#UK GRIM

[spilladabalia]

Sleaford Mods - Big Pharma

Edit Post, 6/10/2023

Orig post had the lyrics copied & pasted but they rubbed someone the wrong way who then rubbed me the wrong way and now I've got a rash. Since the main issue was the song's lyrics meaning, here's what Jason Williamson himself has to say about them:

"Big Pharma was written in the opening chapters of autumn 2022 when Covid kicked in again. It carries a lot of the normal Sleaford Mods absurdism but also looks at the ongoing fascination with trying to find truths in information wholly pushed by very questionable people,” Jason Williamson said. "Now, Big Pharma is more familiar as a term used by right wing and industrial groups trying to mask the financial aims of their arguments with some kind of critical thinking panache-type legitimacy. It just feels wrong. It feeds on hopelessness, widespread fear and generations of unfettered misinformation linked to the limited critical perception we as the masses are burdened with.”

Source the nme online.

#sleaford mods #big pharma #jason williamson #andrew fearn #punk #uk grim #2023 #Youtube

[eye-of-the-purricane]

Sleaford Mods ft. Florence Shaw - Force 10 From Navarone

#sleaford mods #florence shaw #force 10 from navarone #music video #music #video #uk grim #Youtube

[dustedmagazine]

Sleaford Mods — UK Grim (Rough Trade)

Photo by Ewen Corker

Grim indeed, this post-COVID, post-Brexit, pre-apocalypse Britain, where prime ministers strive — and fail — to outlast heads of lettuce, inflation rages and strikes cripple the healthcare system. And honestly, who better to chronicle these distressing times than Jason Williamson, the speaking half of Sleaford Mods and our century’s reigning poet of irascible contempt? Like its title track, UK Grim waxes artfully dyspeptic, its words a palimpsest of layered, complicated reference to current events and contemporary culture.

“U.K. Grim” pounds and swaggers, blotty electronic beats framing a barrage of furious cameos. Nigel Farage, Boris Johnson, Liz Truss, Rishi Sunak, Vladimir Putin and make brief appearances, framed by sudden admonitions to “Keep that desk area tidy” and disgusted cries of “Put it in the bin.” Williamson talks fast because he has to. There’s so much to disparage.

As always, Williamson rails to the accompaniment of Andrew Fearn, the silent, head-bobbing, deck-jockey half of the band, whose beats create worlds for these songs to inhabit. Fearn’s music is often ominous, as on the sparse, cavernous “D.I.Why,” occasionally giddy (see the carnival-esque blare of “On the Ground”), and sometimes skeletally bare (“Right Wing Beasts”), but never less than interesting. Indeed, my sense is that Fearn has gotten better at his job with experience. Where rickety, bull-headed repetition was the hallmark of the brilliant Divide and Exit, here tracks branch off from each other in striking, idiosyncratic ways. There are shades of vintage video games, aughts experimental hip hop and synthy post punk woven in, every track its own thing.

There are also guest artists, with Florence Shaw from Dry Cleaning murmuring dangerously in “Force 10 from Navarone,” and Perry Farrell of Jane’s Addiction cavorting across the bruised peppiness of “So Trendy.” There’s an award to hand out, I’d give Shaw the edge for impact. Her clean, cultured tone cuts through the sweat and lather of the Sleaford Mods like a laser, sounding all the more threatening at low volume. (This is also the cut with the cryptic line, “Jason, why does the darkness elope?” which produces chills even if you have no idea what it means.)

And yet, when you come to the Sleaford Mods, you are mostly here for Jason Williamson, who is in exceptionally fine form. Here is Williamson’s spit-flecked, ornately structured poetry, his burnt-black humor and his surprising intervals of vulnerability (catch him in “I, Claudius,” a young lad spotting a Santa eating chips and asking his father, “Does he eat, dad?” Innocence lost, right there.) In “D.I.Why” faced with tattoo-copying posers who are “like the edgy version of something shit“ Williamson seeks guidance. “I saw a doctor, I said, why do I feel like slapping these BnM goths, all this post punk dross?” he asks a therapist. The answer is solid gold Sleaford Mods. “He said, because they’re fucking cunts, Jason. Fucking hit them.”

