Tag: GTA V

#14 Les Savy Fav: OUI, LSF

~ Lex Leeson ~ 1 Comment

I’m turning 50 soon. The last time we recorded something as Les Savy Fav, I was about 40. Around that time, I had a serious mental health crisis – I got diagnosed with bipolar and had been manic for a long time, then went very depressed. Getting out of that took a couple of years and was really dramatic for me and my family. I’ve always identified with a Peter Pan type universe, so I was trying to figure out how to square the person you see on stage, which is core to who I am, with the person that wants to be able to afford pants…

I then got laid off from my job and that was super stressful. Turns out I hated that job. I hadn’t really thought about it, but all of a sudden I realised I had spent so much energy annoyed by this thing, that when it went away, it was like clarity. I was writing music, I was writing lyrics, and it wasn’t just because I had more free time. It was about mental space and realising how much energy it takes to grind an axe. I think that’s where so many people get stuck.

Frontman Tim Harrington briefly lets Crack Magazine what he’s been up to for the past 14 years, 24.02.16

Les Savy motherfucking Sav, bitches!

Les Savy Fav last made this list when they were ranked number seven in 2007, on the oldest of these lists that I’ve ever been able to track down and post online. Anthony Kliedis’s girlfriend wasn’t even born when this band last (and first) made the Necessary Evil countdown. And even seventeen years ago, I was laughably late to the party. Gimme a break though: I was a married, fuckable 23 year old with a social life, easy access to drugs, and functioning alcoholism, so I was kinda busy, yeah?? LSF had been a going concern since 1995 and had released their debut single in 1997. Those who knew about them were instant converts – here’s a Pitchfork piece from 1998 describing the band playing to a one person crowd and the writer still being won over – but for the first decade or so of their career despite inspiring devotion from those lucky enough to experience them, even freaking Jesus had more disciples than these guys. Yeah, I realise that Jesus is a pretty big deal these days, but to have only twelve disciples in his own lifetime is pretty pathetic, guy just wasn’t a draw. I’m not denying Jesus’s influence! Just that he was more like the Velvet Underground: only twelve people followed him at the time but each one wrote a book about him.

Baraa Mohamed Fawzi Shaldan

#65 ANGEL_TECH: INITIATION :3

~ Lex Leeson ~ 5 Comments

Remember how much I stanned the vertical bar in BIG|BRAVE‘s name at #71? Bro, I was super simping for that punctuation symbol, wasn’t I? It was totally… bussin’… and… PAWG…? Look at all these hip new words I’m using! As far as you know, I’m, like, 22 years old or something. Yeah, I’m a hip young gunslinger. Yes I am. Stop gaslighting me.

Hold on, slow down *grabs pen and paper* Laugh… out… loud… Go on.

Eeeeeeeeeeew, ‘PAWG’ stands for ‘Phat Ass White Girl’?? I honestly never knew that, it’s so gross! I will state at this point that I personally will not be referring to either Melanie James/melodus nor Elora Driver/metagirl as ‘PAWGs’, though they are of course free to refer to themselves as such and may well fit the description.

‘PHAT’ STANDS FOR ‘PRETTY HOT AND TEMPTING’??

Necessary Evil 2020 pt.6 (50-46)

~ Lex Leeson ~ 10 Comments

#50 Banoffee: Look At Us Now Dad

Banoffee’s debut album should act as an important reference point for Halsey. The subjects she covers here- from painful reconciliations to painful intergenerational trauma to, Jesus, why didn’t I just leave it as a one night stand with that prick??- are at least as weighty as those covered on Ms Frangipane’s latest. Banoffee simply covers them often more explicitly, with far more humour and raw openness. And, more importantly, does so with no shame about this being a pop album and with the mature knowledge that really shouldn’t take away from its artistic legitimacy. She’s not openly complaining about Band of Horses not being considered pop despite starting with the same three letters, she’s not arguing that her album being considered ‘pop’ and the Javier Muñoz Spanish language production The Occupant being considered a ‘movie’ is just more evidence of the suffocating patriarchy, she’s not pointing to the barbed wire around her wrist on the album cover as poof of how freaking metal she is. She has no qualms about being a pop artist and is confident in the utter magnificence she can still produce, how being a ‘pop’ artist doesn’t act as a barrier to producing such weird, challenging and effective music such as this.

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