HARLEY QUINN: THE ANIMATED SERIES – Season Four (2023)

May 8, 2024

As always, I will never, ever shut up about Harley Fuckin’ Quinn.

Historically, fourth seasons of shows are lackluster; the writers are often running on fumes and have done all they set out to do. Producers either bring in new blood or the show gets canceled. The best example of this is probably ANGEL whose fourth season was abusive and very problematic and, from a writerly or viewer perspective, very fucking boring and insulting. However the fifth (and final) season was fucking gangbusters, partially due to the smart and comedic injection from THE TICK’s Ben Edlund. (Yes, I do have a Puppet Time Angel puppet.)

This is not the case with HARLEY QUINN: THE ANIMATED SERIES.

Look: I love every season of this show. I endlessly rewatch it; probably too much. It has been one of the most affecting shows I’ve seen in years, and I realize that’s incredibly embarrassing to say about a show that has its roots in a Joker sidekick dressed like a clown.

(I’ll note that, after she quit the traditional harlequin get-up, I’ve never thought of her as looking clown-ish — especially in THE SUICIDE SQUAD — but I am goth and routinely paint my face and have an actual Harley BIRDS OF PREY armband tattoo on my right arm, so who am I to say?)

That said, my favorites are the first season and the Valentines Day special (which I will now only refer to the V-Day special) which bridges the third and fourth season. As I’ve previously posted, one episode from the first season moved me so much that, thanks to my wife, I have a watercolor recreation of a scene. I love the V-Day episode because it’s so honest and heartfelt and they really lean in on the ancillary characters while also paying tribute to WHEN HARRY MET SALLY which …is something I never expected to type.

The fourth season is incredible. It is one hell of a wildly high-concept swing that also manages to weave so many emotions and romantic interactions between Harley and Ivy, while also conveying the push-and-pull and combativeness that comes with relationships.

It is so tightly plotted!

Also, Harles and Ives go to the fucking moon!

NORA FREEZE: “Shit, I hope the clouds don’t have a gag reflex!”

I swear, Nora is the most underrated character on this show. She is the fucking hedonistic worst and — like everyone on this show, so fucking trauma-laden — which also means? I fucking love her!

They also recreate Michelangelo’s iconic Pieta. I will not spoil how.

And the rapport between Harley and Batgirl, and Batgirl’s neediness? So hilariously sweaty.

OH! And Ivy as — as Lex Luthor puts it — is now a ‘she-e-o’! The writers know how to advance their characters while never losing track of the spirit of the show.

The in-jokes are amazing but never get in the way of the story, and I am positive I missed a number of them just because I haven’t been reading many mainstream comics as of late.

Oh, and not to spoil matters but Harley finds a moral equilibrium. As Amanda Conner put it when interviewed about her BIRDS OF PREY work: Harley is an anti-villain, which I think just about every misfit can identify with.

One minor hint as to where season five — as apparently there will be a season five — will go: Gotham City Sirens! Personally I wish it were the Gang of Harleys but I’ll take what I can get.

I implore you to watch this fucking show. It’s heartfelt, it’s hilarious, it’s smutty, it’s kind; it is the total package and I cannot fucking wait for the fifth season.

HARLEY: “Strap yourself in for more sex, more drama, and more Bane! …being Bane.

“And also? More Harlivy! Like, a lot more because you weirdos are kinda obsessed with us.

“Anyway! Love ya! Byeee!”

(I love the ‘Anyway’ tag, because? Well, I don’t want to further spoil matters, but that is definitely a nod to a Bane exchange in the V-Day special.)

RIDDLER: “…does anyone know that?”

BANE: “They do now!”

HARLEY: “Jugs out! Rugs out!”

Goddamn myself and this show are two hella pieces of filth.

THE INFINITE WAIT (2012)

May 6, 2024

I fucking love Julia Wertz.

She was an absolute fuck-up that eventually found her way. She’s so smart, so sarcastic, so cynical, so quippy and so filthy and I am absolutely here for it.

I’m still an absolute fuck-up and I can relate to all the above except for perhaps being smart, and I’m hardly the talent she is, but I can’t help but identify with her as I am totally screwed up and, like her, make no qualms about it while also realizing? That is not a great thing! (Like her, I’m trying to course-correct, but that will be a very long journey and it sucks but that’s life.)

