Tag: kamala harris

38 Clipping: Dead Channel Sky

~ Lex Leeson ~ Leave a comment

The sky above the port was the color of television, tuned to a dead channel.

opening line of William Gibson’s ‘Neuromancer’

C-c-c-c-c-c-c-cyyyyyyyyyyyyyyyyyyyyyyyyyberpuuuuuuuuuuuuuuu̸̖̬͑͑u̴͇̍̌͂ů̵̢̼̳u̷̮͑ů̵͖u̶͉̐̒u̸͙̱̾ṵ̵́͗̚u̶͕͙̽̑͝ṷ̸͓͌ṳ̶͉̊̈̓ụ̵̢̃u̶̗͋͘u̶̡̗͊̍̇n̴̫͕͆k̴̢̃͘!̶͇̭̹̎!̵̨̭̬̀͐!̴̲̙̂͝

*start up modem noises*

Aw, dude, in the future you’ll be forced to eat algorithms, which will be injected straight into your anterior insula and be called “structuralising the framework”. You’ll be able to choose your newborn baby’s sex, race, Twitter handle and initial .README file, and births will instead be called “Day One Updates”. And these day one updates won’t come out your fanny like before, they’ll be shared through ethernet cables and your happy day will be marked by receiving a Steam download key. And and and and and people won’t even have sex anymore, they’ll just… like… merge their Javascripts or some shit. You want to do some shopping? Club Penguin. File your taxes? Club Penguin. Carry out a terrorist attack? Club Penguin. We may currently live in the age of ‘Everything Computer‘, but the future will be Everything Club Penguin. Billy Idol tried to warn us but we didn’t want to listen.

Like a shock to the system

An Apology to Chappell Roan

~ Lex Leeson ~ 2 Comments

Listen, I messed up.

‘The Rise and Fall of a Midwestern Princess‘ was one of the biggest and most talked about albums of 2024, even if it was originally released back in September 2023 and had songs on it that originally came out in early 2022. I was on it no earlier than The Normies, unfortunately, with their NPR Tiny Desk Concert in early 2024 probably being the first I’d heard of them (and initially, probably intentionally on their part, assuming that they were a man in drag). I was all ready to throw my hands up, admit to how lamely out of touch I was (on occasion!) and include it amongst the best albums of 2024 like I was some lamestream media mark like Time Out. I had initially placed it around 23rd, and it was only when I was planning my next piece after the Danny Brown review and listening to the album again that I realised “Shit, this album’s way better than this!”. I moved it to #15, but then I relistened to it again after writing my Magdalena Bay post that I realised “Shit, this album’s way better than even this!” I finally settled on it being number 6. However, I’m here to tell you that it’s now been removed from the list.

Maria Maher Yahya Al-Sikk

Necessary Evil 24: The Biggest List Under the Sun

~ Lex Leeson ~ Leave a comment

Bumpin’ that bumpin’ that bumpin’ that…

Yeah, we’re back, so fuck me I guess?

The 16th year end Necessary Evil list of the year’s objectively and scientifically proven greatest music is a notable event for a few reasons. Firstly, it will be the first time I’ll be writing a list of year’s best bops and slaps that played out to a full twelve months of genocide. Like, the whole year. When I wrote last year’s list, it was only to the backdrop of a tiny bit of genocide that covered the last couple of months of the year. And who really pays attention in those winter months? Too busy thinking about Christmas, right? A couple of years back, for example, my housemate Darren engaged in the systematic and targeted slaughter of more than two dozen woman and children in those early December weeks, and I just didn’t notice because I spent the whole time trying to untangle the Christmas lights. Don’t worry, it happens, I get it.

Hajar Khalil Salah al-Bahtini

“Driving Myself Mad With Mental Health and Gender Stuff” – Efficax Interview

~ Lex Leeson ~ 3 Comments

Elle Gilliam is always taking her art places.

Over the course of the last five years, it’s difficult to think of many other musical artists who have so consistently and animatedly pushed their sound and style to more expansive and challenging places. When she first came to the notice of Necessary Evil, it was with the gorgeous, lilting, acoustic near Americana of ‘Picture Perfect Depression‘ in 2019, back when she was still recording as Helltown*. Her music five years on bears little resemblance to those essentially standard guitar based records, and along the way she’s also dragged it into so many avenues and artistic tangents that it has been anything but a straight progression.

(*and also still… y’know… mostly identifying as male…)

You may remember me interviewing Elle last year, so it makes sense that I would reach out to her on the 12 month anniversary to get an update on her current status, both artistically and personally. Well, that would have been in February, so fuck me I guess. Wonderfully though, Efficax soon released their follow up album to last year’s ‘DESTROYER‘, so I could at least question Elle about the themes and inspirations behind their new album to coincide with its release date. Well, that was in April, so fuck me I guess.

However, only six months after this essential record was released, I managed to tie Elle down and ask for her to talk us through the record’s fourteen tracks. As far as you all know, we met in a dusty but quaintly adorable bookshop cum cafe in the back streets of Los Angeles. Elle was nursing a kumquat espresso and idly browsing through a Breanne Fahs book when I came in, blinded by the rays of the mid afternoon sun trickling through her long hair. I sat down and apologised for the smell – I thought I’d seen a tuna sandwich in the bins outside the shop that unfortunately turned out to be a dead raccoon – and we began:

guess i got my fucking answer