Still at it, still hitting hard, all hail the Sleaford Mods.

Jennifer Kelly

#sleaford mods #uk grim #rough trade #jennifer kelly #albumreview #dusted magazine #post-punk #hip hop #political punk #dry cleaning #perry farrell

[dotmo]

#Skepta #baby buggy #Duncan Loudon #grime #UK Grim #camden #music video #nigeria #one shot #Youtube

[plakatierenverboten]

Sleaford Mods ft. Perry Farrell: So Trendy (Official Video)

#sleaford mods #perry farrell #so trendy #uk grim #2023 music

[tuuneoftheday]

Sleaford Mods - So Trendy

#sleaford mods #so trendy #tune of the day #totd #UK GRIM

[kraftwerk113]

Life´s too short for weird music - Tagesempfehlung 11.03.2023

Album of the week (KW 9/23): Sleaford Mods / UK GRIM

Kaum zu glauben, aber UK GRIM ist bereits das 8. Album der Sleaford Mods seit deren aufsehenerregenden Debütalbums Austerity Dogs aus 2013. Und auch 10 Jahre danach sind Jason Williamson und Andrew Fearn das wichtigste politische Sprachrohr der britischen Popmusik. 10 Jahre in denen Jason Williamson sich konsequent über politische und soziale Mißstände in UK auskotzt. Die Sounds eines Andrew Fearn sind in den letzten Jahren zunehmend differenzierter geforden (Force 10 from Navarone) aber es gilt nach wie vor die Grundregel: immer volle Lotte Attacke (Tilldiper)! Immerhin wurden drei Songs nicht mit dem Explizit Label gebrandmarkt. Fast zahm für die Sleaford Mods. Eines der Lieblingsziele von Jason Williamson bleiben auch im 8. Anlauf die Torries. Im neben UK GRIM und Force 10 from Navarone besten Song Right wing beast kommt dies auch überdeutlich zum Ausdruck.

#sleaford mods #Right wing beast #uk grim

[newmusickarl]

5-9’s Album of the Month Podcast – Episode 2 out now!

The February edition of the 5-9 Album of the Month Podcast is now live, in which myself, 5-9 Editor Andrew Belt, Check This Out’s Kiley Larsen and Blinded by The Floodlights’ Matthew McLister review five high profile album releases from February, and ultimately name one as our Album of the Month at the end of the discussion.

This month, the five albums we cover are:

Desire, I Want to Turn Into You by Caroline Polachek

Lonely Hearts Killers by Nile Marr

This Is Why by Paramore

Food For Worms by Shame

Heavy Heavy by Young Fathers

If you want to listen to the new episode simply follow the link below, but also be sure to follow 5-9 Blog on Instagram and Twitter for more news and polls relating to the podcast, along with other great content like film reviews, sports articles and more.

Listen to the February 2023 episode here

Album & EP Recommendations

UGLY by Slowthai

The evolution of Tyron Frampton, aka Slowthai, in such a short space of time, has been nothing short of fascinating to witness.

First came his 2019 Mercury Prize-nominated debut Nothing Great About Britain, which was rough and raw at times but also full of this visceral energy that captivated audiences and helped to make him an immediate grime/punk crossover star. However, his career was almost derailed as soon as it had taken off, as a much-publicised interaction with Katherine Ryan at the 2020 NME Awards, in which he made sexualised comments towards her, brought about some very intense but also well-earned backlash for his actions. After making his public apologies and doing some much needed soul searching, he returned in 2021 with his excellent sophomore outing TYRON – an impressive 35-minute double album that showed greater artistic, as well as personal, maturity.

So here we are then just four years on from his big breakout moment and Slowthai has already had what feels like an entire career’s worth of ups and downs. The result of that is that you feel like the pressure cooker has been removed from around Slowthai’s work, making this third album without a doubt his best and most artistically liberated to date.