I previously wrote about her most recent work: IMPOSSIBLE PEOPLE: A COMPLETELY AVERAGE RECOVERY STORY. I am not sure how I missed out on THE INFINITE WAIT given I’d been reading her THE FART PARTY webcomic for years and years, but apparently? I did.

Better late than never!

THE INFINITE WAIT made me glow. I had a smile — a really fucking stupid grin — on my face the entire time I read it, which was within a day.

This work details a wide swath of her life, from when she was a child to graduating from college, and all of the jobs — mostly restaurant work and, as someone who has worked in the industry, wow that hit hard — and all of the messiness in-between. It is purely autobiographical but also? One hell of a lark, albeit at her own expense, but it is a very singular work about a very distinct person.

I’ve previously noted that artistically, her work is so effective and expressive, but what really shines here? Her relationships and brutal honesty, especially with her brother. There’s a camaraderie and earnestness there that I envy, and it’s so whip-smart and fun and nakedly true.

I loved every part of THE INFINITE WAIT, but especially reveled in the final part — the shortest facet of the work — which focuses on her fascination and absorption with her local library and reading which, again, I absolutely, 100% relate to. Hell, I even wrote a post about my own local library.

It’s not often I read a comic or graphic novel that resonates so much for me, but this? Yes. I even read it with a faux-library card bookmark without even realizing that the final chapter was all about her library! (That’s how much of a nerd I am.)

She is someone I wholeheartedly admire and aspire to be as a person.

So, please! Support her! You will not regret it! Her works are fun as fucking hell, while also so goddamn substantial! And she swears as much as I do, for better or for worse!

You can acquire a copy via Wertz’s website!

HITCHHIKER (2021)

May 3, 2024

Another Annapurna work! Similarly to OPEN ROADS, it takes place almost exclusively in cars which — yes, fitting for a game named HITCHHIKER.

However! This game? It’s a slow burn that becomes surreal as fuck. It’s one of the few games that feels justifiably and smartly inspired by TWIN PEAKS in that there’s a hell of a lot of symbolism, a shitton of folks talking in code, and a protagonist who has no idea what the fuck is going on and is literally just along for the ride. Most interactive TWIN PEAKS knockoffs? Not great! I’m looking at you, DEADLY PREMONITION. Not the case with HITCHHIKER.

HITCHHIKER is broken up into five chapters, five different drivers, and the bulk of the game simply consists of listening to them and looking around at items in the car and trying to piece together the life you can’t remember, as well as your meaning to exist.

I realize that sounds pretentious, but it’s engrossing enough that I had no problem running with it. Or riding shotgun, so to speak.

That’s it. That’s the game. Like OPEN ROADS, it’s primarily an interactive novel, but it’s so engrossing and weird and enthralling and I am absolutely here for it.

The voice acting is absolutely on-point. Visually, it’s fittingly stylized and off-kilter and far more colorful than you might think for the subject material. If I have one complaint it’s the extremely abrupt ending which? I’ll note? Not something I usually complain about.

It also features an abundance of crows, which I can never get enough of.

If you are into interactive narratives/novels, I can’t recommend it enough. If you aren’t? Steer clear. (No pun intended.)

Electroclature Volume Fifteen: 5115

May 1, 2024

Part fifteen of an array of CD mixes I made for my wife over a long number of years! Read more about it here!

Despite the fact that photos from an airplane window are rather cliché, I do rather like this cover artwork, especially since I believe I took it upon a trip to London. (The tracklist text could be tightened up, though, especially since some of it is practically unreadable on the screen.)

This is an embarrassment of riches and also another mix where I’ve seen so many of the bands. FEVER RAY! ART BRUT! THE KILLS!

Arguably the greatest — or at least most exuberant — AMANDA PALMER song! Fun fact? Saw her live at Chicago’s Metro back in the DRESDEN DOLLS days. She pulled water balloons out from her under her tits and threw them at the audience. An audience that was almost solely comprised of young teen girls. It was a show where I thought to myself: “I’m the oldest person here. Also, I think I’m the only dude? Am I gonna be put on some sort of watchlist for this?”

Anyway! Amanda is one fucking audacious performer.

PARENTHETICAL GIRLS! POLLY fucking SCATTERGOOD! Goddamn DIFFERNET!! Fuck, I live for this.

Also? GOD HELP THE GIRL’s ‘Musicians, Please Take Heed’ which features one of my favorite lyrics:

I made a daisy-chain from phrase, verse and punctuation.

