Boredom is different nowadays. It’s about super-saturation, distraction, restlessness. I am often bored but it’s not for lack of options: a thousand TV channels, the bounty of Netflix, countless net radio stations, innumerable unlistened-to albums, unwatched DVDs and unread books, the maze-like archive of YouTube. Today’s boredom is not hungry, a response to deprivation; it is a loss of cultural appetite, in response to the surfeit of claims on your attention and time.
—  Simon Reynolds, Retromania: Pop Culture’s Addiction to Its Own Past

Several jaw-droppingly beautiful photos of one of Coil’s greatest and most underrated gigs, the 2004-07-25 Ocean Club, London, UK show. Only two AUD have surfaced - one riddled with cuts and incomplete, the other complete but almost unlistenable. There does exist a SBD recording or possibly another AUD, but only “Broccoli” from this source has surfaced. There’s only no video of this gig, making it the only “Black Antlers” show without a video.

source facebook coil

pain is beauty (listen)

shades of cool (lana del rey) girls (the 1975) i know what boys like (the waitresses)  lolita (lana del rey) whatever lola wants (sarah vaughn) national anthem vs bubblegum bitch (lana/marina mashup) candy store (heathers: the musical) bend and snap (leagally blonde: the musical) it’s raining on prom night (grease: the musical) donatella (myrtle snow AHS remix) cherry bomb (kylie minouge) toxic (britney spears) that girl (ts madison) attention whore (melleefresh vs. deadmau5) would you say thank you if i spank you? (the turbomen) gods and mosters (lana del rey) million dollar man (lana del rey) young and beautiful (lana del rey) yayo (lana del rey) 400 lux (lorde) yellow flicker beat (lorde) earned it (the weekend) skinny love (birdy) homewrecker (marina and the diamonds) house of the rising sun (lauren o'connell) shades of cool (lana del rey) big spender (fosse) glory box (portishead) fear and loathing (marina and the diamonds) happy (marina and the diamonds)


Several jaw-droppingly beautiful photos of one of Coil’s greatest and most underrated gigs, the 2004-07-25 Ocean Club, London, UK show. Only two AUD have surfaced - one riddled with cuts and incomplete, the other complete but almost unlistenable. There does exist a SBD recording or possibly another AUD, but only “Broccoli” from this source has surfaced. There’s only no video of this gig, making it the only “Black Antlers” show without a video.

source facebook coil

there’s this whole thing about difficulty in music. you know that meme where it’s like, going through the levels of music from really popular to totally weird and unlistenable? like yeah, that. and people do a lot of thinking of more accessible music that’s more direct and catchy as lesser and stuff, whatever. and musicians who want to be serious artists feel like they’ve got to make real music which is challenging even though challenging here means not enjoyable to listen to. the point i was trying to make got away from me, i’ll start a new paragraph and bring it back.

all this time the whole contemporary music scene has been thinking that Difficult Listens are more artistic and that how you make music difficult is through active antipathy towards casual listeners. but i think one of the interesting things about the new mount eerie is that it’s unquestionably a Difficult listen, but it’s difficult in a different sense to what’s usually been meant by that. it’s just hard to listen to that grief.

cant believe that in all the su critical Discourse no one has brought up the rapidly worsening voice acting from zach like steven’s voice is unlistenable in these recent episodes,, its so bad,,,,,, like his voice is drastically higher and more exaggerated and childish now than it was in the beginning and it’s just Bad Acting

About the Sufjan Stevens Live Archive

We are a not-for-profit, fan-run archive of live music by Sufjan Stevens. We will soon start posting and cataloguing all recordings we have collected since the early 2000s in the highest quality available. We’ve decided to start this project because a lot of this material has been slowly falling out of circulation over the years - or it is being circulated after being transcoded, posted on YouTube, ripped to MP3 again, and so on. By providing a permanent place for them, we hope to prevent these recordings from disappearing or becoming unlistenable after decades of lossy conversions.

If you have an upgrade for a gig we have posted (or an entirely new recording we are missing), we will be very happy to host it.

Lastly, this site contains no commercially available music, and we encourage the purchase of all of Sufjan’s studio albums. This is in line with this comment by Asthmatic Kitty’s John Beeler: “I’d say do whatever you like! We have no interest in hunting down bootlegs. As a personal opinion I think they’re great. Thanks for your support. It’s so appreciated.”