Opener Yum straps the listener in to the hot seat straight away, with ‘Thai repeating the words “I’ve been lacking motivation, I need an intervention” over an increasingly menacing and anxiety inducing beat. He then starts to describe conversations with his therapist and his drug-fuelled coping mechanisms, as the swirling electronics, distorted vocals and heavy breathing transport you directly into the melting pot of his erratic, troubled psyche. The production from Dan Carey is absolutely mind-blowing, as it ends with ‘Thai repeating the words “Excuse me while I self-destruct, ‘cause I don’t give a fuck” over sharp, harsh synths. It’s an absolutely phenomenal opener, with the intensity and experimental production drawing shades to Yeezus-era Kanye, Igor-era Tyler and Atrocity Exhibition-era Danny Brown all at the same time.

This almost suffocating production continues on recent single Selfish, which remains one of ‘Thai’s strongest tracks to date. Again, the combination of Carey and ‘Thai is awe-inspiring to hear, with a vortex of synths, drums and guitars surrounding Thai as he sings “And we got what we deserve, somehow we never learn – wastin’ lives out on the curb, while we all search for somethin’” It’s simply brilliant.

The high points just keep coming from there with the fantastic Jamie T-inspired tracks Sooner and single Feel Good, before the rhythmic blues of urban love story Never Again. The middle section of the album then brings the album’s two centrepieces, with HAPPY in particular an absolute tour de force. Riding a melancholic central guitar line, ‘Thai confronts his depression head on and sings of how he “would give everything for a smile.” The production is once again stellar, with the song erupting into a full-blown anthem towards the back end as the guitars take flight. Title track UGLY then follows, which is a glorious symphony of grunge as ‘Thai talks about the hideous nature of humanity and today’s world. Again, it’s just a staggering work.

The grunge continues on Falling, with ‘Thai proper flexing his vocal chops as his angsty, pained screams echo and reverberate amidst a spacey, atmospheric backdrop. After the punky Wotz Funny, beauty and ugliness then exquisitely collide on penultimate track Tourniquet, as ‘Thai’s stark vocals bruise the gentle piano and string-tinged instrumentation as he talks metaphorically of hacking away his broken pieces akin to Aaron Rolston in 127 Hours. Acoustic closer 25% Club then brings the album in for a safe landing, ending this rollercoaster journey with a song that is a polar contrast to the opener.

As you can probably tell I’m a huge fan of this record, with Slowthai really coming into his own thanks to a magical partnership with Dan Carey and a host of other great collaborators behind the scenes who help both amplify and finesse his vision. With inspiration from bands like Nirvana and Radiohead also coming through loud and clear too, this has very quickly become one of my favourite albums of the 2023 so far. A big step forward for Slowthai and an absolute must listen!

Listen here

UK Grim by Sleaford Mods

From grime/punk to post-punk now, as scene veterans Sleaford Mods have returned with their urgent new album, UK Grim. The duo of beat maestro Andrew Fearn and fire-spitting wordsmith Jason Williamson hit new heights on their previous outing Spare Ribs, which mixed first-class collaborations and some lockdown-inspired hot takes for arguably their sharpest and best collection of songs to date. Without reinventing the wheel, the duo build on that winning formula on UK Grim with another effort that ranks well within the top half of their stacked discography.  

The title track and lead single remains both immediate and infectious, with Jason Williamson taking no prisoners as he unleashes his sardonic fury on the current state of Tory Britain on this aggressive, electro-driven opener. DIwhy is then a spiritual sequel to Spare Ribs’ hit Nudge It, but this time around Williamson points his finger and razor-sharp tongue at posers within the post-punk scene itself, with quite frankly hilarious results. Force 10 From Navarone remains my favourite Fearn beat on the whole record, as the duo team up with Dry Cleaning’s Florence Shaw for a song that takes place within Jason Williamson’s own inner monologue. Battling feelings of cherophobia and questioning a passive UK public controlled by a corrupt government, it’s the Mods at their most urgent and brilliant best.

