add Joseph Stannard’s The Outer Church, a 2-CD set compiled for Front & Follow which is released this month. My hand-crafted, letterpressed edition just arrived so I’ve been relishing the new music after forcing myself to avoid the preview tracks which have been available for the past couple of weeks. Regular readers won’t be surprised to learn that the emphasis is very much on the Hauntological end of things; this blog nurses a Ghost Box fetish, and there are Ghost Box connections in the presence of Pye Corner Audio, Hong Kong In The 60s, and Baron Mordant. The latter pair and another artist, Robin The Fog, all provided tracks for the recent Restligeists, the cassette compilation that came with The Twilight Language of Nigel Kneale. Of the new collection, Joseph Stannard says in his notes:

Wind the tape all the way back to Brighton in 2009. The uncanny influence seeping into contemporary music from ‘elsewhere’ had become impossible to ignore. Magazine pieces I had written in my capacity as a music critic were revealed to contain subliminal memos for my own attention. Unusually vivid dreams and unsettling anonymous telephone calls imparted curious instructions. I was to establish a space in which various forms of unheimlich audio would converge with moving images of a similarly anomalous nature. Equipped only with a well-thumbed copy of The Beginner’s Guide To Psychic Architecture, I resolved to build a Church.

This compilation presents a selection of the artists who have performed at The Outer Church, with the exception of illustrious filmmaker and composer Graham Reznick, who lives in faraway Brooklyn and kindly permitted us to screen his tremendous psychedelic campfire tale, I Can See You, in Brighton and Dublin. All of the recordings here are previously unreleased. Together they advance the argument that something weird is stirring in modern music which resists categorisation, manifesting itself in unsettling cadences and temporal distortions across a wide variety of occult strategies.

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Illustration by Alexander Tucker.

And they aren’t the only ones exploring this territory: Demdike Stare and the very excellent Haxan Cloak might also have been included here. I am, of course, especially partial to any kind of doom-laden timbres, whether electronic, orchestral or guitar-oriented, so I can’t be an unbiased reviewer. But it has been a relief to see contemporary electronica (in the UK at least) find a way out of the rut of abstraction into which it had fallen in the late 1990s. That’s it’s done this by delving into our nation’s long history of ghost and folk mythology is no bad thing. Not all the artists on The Outer Church are attempting to spook their audience; there are songs as well as drones. Hong Kong In The 60s produce the kind of uptempo pop you’d expect from a band with that name. It’s to Stannard’s credit that he manages to sequence things without the mix of styles being too disjunctive.

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One of the mini-postcards inside the limited edition. Photo by Joseph Stannard.

The first edition of The Outer Church has been selling well so anyone looking for a copy is advised to make haste and use the links on this page. There’s a related event in Brighton this (Friday) evening, and another in Manchester on Saturday. I’m now looking forward to following some of the paths revealed by this opening of the portals.

Previously on { feuilleton }
The Ghost Box Study Series
A playlist for Halloween: Hauntology
The Séance at Hobs Lane
Ghost Box