lend me ur eyes 087
|| "We are like the spider. We weave our life & move along it. We are like the dreamer who dreams & then lives in the dream." // “I buy a wrap and a fizzy drink with my earbuds in listening to my music. My music lends the whole thing a cinematic thing.” // "Another desperately pious millennial aesthete, an apostle of the ongoing return to sensibility." // “Repeat after me: happiness is only a habit.” // "You do the work for the doing, not the fruit." // "Suck your mum on Christmas Day." // ~ ~ ~ (っಠ‿ಠ)っ ~ ||
LISTENING
I haven’t had access to any streaming platform for a while, so I’ve been listening to less new music. But I have checked in on a few bits by artists I was already familiar with. The new collaboration between more eaze and claire rousay, no floor, is really nice. It’s a kind of found soundey ambient country thing. The liner notes call it “collage music as pastoral melancholia," which I like. Aya’s second album, hexed!, also came out. It is a harsh and brash thing, but just as distinctive as i’m hole, their first album. i’m hole, from what I understood, was a kind of conceptual, autobiographical record about the experience of clubbing and taking too much ketamine and what all that meant in a specific time in the artist’s life. hexed!, however, is about the aftermath of that, exploring similar questions of selfhood and identity through a lens of substance abuse and a journey of overcoming it. Full of clangs, squarks, and all manner of deconstructed electronics, it is not exactly background music. But it is totally unique, with great, cryptic lyrics and weird sounds aplenty. Lucy Liyou’s Every Video Without Your Face, Every Sound Without Your Name feels like a continuation of the sound on Dog Dreams. It is dramatic, heartfelt, and kind of operatic, almost like the soundtrack of a Disney musical. According to the artist’s own text, the album features songs about love and acceptance, or their absence, reinterpreted and reworked as a means of processing the end of a relationship. Los Thuthanaka, by Chuquimamani-Condori & Joshua Chuquimia Crampton), is also more of a familiar sounding thing. But it is the best kind of familiar thing, a gift. Pitchfork, in a review by Joshua Minsoo Kim, gave it their highest rating in ten years or something, which is funny. Klein’s Thirteen Sense is a dense, noisey, sludgy, shoegazy, guitar heavy thing. I don’t have much to say about it, but it is good! Klein seems to be able to make any kind of music capably, bringing in impressively wide interests and reference points. Greyhound Days, a collaboration between Patrick Shiroishi and Piotr Kurek, is just lovely, a perfectly organic and natural coming together of two artists, and of saxophone and electronic keyboard. Hometown Girl, by U.e., is Ulla Straus under another alias. As with the other music from this artist it is gorgeous and tender, a beautifully featherlight acoustic thing that really hits all of the spots. That’s it for now.
LOOKING
I’ve managed to get to quite a few art shows this year (twelve in total, accordingly to my little notebook, in 2025’s first three months). Many of these were very good. Below, some telephone photographs of the best ones. It is good to walk around the rooms and look at the artworks. It is good to see things that exist and have been made. I have been thinking lately that I should try painting again. Just how hard can it really be?
lend me ur eyes is a linkdump of what i'm into month by month: music, books, games, movies, and other internet detritus, with misc editorial misgivings in the intro. lend me ur eyes friends, so that i can see.