In 2007, Burial’s last album was a hot topic in certain areas of the blog world, with Burial, as an entity, often bracketed with kode9, many thinking the two producers were one and the same — hence the photo heading this post. People really were straining to find the appropriate terms to describe this strange, otherworldly music, and often the conclusion reached was: it’s Ballardian. I became interested in tracking this meme because, as Steve suggests, Crash would invariably be the book that got referenced, yet I couldn’t really hear Crash’s themes in the music of either kode9 or Burial. It seemed that Crash was beginning to function as a default Ballardian reference, like 1984 standing in for ‘Orwellian’. […]

Regarding ‘The Sound-Sweep’, I too have been very influenced by the musique concrete aspects of this story, and I have to thank Paul Williams for turning me onto the noise in Ballard’s work. Once I looked for it I found it was everywhere in his writing, and Goodman’s views on this have inspired me also. Given Goodman’s interest in this story of Ballard’s, and the fact that in the Rupture interview he said he is also listening to lots of non-dance music, I also wonder if one day he will produce work in beatless, psychoacoustic, macrocosmic, musique concrete idioms. I think those results would be very interesting indeed.

Full Story: Ballardian

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But still, he could gaze out of the window of his parents’ big American car as the chauffeur drove him and his nanny through the city, marvelling at the ‘bright but bloody kaleidoscope’ outside: ‘the prosperous Chinese businessmen pausing in the Bubbling Well Road to savour a thimble of blood tapped from the neck of a vicious goose tethered to a telephone pole; young Chinese gangsters in American suits beating up a shopkeeper; beggars fighting over their pitches; beautiful White Russian bar-girls smiling at passers-by’. It struck him as ‘a magical place, a self-generating fantasy that left my own little mind far behind’. Later, after the Japanese invasion of 1937 but before the attack on Pearl Harbor in 1941 and the internment of American and European civilians in 1943, he would ride his bike for hours around the city. ‘Even as a ten-year-old who had known nothing else, the extreme poverty of the Chinese, the deaths and disease and orphans left to starve in doorways, unsettled me as it must have unsettled my parents.’ It is almost too obvious to need saying that the seeds of Ballard’s science fiction, of all his dystopian futures, were planted during his childhood in Shanghai. When Empire of the Sun was published in 1984, ‘sympathetic readers of my earlier novels and short stories were quick to spot echoes . . . the drained swimming pools, abandoned hotels and nightclubs, deserted runways and flooded rivers.’

Full Story: London Review of Books.

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London: City of Disappearances is a 655 page anthology with over 50 contributors, including: Ann Baer; J.G Ballard; Paul Buck; Brian Catling; Driffield; Bill Drummond; Tibor Fischer; Allen Fisher; Bill Griffiths; Lee Harwood; Stewart Home; Tony Lambrianou; Rachel Lichenstein; Michael Moorcock; Alan Moore; Jeff Nuttall; James Sallis; Anna Sinclair; Stephen Smith; Marina Warner; Sarah Wise.

Citizens disappear constantly, along with their homes, artifacts, buildings and spaces. As your time-flow accelerates, old friends email the latest obituaries and the function of the writer becomes increasingly clear. You’re there to count the dead; and re-count the missing landmarks. Scribe of mutability and mutation, you’re only a memory-shaman, chronicler of the crumbling scrolls - destined yourself to become a mere neural trace in the world-brain, as the towers tumble around you.

Full Story: Culture Court.

Buy London: City of Disappearances.

Also, if you’re in London: Alan Moore, Michael Moorcock, and Iain Sinclair will be reading from the book on October 26th. Details here.

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This week R.U. talks to V. Vale about legendary author J.G. Ballard.

MP3.

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