I’ve said it before and I will not apologize for saying it again: make the effort to see bands live. Even if it’s a shit performance, you will remember it and will be able to hold that memory close to your heart.

I constantly think about when my wife and myself and others were wrangling acts and when I was DJ’ing and it takes so much time and effort to finesse these matters, much less actually show up and do the fucking work.

I do not think many folks realize just how hard it is to be an indie musician, to try to give misfits a good night out, and how driven a musician or band must be to endeavor out for what amounts to free booze tickets and maybe $60 if you’re lucky.

Okay, I’ll step down from my soapbox now.

As always, tracklist! (Artist / Album / Song — links go to a video of the song, if available):

OPEN ROADS (2024)

April 29, 2024

Annapurna has been one of the boosters of interactive novels over the past few years, publishing games such as SOUTH OF THE CIRCLE, TELLING LIES and WHAT REMAINS OF EDITH FINCH, just to list a few. The recently released OPEN ROADS is yet another quality narrative exploration addition to their library, one that focuses on the dynamics of mothers and daughters via a road trip to discover answers to family history questions.

OPEN ROADS has been in development for far longer than anyone expected. It was first revealed in 2020 at The Game Awards as as a project from GONE HOME development studio Fullbright, founded by Steve Gaynor who oversaw MINERVA’S DEN, DLC for the art deco intellectualism of BIOSHOCK.

If you keep up with gaming news, you may be aware that Fullbright as a development studio has essentially folded after practically everyone quit during the production of OPEN ROADS due to Gaynor’s toxic behavior.

Gaynor stepped down as CEO, but still, eventually everyone left except himself, and Annapurna allowed those that formed Open Roads Team to separately work on OPEN ROADS.

Sadly, this is a recurring theme within the gaming industry. Just a handful of days before penning this post, it was revealed that the narrative head and, later, CCO of Deck Nine — who developed of some of my favorite LIFE IS STRANGE games, games that mean so much to queer individuals — much like Fullbright’s GONE HOME — the creative environment was absolutely toxic.

My apologies for the severe digression. It’s awful that the working environment behind so many emotionally sensitive games that resonate for marginalized folks are still helmed by toxic assholes who take advantage of their position of power, but I feel the context is necessary.

Anyway! OPEN ROAD is a raw and unvarnished exploration of lives lived, but buried and hidden. It is definitely more of an interactive novel than a proper game — there are no fail conditions, there’s no risk; it’s a small interactive tale of a mother and daughter exploring their past and roots, mostly via car trips and the occasional abandoned abode. It’s simple, yes, but extremely effective if you’re into these sort of interpersonal stories that explore the nature of human behavior and emotions and coping and willful ignorance.

If there’s one facet I’d complain about, it’s that the character designs for the mother — Opal — and the daughter — Tess — is severely at odds with the 3D realism of the background surroundings. It’s especially jarring when they’re driving in the car as the environments are startling realistic, whereas the characters are very expressionistic. I will note that the design for the characters is very winsome and expressive, but the the game does have an undeniable visual dissonance.

I’m sure that approach was done by intent, and perhaps meant to be unnerving and evoke how fantastical this trip is — how it’s dreamlike — but from an aesthetic perspective? It did unmoor me.

It’s a wonder that this game was released to the world, despite everything. It’s so heartfelt and feels so personal and I can’t help but love and revel in it. It’s perfect for a Sunday afternoon play, especially if you aren’t afraid to shed a few tears.

AMANDA PALMER & THE GRAND THEFT ORCHESTRA – ‘Want It Back’ (2017)

April 26, 2024

CONTENT WARNING

The following video is not technically NSFW, but it’s as close as you can come so …viewer beware.

Calligraphy. This music video is all about fluid, dynamic, gorgeous and ornate text and I am absolutely here for it.

I cannot relay how many times I’ve watched and rewatched this.

My mind is blown by the amount of effort it must have taken to will this into the world. Words and stop-motion animation and so much skin and ink spatters? Fuck yeah. Reminds me of when as a youth I’d suck India ink in a straw and spit it out all over a page and revel in the black stains.

The fact that the song turns me into a whirlwind? Icing on the cake.

Also? If you were a svelte goth in the late 90s? You’ll certainly recognize the liquid latex utilized at the end. That sort of skin-tight nudity needs to be brought back in-fashion because I miss rocking that.

(Fun fact: Another song of hers will show up in the next Electroclature!)