The Signs as Friends

Aries: your agressive friend
Taurus: your understanding friend
Gemini: your original friend
Cancer: your best friend
Leo: your depressive (yes, it is!) friend
Virgo: your helping friend
Libra: your artistic friend
Scorpio: your sarcastic friend
Saggitarius: your adventurist friend
Capricorn: your loving friend
Aquarius: your mysterious friend
Pisces: your unlistening friend

“Even though they may be ok people, Steve “Mongo” McMichael and Debra should never have been involved in pro wrestling. While more the fault of the bookers than of the McMichaels themselves, nothing good came of their involvement. Mongo was a bad commentator and then became a bad wrestler, put in the ridiculous role of being named a Horseman in his DEBUT MATCH, and then he had that terrible feud with Jeff Jarrett, followed by Jarrett going to WWE, insulting Mongo and Debra in his pseudo-shoot promo. Then Debra becoming Jarrett’s valet a year later, leading to Road Dogg introducing the word “puppies” into WWE’s lexicon, turning Lawler into an unlistenable horny screeching idiot for YEARS, and her contributing to the decline of the Women’s division.”

a film plays in the background, unlistened and misheard, and the blankets swamp in paisley tangles around the both of us. you are unsteady: leaning forward, pulling back, your lips play snow-breezes with mine, until eventually they crumble, a serac onto my gums, quiet. you float, poudrin, against the rose-skin of my mouth, until our hands touch, and we break apart. your breath comes light and frosty, and i hide myself inside.

the heaving swansong of the rain in the trees jerks us apart, but you remedy by whispering exultations into the webbing of my fingers. the wind rattles the glass panes into unsteady heartbeats, but the gym is only holding us. you wrap your fingers into my hair for the first time, pressing bites to the gap between my fleshy jaw and neck, and push me slowly downward. 

your teeth catch on my mouth for a moment, harrowing through the blood and the flesh until all i can think of is your mouth, red from cherry-aid and biting. you taste of salad cream, mint bubblegum, ruination, and the moonlight wilts when it touches my hands in your hair. your hands lift up my shirt, and we fall into the quickstep, stagefighting, a scene heated in between clothing creases.

you stink of face paint and gum arabic, costume still clinging to your forearms, chest an oilslick of colourlessness sweat. laughing, bounding, our teeth crack together, and the stage door swings lachrymose.

the morning is overcast, and so is your tongue. you press tepid kisses into my voiding mouth until you taste toothpaste, drawing balmy backwards, knowing you have wiped my day clear.

—  to my boyfriend: helen of troy, by aliya
Free Bird but it keeps getting faster
Free Bird but it keeps getting faster

see like most “but it keeps getting faster” songs reach a point where the pitch shifts so high it’s unlistenable. this song, however, is perfectly listenable to the end, as long as you don’t mind your heart rate tripling


“It’s unlistenable - that record was a calling card for rock critics and hardcorers, [saying] “This is what I do, and I’m not going to back down from it. I am announcing my persona as a cunt. Thank you very much." - CL, about ‘ Pretty on The Inside ’. 

“Live Through This was competing with Kurt, because he would write, like, ‘Dumb’ and 'Rape Me’ in the same twenty minutes, and I was, like, "fuck you, I’m gonna go and try my best.” It was well intentioned, it was my best effort at the time. I think I’m an arrogant person - you have to be to have my job - but I don’t think it’s as great as people think it is. I know why people like [Live Through This]. It gets girls of a certain age through a certain period, I think. That’s the demographic constant of it. But that record was about, live through this media shit, live through this war. It didn’t mean… What it came to mean.” - CL, on the legacy of ‘ Live Through This ’.

“It was very difficult to make. What we wanted to achieve musically were great songs, great classic rock songs - We wrote in New Orleans first and we also wanted to try different geographies i think, we wrote in New York as well, we tried in Memphis and ended up writing the record in Los Angeles, wich you also might know the record is about LA in a lot of levels.                                     I don’t think Live Trough This is as great as people think it is. I don’t listen to it the way I listen to Celebrity Skin. That record has some things about it that I like better, in terms of sonics.” - CL on making ‘ Celebrity Skin ‘   and the final product.


Sure, Miley embarrassed herself all on her own, but she was given a tremendous stage on which to do so, and nobody seemed to be interested in stopping her from diving off.

But why would MTV do that to Miley? The better question is why wouldn’t they. She’s releasing unlistenable SoundCloud albums with Wayne Coyne without her label’s cooperation. She’s not going to be on the radio. MTV doesn’t need anything from her. If they wanted to sacrifice a career live on air for the sake of ratings — or, if you want to give them that much credit, to make a point about white privilege — who more high profile and expendable than Miley?

— Emily Yoshida