Whilst there may be a couple of moments where it feels like the pair are treading over well-trodden ground at this point, these are more than counteracted by some of the record’s highpoints. On The Ground for example may be their poppiest track ever and easily my favourite here, with a super catchy beat and instant refrain of “they’re on the ground and they’re gonna check you.” By contrast Smash Each Other Up sees Williamson look in complete despair at the current state of the country, as Andrew floats a minimalist and mournful electronic beat in the background. Jane Addiction’s own Peter Farrell then turns up for recent single and the album’s most pure punk moment, So Trendy, which comes over slightly irritating at first, but you’ll soon find yourself singing along.

Despite all these great moments, the duo still manage to save two of the album’s strongest moments for last. Tory Kong swings in on a vine made from a rumbling jungle beat, before closer Rhythms of Class marks one of the duo’s very best songs to date. A well-crafted but brutally bleak look at the reality that Britain now shares many of the same social and political problems of the countries the British public can often vilify, it’s a fittingly poignant end.

Overall this is another strong outing from Nottingham’s finest, with Andrew and Jason building on the groundwork they laid in Spare Ribs for another provocative, frequently incendiary yet occasionally funny and oddly catchy, dismantling of (Not So) Great Britain.

Listen here

Radical Romantics by Fever Ray

Elsewhere, Swedish electro pioneer Karin Dreijer aka Fever Ray released their third solo album and their first batch of new music in six years. Other than featuring the most strikingly bizarre album artwork of the year thus far, Radical Romantics is also quite a blissful and dreamy listen with Dreijer pulling together a frequently fascinating collection of synth-pop induced love songs. At just 10 tracks it doesn’t overstay it’s welcome either, with songs like What They Call Us, Shiver, Kandy and Carbon Dioxide as colourful and enjoyable as any they have made previously.

That said though, you might want to leave before final track Bottom of the Ocean, which sees Dreijer repeating various “oh, oh, oh” sounds for seven minutes over an ominous soundscape. One track that promises to go somewhere but just ends up sinking like the title suggests.

Listen here

Life In Miniature (Extended Edition) by Low Island

One of my Top 10 albums of 2022, the second album from Low Island was nothing short of majestic. As the name Life In Miniature suggests, it was a snapshot of the last two years in which frontman Carlos Posada seemed to encounter all of life’s blessings and curses during one quite intense period. From love and loss to happiness and grief, to sad endings and new beginnings, Low Island gifted listeners a beautiful tapestry of treasured memories that, although personal, impactfully resonate out of the audio through lyrical gut-punches and life-affirming sonic uplifts.

If you missed this gem of an album last year then there really hasn’t been a better time to listen, as now to coincide with the end of their recent UK tour, the band have released a new extended edition featuring three previously unreleased album offcuts. It Holds And It Holds is another soulfully cool slice of electropop, whilst Give Me Something To Love is a stunning bare bones acoustic track. My pick of the three however is Second Skin which captures perfectly what this band do best – danceable grooves with a palpable emotional heart.

Listen here

After Hours (Live At SoFi Stadium) by The Weeknd

There are few albums if any that I’ve played more than After Hours and Dawn FM by The Weeknd over the last couple of years. And for two years I held on to my Weeknd tickets for his London show, hoping I would eventually get to hear the songs live after the lockdowns finally came to an end. Although they did end, the bad news was that Abel’s star status had only grown in that time. This resulted in him cancelling his arena tour and upgrading to stadiums, with tickets going from the fairly reasonable £70 I paid initially to the £300 that Ticketmaster’s obscene surge pricing policy decided that’s what people should pay. As much as I love The Weeknd’s music and am desperate to catch his live show again, that is simply not a price I am willing to pay to see any single artist – maybe next time!