Lastly? Note the use of BLOCKLETTERING for the chorus. Really, goddamn, the attention to detail here is astounding. Fucking amazing.

“It doesn’t matter if you want it back!

You’ve given it away!

You’ve given it away! Away! Away! Away! Away! Away! Away!”

GOTHIC QUEER CULTURE (2019)

April 24, 2024

Laura Westengard’s GOTHIC QUEER CULTURE is mostly what it says on the tin: it’s a collection of essays examining goth literature and queer culture over the past few centuries, focused on how those in that community are often considered monstrosities and how they (and by they, I mean: people like myself) embrace and own it. In case you haven’t realized it? I’m goth as fuck.

What I didn’t expect from it was how it’s also 100% about trauma. Probably wouldn’t have read it if I’d known that before diving into it! I have been repeatedly told by numerous professionals: “Take a break from trauma-centric works!”

(If I’d read the subtitle “Marginalized Communities and the Ghosts of Insidious Trauma” I probably would have realized that but …I’m dumb and didn’t bother to read that far until the book arrived at my doorstep. I was hooked on the title alone and couldn’t help but read it.)

“Gothicism is perhaps best characterized by its excess, bringing the disruptive, the unspeakable, into our field of vision.”

I’ve touched on this before, but uh, from my pre-teen years into my 20s? Pretty fucking traumatic. I really put myself through the wringer. I’m still digging through everything I hid and buried, from myself, from everyone. I’ve been in trauma therapy for a while now. Didn’t really realize any of it at the time — who does when you’re living it? — but fuck. I hope to hell you haven’t had to deal with anything severely traumatizing but if you have? Get yourself to a trauma therapist. Seek help. It’s the best thing you can do for yourself.

I don’t mean to oversell — plenty of folks have been through far worse than I have — but we all have our own terrible journeys in one way or another, don’t we?

What GOTHIC QUEER CULTURE instills is that those who lean towards the gothic subculture, especially if one is queer or bent? You’ve been through a lot of shit and have been weathered and found some sort of calm through this dark community, despite feeling like one is a societal aberration and have been treated like shit, and often still are.

I won’t go as far as to embrace the central thesis of these essays — that goth subculture is innately queer, despite the fact that I identify as both queer and goth — but I also won’t deny it. For me, the goth subculture has always been about simply accepting the deviants, those cast aside from mainstream society and — yes — that definitely includes those who are queer and marginalized, more often than not.

I have mostly lived in goth and queer communities. These have always been safe spaces for me. You can embrace who you are, how you present yourself; you don’t have to feel like you have to put on a facade. You can be genderqueer! You can be non-binary! You can be androgynous! You can be a weirdo cishet that just wants to dance to the point where you feel abandon! You can just be yourself and folks will appreciate and embrace you! It sounds hippie-dippy, but that is absolutely the experience I’ve had in Chicago’s goth community since the moment I moved here and I love it.

We are the misfits. We have been spit on. We have been slandered. We have been abused. When I was younger and lived in Indiana? I felt like every day I went outside I was putting myself at risk, simply for looking and presenting the way I did and rightfully so, as I have been in more than a few situations where I realized: “Oh, fuck, these people are absolutely against me and are definitely going to go to town on me if I don’t do something.”

“If we recognize that a traumatically informed gothic aesthetic was and continues to be central to queer cultural production — critical theory, popular culture, literature, art, performance — it becomes clear that resistant and subversive queer culture is gothic at its core.”

GOTHIC QUEER CULTURE recognizes all of that, albeit couched in academic terms and references. It’s goddamn rare to find a text that encapsulates what I’ve experienced in a manner that is wrapped around the subculture I grew up with. It’s safe to say? I felt super seen. This text isn’t for everyone as it is extraordinarily specific but it was astounding for me and it might be for you.

You can pick up a copy via the University of Nebraska!

THIRSTY SUITORS (2023)

April 22, 2024

“BATTLE YOUR EXES

DISAPPOINT YOUR PARENTS

FIND YOURSELF”

Such is the mantra of THIRSTY SUITORS.

It is so, so, so very tempting to describe THIRSTY SUITORS as the queer SCOTT PILGRIM everyone should have had, even though the former is a videogame and I’m referring to the SCOTT PILGRIM graphic novels. However? No, no, no, it is a very different beast.

THIRSTY SUITORS features Jaja. Jaja is a first-generation American-India transplant. She also goes through romances like toilet paper, leaving emotional turmoil in her wake.

