Thrilled and delighted to announce that the fourth edition in the Post-Nearly Press conversations series will be the great ALAN MOORE and Cometh The Moment, Cometh The Mandrill. As usual it’s from a live, face-to-face conversation, and will be a print-only, limited edition item. Scheduled for January 2017 release.
The range of work covered by Alan is vast and utterly compelling, from St Pancras Panda to Jerusalem via topics as diverse as Mark E Smith; Ballard; Moorcock; a journey from the Arts Lab to Apollo, by way of The Boroughs.
Huge thanks to all those who have taken such a great interest in the series so far. Below is a brief, slightly edited extract from this new edition, with Alan discussing a recent performance as our titular mandrill…
“We’ve all got our apocalypses in our heads haven’t we? And in times of a political vacuum, that’s when you get monsters emerging. Tyrants. Dictators. So if it’s a cultural vacuum, maybe you can have some sort of totalitarian art fascist emerge. And it would probably be a mandrill. The mandrill is the most beautiful and terrifying thing in creation; a baboon with a devil mask. I saw some footage of a leopard stalking in the long grass, creeping up on a mandrill that was sitting with its back to camera. The leopard must have made a noise. The mandrill suddenly turned round, and you could see the moment when the leopard realised it had made a really huge mistake. The mandrill was after it, with those beautiful blue flashes on its face, the teeth bared. So the dictator I imagined would be a mandrill. At the end of the gig, the compere is about to introduce the next act when a bunch of black-clad paramilitaries get onto the stage, cut the throat of the presenter, and announce we are now under mandrill law. At which point a siren goes off; the lights flash, and I enter – I’ve been hiding upstairs the entire gig – wearing a beautiful three-quarter length satin frock coat, with golden boots with wings on the heel. My strategy was to have different costumes and eventually accumulate a brilliant wardrobe. So I took to the stage as a mandrill. Fully made up. It worked pretty well, I have to say. I was a pretty good mandrill.“
Really looking forward to this Neil! As well as your Ian Sinclair work, ‘Improving the Image of Destruction’. After your recounting Ian’s influence on Alan, I plan on immersing myself in that, then moving on to ‘Cometh the Moment, Cometh the Mandrill’.
Thank you and all involved for these.
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