"Surely the ending can’t be THAT bad." -totally wrong, naïve me on Mass Effect 3 about ten minutes ago


John Coltrane - A Love Supreme (1964)
Miles Davis - Miles in the Sky (1968)

Given that tension and emotional extremities tend to yield such genuine manifestations of artistic expression, it makes perfect sense that some of the more captivating works of art come as a result of crisis. With these two records, that crisis is a stylistic one, situating both of them as transitional recordings within the jazz masters’ respective oeuvres - Davis’ album heralding a shift towards the synthesis of jazz with rock and funk formulas, and Coltrane introducing elements of a looser free jazz stye that would come to dominate the latter part of his career. A fully-formed and confidently executed idea is certainly something to admire, but there’s almost more charm in witnessing an artist only beginning to flirt with a nascent one, as though you’re seeing a child hold a fascinating new object in their hands, curiously trying to figure out how exactly it works and what it’s capable of. Even without having heard the records made on either side of these two, one gets a sense of that uncertainty, the thrill of it, and glimpses of where it might be headed. They are ostensibly works in progress, though rather than be diminished by their infancy, there is a peculiar excitement in the descent towards previously unexplored terrain. 

- Alan

(via andthenshestopped)

The events of that day were to lead to the discovery of one of the most bizarre crimes in the annals of American history.”

The Texas Chain Saw Massacre (1974) (X)

(via guerrilla0perator)