Thankfully to ease the blow somewhat, Abel has released this incredible new live album to accompany the HBO Special filmed at his recent stadium show in Los Angeles. Across the breathtaking (pun intended) 31 song setlist, Abel delivers hit after hit, as his vocal performances and superb live band production frequently get the hairs on your neck standing on end. Whilst it may be further evidence of just what a special popstar The Weeknd is, it’s also a shame that I can’t catch the show in person. The end of Live Nation’s monopoly and Ticketmaster’s ridiculous surge pricing really can’t come soon enough!

Listen here

From Nothing To A Little Bit More by The Lathums

“Before the pandemic The Lathums were on the road to nowhere. Then The Charlatans frontman Tim Burgess heard a recording of early single ‘The Great Escape’ and invited them to play a set at Kendal Calling. The rest, as they say, is history. After a couple of years building a passionate fanbase, they’d play the first non-socially distanced post lockdown gig in Liverpool. Six months after that The Lathums struck gold with the small matter of a UK number one album.

So after being in the whirlwind of prosperity in 2021, the storm has settled. 18 months after their debut they’ve returned with From Nothing To A little Bit More: a less immediate effort but one worthy of the time and effort required to leave an impact.

From Nothing To A Little Bit More is a solid return from The Lathums: darker, rawer and more accomplished, albeit without the same high points of their debut. Alex Moore portrays himself as a sensitive soul and the empathy you feel towards him is the album’s main strength. Especially as, like before, the tunes are heart-warming and infectious - the boys from Wigan discover a darker route mixed with moments of light. This is all done without losing the everyman appeal which drew so many to them in the first place.”

Read Matt McLister’s full review here

Listen here

Also worth checking out: Sunrise Bang Ur Head Against The Wall EP by Nia Archives, The Valley of Vision EP by Manchester Orchestra, Brothers & Sisters by Steve Mason, Tear Me to Pieces by Story of the Year

Tracks of the Week

Lean Beef Patty by JPEGMAFIA & Danny Brown

The rumours of a collaboration album between hip hop superstars JPEGMAFIA and Danny Brown has seemingly been around for years now, but it seems like the long-anticipated release is finally nearing its arrival. Whilst still no release date has been announced yet, we do have the first single which is a sub 2-minute hurricane of hard electronic blasts and lyrical wizardry.

Listen here

Sole Obsession by Nation of Language

One of the best new bands to debut during the lockdown years, new wave duo Nation of Language have quickly earned themselves a cult following off the back of their incredible first two records, Introduction Presence and A Way Forward. Now it appears a new era is on the horizon, with their dazzling new single Sole Obsession a prime example of why people simply can’t get enough of this band.

Listen here

Cello Song by Fontaines D.C.

The legacy of renowned singer-songwriter Nick Drake continues to live on, with a new compilation album in the works featuring covers of his most favourite songs from an enticing artist list that includes Bombay Bicycle Club, Let’s Eat Grandma, Radiohead’s Philip Selway, Feist and more. The first cover from the album to be released though is this brilliant take from Fontaines D.C. of Drake’s iconic Cello Song, with that band managing to pay homage whilst also making it their own.

Listen here

Everytime by Cub Sport

And finally this week, one of my favourite films of all time (for reasons I can’t completely pinpoint myself) is Harmony Korine’s surreal, arthouse summer flick, Spring Breakers.

From the vibrancy of the cinematography to the intoxicating Cliff Martinez soundtrack, to just the sheer hallucinogenic hedonism of it all, I just love everything about it. One thing in particular it does so well is the contradictory marriage between beauty and the beast that lies at the heart of the film, which is captured in no better instance than one certain iconic scene. In this magical moment, James Franco’s Alien plays Britney Spears’ Everytime on the piano, whilst the four girls waltz around him wearing Neon Ski Masks and carrying their shotguns, as montage footage of their dangerous escapades are intertwined. Surreal, completely nuts, but also oddly beautiful.