After receiving her comeuppance via a garbage girlfriend miles away, she cycles back home to face the sexy daemons of her past.

To briefly note: I’m a white male (he/they) New Englander so I haven’t dealt with the very specific sort of parental passive-aggressive and negging portrayed here by a first-generation American-Indian woman, but I am married to a Greek woman so I’ve definitely witnessed something similar first-hand.

I will fully admit that I bought THIRSTY SUITORS because it looked like a spiritual sequel to one of my favorite games: JET SET/GRIND RADIO, all rollerblades and culture-jamming. Hell, when I was running club nights, we’d routinely use those JET SET RADIO gaming avatars to promote ourselves. SEGA was way ahead of the curve with that game. (That’s a story for another time.)

While THIRSTY SUITORS delivered on the JGR facet in that it was fun as hell — you can effortlessly skate around your neighborhood and the surrounding areas without facing much in the way of penalties — and it features the same exuberance and a similarly boppy soundtrack.

However, while it does incorporate the JGR mechanics to get around, THIRSTY SUITORS is first-and-foremost about one fuckup of a human being who has made so many bad decisions as a teen — someone who was innately alluring to others — someone who used people close to them like toilet paper, and is reckoning with that and trying to put matters, if not right, then not wrong.

Despite the name, despite what it says on its tin, while everyone here is horny as fuck, it’s about facing the night after as opposed to focusing on hookups.

This game is a fucking exhaustive emotional rollercoaster.

Like the best works, it’s framed as a daily structure. (Hey, don’t believe me? Watch DEADWOOD, which is strictly bound by sunrise and sunset.)

While the game mechanics are thrilling, really, the game is more about the narrative, and what a story. THIRSTY SUITORS is a breath of fresh air, detailing an immigrant story and 20-something angst. While playing it, I was totally gobsmacked that it existed because? Tales like these simply don’t exist in the interactive space, much less look as gorgeous and be so aurally hooky as this.

One of the things I absolutely love, love, love about this game is how physical Jala is. Jala isn’t the sort of person to just walk into a scene; they bounce into the action. Jala loves to flip around, and while part of it is a call to attention, it’s also just innately them. That sort of physical effusiveness is, oddly, no more on display than when Jala is cooking.

The first step to cooking is always: wash your fucking hands. This is the first game I’ve ever seen to prioritize it. (Also? If that’s not your first step in cooking? Uh, fucking learn it! Repeatedly wash your hands, you filthmongers!)

But I digress. Jala? Jala flips herself over and performs a number of acrobatics — and you have to perform a few quicktime events — to do so.

It’s a small note, but upon washing her hands? She flips on back to the stovetop! Everything is sliced and diced and served with over-exercised verve and I fucking love it!

As someone similar, as someone who can’t help but bop around in the kitchen, who can’t stand still, who is a weird ball of energy that always wants to be in motion, I couldn’t help but love her grace.

THIRSTY SUITORS is a game I wish continued forever. I loved every moment of it. (That said, I did skip every optional skating opportunity because I’m not in the mood for twitch-based gaming at the moment!) Did it have a satisfying conclusion? Most certainly. I still want more. I want a 7-UP of this game. 14-UP. 21-UP! (If you aren’t familiar with the reference? There’s an array of documentaries that follow folks every seven years of their lives. Highly recommended!)

I will note that, yes, I was disappointed that I couldn’t really romance anyone, but that’s not the point of the game or its narrative. Despite the flirting options, there’s really no wooing; it’s all about self-examination and self-scrutiny.

There aren’t many games that I feel the need to replay, but this game has been calling to me to revisit. It’s that good, and I feel like so much effort and thought and feeling went into it, but also seems like it was overlooked and under-appreciated. Please rectify that.

Electroclature Volume Fourteen: 14

April 19, 2024

Part fourteen of an array of CD mixes I made for my wife over a long number of years! Read more about it here!

This is not a well-designed cover. The font feels awkward and I leaned way too much into drop-shadows.

However? I vividly remember taking the photo. I was visiting a friend and noticed the burn stains and reflected on what may have caused it, knowing I’d never get an answer.

Not every great moment lends itself to a great image, but I hold it precious.

Highlights? Motherfucking FIGHT LIKE APES’ ‘I’m Beginning To Think You Prefer Beverly Hills 90210 To Me’! NICO VEGA’s ‘Beast‘! THE LONG BLONDES’ ‘Five Ways to End It’! So good! I cannot keep myself from rocking out to those tracks! I’m doing so while penning this post!

