Weekend links 352

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Table-Tipping Workshop at Rev. Jane’s House, Erie, Pennsylvania, 2014 by Shannon Taggart.

• Canadian electronic musician Sarah Davachi talks to Erik Davis about analogue synthesizers, reverberating cathedrals, attention spans, and her ambient drone album All My Circles Run.

• Orson Welles’ The Other Side of the Wind may now be released by Netflix. (I’m restraining my excitement for the moment since this one has been a long time arriving.)

• Mixes of the week: VF Mix 86: Jah Shaka by Roly Porter, Secret Thirteen Mix 215 by Twins, and What Good Is God? (1:11:11.111 Melon Collie Mix) by Gregg Hermetech.

• Making sense of The Weird and the Eerie: Roger Luckhurst reviews the final book from the late Mark Fisher.

• Pye Corner Audio has been very productive this year (I’m not complaining); the latest release is The Spiral.

• “I don’t like acceptance,” says Cosi Fanni Tutti, “it makes me think I’ve done something wrong.”

• Jon Brooks on the Continental inspiration for his next album, Autres Directions.

Séance: Spiritualist Ritual and the Search for Ectoplasm by Shannon Taggart.

• Corny and clichéd: Matthew Bown on bad painting in the twentieth century.

• At Wormwoodiana: Douglas A. Anderson on Borges and a forgotten book.

• At the BFI: Samuel Wigley chooses 10 great films set in the jungle.

Jungle Flower (1951) by Les Baxter | Jungle Fever (1973) by The Upsetters | The Jungle Dream (1973–1980) by Patrick Cowley

A mix for Halloween: Analogue Spectres

Presenting the eleventh Halloween playlist, and another mix of my own. Previous mixes have been wide-ranging and not a little nerve-jangling so this year the focus has been narrowed to a synth-only mix. The theme is the analogue synthesizer music of the 1970s, particularly the style popularised by Tangerine Dream on Phaedra, Rubycon, Ricochet and Stratosfear.

The “fear” element of the latter title is significant in this context. Tangerine Dream from their earliest days produced timbres and atmospheres that tended towards the sinister and the doom-laden. This quality continued when they moved to Virgin Records in 1974, using new synthesizers and sequencers to develop their sound. In part the doomy atmosphere was a result of limitations, a combination of organ-led chord sequences and the difficulties of using primitive electronics for anything other than unnatural atmospheres. The earliest albums by Klaus Schulze are equally sombre but Schulze lost this tendency as his playing improved. Tangerine Dream, meanwhile, seemed to enter a Gothic phase with the move to Virgin: their track titles became darker—Mysterious Semblance At The Strand Of Nightmares, The Big Sleep In Search Of Hades, Stratosfear—and they swapped concert halls for the cavernous spaces of European cathedrals. William Friedkin in his sleeve note for the Sorcerer soundtrack album expressed disappointment that he hadn’t heard the group soon enough for them to provide music for The Exorcist.

Tangerine Dream are only represented here with two tracks—one of them from the Sorcerer soundtrack—but their influential Virgin years provide the template for several other pieces. Two of the groups, Redshift and Node, are British ensembles who take Tangerine Dream’s albums of the 1970s as their sole template. In the case of Redshift this has yielded a number of albums that are flawless in their imitation (and extension) of the Rubycon/Ricochet template, and the group are highly recommended to anyone who enjoys those albums. Redshift have also continued with the doom-laden atmospheres which is why this mix contains so many of their pieces.

The other axis here is the early scores by John Carpenter which have often seemed as influential as his films: imitated, sampled, and inspiring the sinister, throbbing electronica of Pye Corner Audio and others. Carpenter has frequently mentioned Tangerine Dream in lists of favourite electronic musicians; no surprise there but it feels satisfying to have things join up.

As before, Mixcloud no longer allows the posting of a tracklist so this is the running order:

Tangerine DreamSorcerer (Main Title) (1977)
Pye Corner AudioProwler (2015)
RedshiftLeave The Light On (2004)
John CarpenterThe Fog Enters The Town (1980)
Ian BoddyThere’s Something In Your Attic (1999)
NodeDark Beneath The Earth (2014)
Tangerine DreamDesert Dream (1977)
RedshiftWraith (2002)
RedshiftNightshift (2007)
RedshiftDown Time (2001)
Pye Corner AudioStars Shine Like Eyes (2015)

Previously on { feuilleton }
A mix for Halloween: Teatro Grottesco
A mix for Halloween: Unheimlich Manoeuvres
A mix for Halloween: Ectoplasm Forming
A playlist for Halloween: Hauntology
A playlist for Halloween: Orchestral and electro-acoustic
A playlist for Halloween: Drones and atmospheres
A playlist for Halloween: Voodoo!
Dead on the Dancefloor
Another playlist for Halloween
A playlist for Halloween

Weekend links 331

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Ekeko (2016) by Jon Jacobsen.

Outer Space (1999), a short film by Peter Tscherkassky using reprocessed footage taken from The Entity (1982).

Pye Corner Audio playing live for 77 minutes at New Forms Festival, Vancouver 2016.

Salvador Dalí‘s rare Surrealist cookbook republished for the first time in over 40 years.

Keeping On Keeping On by Alan Bennett; extracts from the writer’s most recent diaries.

The Hagströmer Medico-Historical Library is a new source for free antique images.