Now I’m not sure if that scene entered the brains of Aussie synth-pop outfit Cub Sport when they decided to cover this Britney classic, but the vocoder vocals and dazed electronica of this dreamy version of the song took me right back to that cinematic masterpiece. Check out the cover, then check out the film if you’ve never seen it - but don’t say I didn’t warn you!

Listen here

Also worth checking out: Messed Up by Holy Holy featuring Kwame, Line In The Sand by Hot Chip, Brian Eno & Goddess, CooCool by Roisin Murphy, Bloodshot by Enter Shikari, Ache by The Xcerts featuring Sam Carter

REMINDER: If you use Apple Music, you can also keep up-to-date with all my favourite 2023 tracks through my Best of 2023 playlist. Constantly updated throughout the year with songs I enjoy, it is then finalised into a Top 100 Songs of the Year in December.

Add the playlist to your library here

#new music #best new music #album recommendation #album of the week #best of the year #song recommendation #albums of 2023 #song of the week #slowthai #ugly #yum #sleaford mods #uk grim #fever ray #the weeknd #low island #the lathums #jpegmafia #danny brown #cub sport #britney spears #everytime #spring breakers #fontaines d.c. #nation of language #Youtube

[senorboombastic]

Release Rundown - Dutch Uncles, Lichen Slow and Sleaford Mods

Words: Ben Forrester Dutch Uncles – True Entertainment(Memphis Industries) It’s mad to think that it’s been six long years since art pop heroes Dutch Uncles graced us with new music. I’ll be honest, I was starting to worry if we’d ever hear from the South Manchester heartthrobs again. But a sigh of relief was let out here at BCFB towers when pictures of the band in the studio surfaced online…

View On WordPress

#Album Review #Birthday cake for breakfast #Dutch Uncles #Joel Harries #Lichen Slow #Malcolm Middleton #Memphis Industries #Rest Lurks #Rock Action Records #Sleaford Mods #Tropigala (2 to 5) #True Entertainment #UK GRIM

[spilladabalia]

Sleaford Mods ft. Florence Shaw - Force 10 From Navarone (Official Video)

#sleaford mods #force 10 from navarone #jason williamson #andrew fearn #florence shaw #punk #uk grim #2023 #Youtube

[eye-of-the-purricane]

Sleaford Mods - Nudge It

Live From Nottz Arena ft. Amy Taylor If the legends are true, the first ever Sleaford Mods gig took place at a cafe near Nottingham Station in 2007. An apt place for Jason Williamson and Andrew Fearn to start their journey – one that has taken them around the world physically, to new places sonically and through the strangest times lyrically – but they have never lost their connection with home. Hence late in 2021 a "guy shouting and a bloke with a laptop" staged one of the first big post pandemic gigs at the Nottingham Arena. It was a night to celebrate and a night for old friends, but also a time to aim for new horizons and start a new chapter. Documenting how far one of Britain's most original bands have come, while revealing Williamson and Fearn straining forward creatively, these recordings also demonstrate what Sleaford Mods do better than anyone else: they make a connection. Whether it is a cafe or an arena, Sleaford Mods engage and entertain and this EP captures the duo's biggest and best live performance... so far. Listen to Live From Nottz Arena here: https://ffm.to/modslivefromnottzarena New album ‘UK GRIM’ out 10 March 23 via Rough Trade Records. https://sleafordmods.ffm.to/ukgrim

#sleaford mods #nudge it #amy taylor #amyl and the sniffers #uk grim #live on stage #live performance #live recording #live session #nottz arena #music video #music #adventures in rock music #Youtube

[gastricotv]

#sleaford mods #florence shaw #force 10 from navarone #new music #musica nueva #music #musica #music video #video musical #videos #uk grim

[total-derangement-of-the-senses]

Song of the Day

29 Jan., ‘23

#Song of the Day #Sleaford Mods #UK GRIM #music #Spotify

[arceespinkgun]

It's rant time! I'm now halfway through rereading Lost Light, wow the pacing is super fast. While I like a lot of the cast of MTMTE/LL on paper, I feel like these series overall are uh, actually really bad and basically have no plot at all. Plot = the meaning that links events in a story. When it's sitcom-like stuff happening it can actually be really fun and not as big of an issue, but every edgy moment feels like it's mainly for shock value and none of the implications of anything are adequately explored. And these implications are usually really negative.