(Album / Artist / Song):

  • AMANDOU & MARIAM / Welcome To Mali / Sabali
  • KJARTAN SVEINSSON / Sí›asti bærinn / Sí›asti bærinn 5
  • MUNLY / Munly & The Lee Lewis Harlots / Song Rebecca Calls, ‘that birdcage song’, Which It Never Was But Now Kind Of Is Because Of All Her Influence…
  • THE KNIFE / Deep Cuts / You Make Me Like Charity
  • GOLEM! / Citizen Boris / Zingarella
  • GOGOL BORDELLO / Gypsy Punks Underdog World Strike / Dogs Were Barking
  • THE KILLS / Midnight Boom / What New York Used To Be
  • KATZENJAMMER / Le Pop / To the Sea
  • LOS CAMPENSINOS! / The International Tweexcore Underground / The International Tweexcore Underground
  • FIGHT LIKE APES / And The Mystery Of The Golden Medallion / I’m Beginning To Think You Prefer Beverly Hills 90210 To Me
  • LOVE IS ALL / A Hundred Things Keep Me Up At Night / New Beginnings
  • SONS & DAUGHTERS / This Gift / The Nest
  • NICO VEGA / chooseyourwordspoorly / Beast
  • SHRAG / Shrag / Pregnancy Scene
  • THE LONG BLONDES / Erol Alkan 12″ Mixes / Five Ways To End It [12″ Erol Alkan]
  • HANSJE / 7″ Single, 1978 / Silex Pistols Piew Piew
  • THE TOSSERS / Communication & Conviction / Johnny I
  • PARENTHETICAL GIRLS / (((GRRRLS))) / Inspirational Shortpants [Xiu Xiu]

Electroclature Volume Thirteen: 13

April 17, 2024

Part thirteen of an array of CD mixes I made for my wife over a long number of years! Read more about it here!

I know this is a CGA-ish eyesore. (CGA? An old-school limited computer display spectrum.) I got way too carried away but I think it has a certain charm, even if it gives me a bit of a migraine.

Included is the back and front and an alternate cover — which is even more of a visual headache! — because that’s a thing I used to do for some reason. Also, the initial template, which is far friendlier to one’s senses.

…or not.

There’s a lot of repetition here. A lot of the same tracks from a few prior volumes. I’m gonna chalk that up to a bipolar manic episode because that tracks.

(And yes, I still have a few ‘tape suitcases’ exactly like this, full of second or third or fifth-generation ripped audio works.)

Highlights! EXOCET’s South End [Colombian Connection] is powernoise perfection, all gristle and meaty beats. THE BPA and Toe Jam is so exuberant and ebullient, although 80% of that is instilled solely by David Byrne’s lilt. THE LONG BLONDES’ I’m Going to Hell from their under-heard album ‘Couples’ which features the following:

I didn’t want to risk the chance of someone finding out /

Now I’m going to hell, so I may as well make it worth my while

Yeah, that’s my lifelong anthem.

Yes, I spent a stupid amount of time on all of these works, and that time is not reflected in the end-product!

(Artist / Album / Song):

  • SALLY SHAPIRO / Remix Romance Vol. 1 / Jackie Junior [Junior Boys]
  • TILLY & THE WALL / That Remix Sucks / Bad Education [No Context]
  • EVIL NINE / They Live! / They Live! [Felix Cartal]
  • EXOCET / Violation / South End [Colombian Connection]
  • LOS CAMPESINOS! / We Are Beautiful, We Are Doomed / Miserabilia
  • TITUS ANDRONICUS / The Airing of Grievances / Titus Andronicus
  • THE OOLAHS / Chinchilla / Lemmings Anthem
  • BE YOUR OWN PET / Get Damaged / Becky
  • LOVE IS ALL / A Hundred Things Keep Me Up At / Wishing Well
  • CALL ME POUPÉE / Western Shanghai / Le Paradis Des Fous
  • KATZENJAMMER / Le Pop / A Bar In Amsterdam
  • ELASTICA / The Radio One Sessions / I Want You [Evening Session]
  • THE BPA / Toe Jam / The Jam
  • PARENTHETICAL GIRLS / Entanglements / This Regrettable End
  • TIMBER TIMBRE / Timber Timbre / Trouble Comes Knocking
  • THE LONG BLONDES / Couples / I’m Going to Hell [Abridged]