#benge

[burlveneer-music]

Cabaret Voltaire (US tour lineup) live on KEXP!

[vizreef]

Various vintage synths from Benge's mind-boggling collection.

via

[masochismustango]

my fucking face when the creators of the given media decide to give its interesting, talented and quite well-written villains the most pointless deaths ever

[dogpawsswapgod]

...and then she does!

Here Come The Bitch Mittens!

a comedy smut one shot inspired by Benge

shoutout to @garchankdefender for assisting w the brainstorming and issuing the challenge of making sure the metal joints of the Atlas Gauntlets don't pinch our girly, Cait!

[phonographica]

Benge – Silicon Valleys (2000)

[wrong-brothers]

Short-lived Home II

Canon FT-QL

Kodak Gold 200

9.X.2019

[nofatclips]

Preppy Boy by John Grant from the album Love is Magic

[passionate-reply]

JOHN FOXX AND THE MATHS - “SEPTEMBER TOWN”

John Foxx is one of those artists who’s been around for a very long time, but always seems to be at the top of his game. His work this past decade is not only some of my favourite music of his career, but some of my favourite music ever, bar none. Really!

The Shape of Things was Foxx and collaborator Benge’s second LP together as “John Foxx and the Maths,” and was released in 2012. Far from a sophomore slump, the album is cohesive and sonically rich, combining the heavy and intense sounds of analogue synthesisers with very approachable and singable melodies. Perhaps the only criticism I have for it is that it is, overall, very similar to the first John Foxx and the Maths album, Interplay, and you could almost switch tracks back and forth between them without either album sounding too much the worse for it. I’m happy to forgive them, though, since, as is said, “if it isn’t broke, don’t fix it.”

“September Town” is probably my favourite track on The Shape of Things. While the almost completely electronic soundscape of the album resembles that of Foxx’s solo debut, Metamatic, I actually think this track reminds me a bit more of some of his more acoustic work, such as 1981′s The Garden--lush, mysterious, and eerily organic. “September Town” feels almost like a traditional folk song, whose hollow words tell a story full of ambiguity, as well as sorrow.