it's always this at the core. like yes sure tearing down unjust systems *sounds* great but if your energy is all for destruction without any plans or capacity to care for ppl in the aftermath

it's helping nobody, just satisfying some urge to see stuff break

Bug. All-time shit from Michael Shannon and Ashley Judd.

Gaspar Noé's Vortex

last thing i'll say is take your immediate reaction to the news and log off. right now social media is a frenzy of "political violence is good actually" vs "political violence is bad actually" and approximately zero valuable insight will emerge from the tussle.

I still remember the stunned silence of my first times with the first* Lingua Ignota record. My bar for fearless, ruthless, sobering, harrowing music rests on the shoulders of Kristin Hayter. If the burden of trauma can become something resembling demonic, her work wielded the power of exorcism

Getting to Ire Works, my third TDEP album, crystallized the neural pathways opened up by LD50 many years earlier: music with fluidity to be anything and everything from one moment to the next. Conventions: useful vehicles for creativity, but with the right conviction they can be dismissed entirely

It also ends with one of the most troubling songs I know) and one of my favorites), Threads; this led me to the most troubling movie I know (and one of my favorites), by the same name

Third was the last Portishead I got to, I was 25, and I didn't get it at first. When I went back later, everything changed. The dissonant, bizarre production will inspire me forever, and Beth Gibbons articulated the despair of depression in way I'd never related to before, and haven't since

El-P, I found at 23, after hearing RTJ and hearing that Trent Reznor featured on it. The psychedelic, progressive version of hip hop production; the explicitly leftist perspective of western dystopia, and the honest expression of how staring too deep into it can tead you apart; all were revelations

At ~16 years old, hearing the worlds inside of The Downward Spiral changed the way I engaged with music, in ways that are still true today. Any record I fixated on before this (there were many) are funny nostalgic stories to me now, their impact erased by the crater this band would leave in my life

I honestly can't tell now but I swore while I was watching it that the camera was zooming in a tiny bit each time the ceiling fan breaks up the shot, and it was like an amplifier for the already palpable heebiejeebies in the scene

Also, what's the fuckin deal with bands appearing out of order on tickets/posters? Am I crazy or is this a new thing that's everywhere now?