• The shopfronts of independent Paris photographed by Sebastian Erras.

The Edge of the Ceiling (1980) is a short film about writer Alan Garner.

• Mix of the week: Secret Thirteen Mix 198 by Bestial Mouths.

Brenda S G Walter on eviscerating the body of Black Metal.

• “When did new age music become cool?” asks Geeta Dayal.

Barok Main, a new piece from Mica Levi & Oliver Coates.

• American gay magazine XY has been relaunched.

• Confessions of a vinyl junkie by David Bowie.

Touch Radio archive at the British Library.

Harvard’s collection of glass flowers.

Michelle Stuart‘s Magical Land Art.

Dali’s Car (1969) by Captain Beefheart & His Magic Band | Save Me From Dali (1980) by Snakefinger | Salvador Dali’s Garden Party (1989) by Television Personalities

Weekend links 318

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The Meaning of Life by Alice Wellinger.

• A Kickstarter for A Hidden Landscape Once A Week edited by Mark Sinker: “How UK music-writing became a space for unruly curiosity, in the words of those who made it happen”.

• RIP Steven Young, one of the musicians in a cult group of mine, Colourbox, and the “S” in M|A|R|R|S, creators of Pump Up The Volume in 1987.

• At Greydogtales: The Pale Brown Thing & A Dose of De Quincy—Fritz Leiber, Dario Argento, Megapolisomancy, and The Three Mothers.

Pye Corner Audio lists some influences. Zones by Head Technician, another Martin Jenkins project, has just been reissued on vinyl.

• Mixes of the week: The Middle Eastern & African playlist For July by John Doran, and a Pye Corner Audio mix for 20jazzfunkgreats.

Evan Kindley on how the Proust Questionnaire went from literary curio to prestige personality quiz.

• To Surprise a Voice: Max Nelson on the subtitling and translation of foreign-language films.

• How the ’70s dethroned the ’60s as popular music’s Golden Age: Judy Berman investigates.

• “It puts a spell on people.” Ryan Gilbey on Stanley Kubrick’s Barry Lyndon.

• “Dennis Cooper fears censorship as Google erases blog without warning.”

Charlie Kaufman on freedom, the future, and the failure of Anomalisa.

Danny Heitman on why Nabokov’s Speak, Memory still speaks to us.

Daphne Oram‘s radical turntable experiments finally come to life.

Adam Kirsch on Walter Benjamin’s genius for surreal visions.

Shotgun (1983) by Colourbox | Baby I Love You So (1986) by Colourbox | Looks Like We’re Shy One Horse/Shoot Out (1986) by Colourbox

Weekend links 316

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Stasis, the second album by Pye Corner Audio for the Ghost Box label, will be released at the end of August. Design, as always, is by Julian House.

• “In the modern internet world you have what I talk about as the ‘War of the Certain’: people insisting that their absolutist viewpoint, in 140 characters, is exactly the right way to think, and anyone who doesn’t agree with them is terrible. If you’ve grown up reading Robert Anton Wilson this is awful. Having all of these certain people with no nuance or doubt, and no understanding of multiple-model agnosticism, is not going to go anywhere good.” Writer John Higgs talking to Ben Graham about RAW, Discordianism and related matters. A related matter: Higgs talks to Alan Moore about virtual-reality mysticism, creating a new counterculture, reinventing magick, and the eternal nature of time.

• Nicolas Winding Refn’s The Neon Demon is out this month so features and interviews are proliferating. I’ve been avoiding them for the usual spoiler-shunning reasons, but this was worth noting: Refn’s mood-establishing playlist for the production. More Neon Demon: Cliff Martinez talks about working with Refn.

• ” ‘Paint me like one of your French girls” takes on a whole new meaning in Nicole G. Albert’s book Lesbian Decadence: Representations in Art and Literature in Fin-De-Siècle France,” says Rachel Wexelbaum.

The decaying low-baroque tableau of conjugal tenderness, features eaten away by the syphilis of time, played so well, on an anvil of whitewashed cement, alongside a municipal bowling green, that it became the provocation for a pedestrian expedition testing the Brexit boundaries of a timeless mead-hall England, before the fleet of plundering Papist Normans came sailing over the horizon. Just as tabloid gangs of Albanian drug-trafficking white slavers were now reputed to be sneaking ashore on Romney Marshes, at Deal and Camber Sands, on their Rigid Inflatable Boats, kayaks and leaking air mattresses. Could anyone bring themselves actually to cast a vote for Brexit, a commodity that sounds like a cereal bowl of Nordic cattlecake manufactured from wood shavings with an added ingredient to purge the bowels?

Iain Sinclair and company head south in turbulent times

• At Dangerous Minds: a video recording of Psychic TV live in Manchester, 1983 (I’m in the audience but up on the balcony so you won’t see me), and an interview with dub maestro Adrian Sherwood.

The Columbia Years, 1968–1969: fabled recording sessions by Betty Davis are to receive an official release by Light In The Attic.

We’re Here Because We’re Here – Jeremy Deller’s silent commemoration of the soldiers of the Somme.

• Inside Las Pozas, Edward James’ Surrealist Garden in the Mexican Jungle.

• The body as amusement park: A history of masturbation by Barry Reay.

Nicholas Olsberg on the mirage of an ideal metropolis.

The Strange World of…David Toop

Static Electrician (1994) by ELpH | Static (1998) by Redshift | Static (2001) by Monolake