I could basically point to any of the many grimdark moments as examples but I think Skids and his death and what happens afterward are some of the worst. He was the most consistent proponent of typical Autobot values, and he has amnesia for most of the series because he's so guilty and traumatized by feeling like a monster for having been sadistically tortured in a prison camp and feeling culpable for other prisoners' horrible deaths, an experience that was in no way his fault. He eventually becomes suicidal, and the moment there's an opportunity to sacrifice himself to help save others, he takes it and his spark fades and he dies, thinking he's scum.

What happens because of this? Well, we don't even get to see much of his sacrifice empowering anyone. No, Megatron—the guy the prison camp was killing prisoners in the name of—has to save the day. And he doesn't seem to give a shit about Skids, either—Megatron only fights after Ravage gets hurt.

Skids's corpse becomes a prop for Nautica and Rung to cry over, but despite them all being Amica Endura, they never discuss their grief together, and no reason is given for why they don't. Nautica loses her grief trying to bring Skids back, so she never has to work through it naturally. Oh, and if you thought Nautica had to make a hard choice about moving on, deciding whether her feelings for the departed Skids and the still-living Velocity were both worth trading to bring Skids back... nope, her choice means nothing, because by the time she chooses Velocity, the feelings for Skids were already gone. Rung commits suicide at the end of Lost Light, with Skids as the last thing on his mind before he sacrifices himself and crumbles to dust.

When it comes to other characters who were friends with Skids, like Swerve and Nightbeat, JRo just chose to have them take "grief shots" so he didn't have to write them any differently by depicting their grieving process.

No one ever discusses the fact that Skids died thinking he was a monster, blaming himself for the horrific death of Brainstorm's crush, Quark, either. Brainstorm almost certainly knows what happened and doesn't blame Skids at all—they were Amica Endura by proxy!—but nobody ever talks about it. It's also criminal that Nautica and Brainstorm never talk about anything that happened, when her losing her emotions is very similar to something Brainstorm witnessed Chromedome go through, and Nautica almost certainly tried to sacrifice her emotions because the self-sacrificial natures of her friends like Brainstorm and Skids influenced her.

None of this is ever explored because there really is no meaning. It's just meant to be "whump." But because it's never explored, I end up extrapolating meanings like, "So... since no one ever acknowledges any of this shit... is it implying that if you have survivor's guilt it is your fault and you should kill yourself? Is it implying that it's not possible to work through grief in a healthy way and live on?" I know these are presumably NOT the intended readings, but still! I mean, I talked about "The Magnificent Six!" story from the Marvel UK comics continuity a while back—imagine if all the Autobots who had been traumatized from how they were tortured and what they'd went through had never worked through any of their feelings and had just killed themselves... and their experiences or what they'd meant had never been acknowledged again. That would be a really unsatisfying story (and I say this knowing that in at least one timeline, one of the team members—Inferno—did sacrifice his life)!

Oh yeah, and this is all especially garbage given that I just finished LL #15, where Tarn—who was the commander of that prison camp!!!—gets one last posthumous win as Nickel uses a recording of him to escape from Scorponok?! What was JRo thinking?!

#Also JRo really read the UK G1 comics and was like #No Skids leaving his true love and being stuck in a nightmare realm for 100 issues and becoming suicidal wasn't grim enough huh #negative #rant #transformers idw #transformers Skids #my analysis

[plakatierenverboten]

Sleaford Mods: SMtv UK GRIM Special

#sleaford mods #smtv uk grim special #uk grim #2023 music

[northern-punk-lad]

The evolution of mythology is truely incredible the image of death in the uk has gone from this

To this

#UK #death #grim reaper