Thursday, July 25, 2024

fremtidigomani

 
























International Times no 42 - 1968 October 


Four Front?  Never heard of that series before.

But here it is

First mentioned in Gramophone in November 1968, the series was named for the four parts It would concentrate it's releases on; Musica diversa, Organ, Electronic and Percussion, and Poetry and Prose. The records would Retail at 27s. 11d.


"Take an electronic trip with the most with it label on the market"  - this ad slogan is delicious because I am fairly certain that by 1968  - and certainly in terms of the readership of International Times - the term "with it" would have been decidedly "without it". 

It reminds me a bit of this imprint that tried to market classical music to the younger generation and "heads" - Orphic Egg, a division of London Records.  Trippy album covers and liner notes from rock critics. 


In France, the Norwegian Electronic and Pierre Henry releases came out under the Prospective 21e Siecle banner. 




















































Also file under "dette var i morgen"


Crikey, hark at the cover of this other Four Front release




Thursday, July 11, 2024

Talking "sonic fiction" and Futuromania in LA (and beyond) - July 17

 


I'll be making a guest appearance at the Sci-Fi Short Story Club, discussing "The Sound-Sweep" - one of a couple of acutely imaginative tales involving music of the future dreamed up by J.G. Ballard.

The event, hosted by Los Angeles Public Library, is loosely tied to Futuromania - which features a extended essay about the ways in which science fiction writers have grappled with the challenge of imagining the future forms and functions of music.  So in addition to "The Sound-Sweep" and Ballard's work, the discussion will encompass the broader subject of the interface between s.f. + music

The book club meets by Zoom, so I can see no reason why - beyond issues of time zone differences -  someone who doesn't live in LA could attend, if they fancied. 

This free event takes place at 6 pm PDT, on Wednesday July 17th. 

Reading J.G.'s 1960 story in advance is helpful if you wish to participate in the discussion, but not essential. 

Sign up here. 









Sunday, July 7, 2024

Keen on chatting about necro-futurism

Here I am chatting with Andrew Keen for his show Keen On - about Futuromania, future-music, AI, and the intersection of science-fiction technology and retro culture - what you might term  (well, what I did term - a trial run for a coinage) necro-futurism.

I had a great chat with Andrew about a dozen years ago when Retromania came out - that time I went round to his HQ in San Francisco, sitting in a TV-style studio - so it was cool to bookend with this conversation, albeit this time done remotely. 

Monday, June 10, 2024

Futuromania events - Brighton June 20 evening / Rough Trade West, London June 23 3pm

 Two upcoming Futuromania events


Brighton, Thursday evening 20th June 

Dead Wax Social  - 18 A Bond Street

Hosted by Resident 

Doors open 7pm /  event starts 7.30 pm

In conversation with Fiona Sturges

+ book signing. 

Tickets here 



London, Sunday afternoon 23rd June 

Rough Trade West 

130 Talbot Road, W11

Event starts 3 pm

In conversation with Günseli Yalcinkaya (Dazed)

+ book signing 

Tickets here








Sunday, June 9, 2024

Bring the Noys / Kapital fellow, that Jameson

Benjamin Noys with a review at E-Flux of Fredric Jameson's new book Inventions of  A Present

"Jameson argues that our present and our future are saturated by history and it is this increased historicity that makes the novel, all novels, historical. At the same time, he can also assert that “all fiction approaches science fiction,” due to the fact that all our futures “begin to dissolve into the ever more porous actuality”.  The contemporary novel is both the historical novel and science fiction, as both past and future have saturated the present. The present is a bloated moment, full of the past that cannot be integrated and a future that is not being born...."

The review has some gentle jibes at  the Great Man - like this backhanded compliment 

"We sometimes feel Jameson has read everything"

That does capture the sensation of omniscience that seeps from the prose - the long, winding, (over-)extended sentences...  the concatenation of clauses and parentheticals... allusively laden.... 

Also a dig at thLondon Review of Books style of review (most of Inventions of A Present consists of these), which Noys characterises as a

"peculiar genre in which the book is not so much assessed as re-presented in a gesture which often replaces reading the book. It is a time-saving device presented in the mode of capacious intellectual engagement"

What's striking as you read the review -  mirroring the book itself - is the tangle of temporalities. 

"This diagnosis and sense of impasse is surprisingly Nietzschean. The saturation of the present by historicism echoes Nietzsche’s “On the Use and Abuse of History for Life,” in which the historical overcomes our present. 

The notion that the future is dissolved into the present is also close to Nietzsche’s attempts to invent a future and his increasingly violent proclamations of a leap into the future. Jameson’s tone is more measured and, of course, he is trying to remain within Marxism. To be Marxist, we must explain why we cannot integrate history and why we cannot see the present as a dynamic path to the future. 

"While obviously wrong—not all contemporary novels are historical and not all contemporary novels are science fiction, and how could all of them be both?—his statements are ones we try to puzzle out."

"Puzzle out" indeed

Something is being called for to get "us" out of this "impasse" 

But....  

"If the function of the master collapses, then the enigmatic statements become so much nonsense and we wonder why we ever cared. Jameson’s statements teeter in this space"


Saturday, June 8, 2024

"We Are In the Future" (Italian Futurism - a '90s resurrection)





via this Dissensus thread on Roman techno  

itself triggered from this article at Urbanomic about a "dark continuum" of Italian hardtechno 

itself drawing on this Matt Anniss  feature for RBMA from a decade earlier


Sounds Never Seen - love this label name. 

Lory D very much a parallel operator to The Mover + PCP.

And indeed later, towards the end of the '90s, rematerialises up on Acardipane's Adrenachome label



Back to the start of the '90s, to 1991:

Interesting, the shift - within a single year - from "We Are In the Future" to "We Were In the Future" 
















Does this show how fleeting these moments are - how quickly the future-rush can give way to technostalgia, a sense that it's already slipped away?

 



Thursday, May 30, 2024

Softcore Futurism

 


"Close your eyes / kiss the future / junk the morgue"


The "morgue" bit does remind me of Marinetti's museums-as-cemeteries line


fremtidigomani

  International Times no 42 - 1968 October  Four Front?  Never heard of that series before. But here it is First mentioned in Gramophone in ...