And there's this moth outside my kitchen door

She's bonkers for that bare bulb

Flying round in circles

Bashing in her exoskull

And out in the woods she navigates fine by the moon

But get her around a light bulb and she's doomed

She is trying to evolve

More crooning and saxophones, less muddy bass guitar.

36 minutes of the best and most interesting music from NIN's last three releases, minus the sludge, resequenced.

"If Swimming wasn’t Miller’s best album, it was certainly the one where he came into his own as an artist. There are moments on 2015’s GO:OD AM where his rapping is sharpest, 2014’s Faces accommodated his most ambitious ideas, and 2016’s The Divine Feminine is his most diverse and complete project, a testament to the community of musicians he’d established around him. But Swimming hinted at an artist who’d finally cleared his mind and found his footing. Circles provides some resolution and helps finish Miller’s final thoughts."

Somehow there's some closure, even though he was clearly so early on in his journey.

As a teenager in the late 1980s, James Dewitt “J Dilla” Yancey worked as a junior police cadet for the Detroit Police Department. Several years later however, after suffering through one too many many incidents of police harassment and racial profiling as young adult, his opinion of the police would change as he would record “Fuck the Police” in 2001.

In an interview years later, his mother, Maureen “Ma Dukes” Yancey, gave further detail on Dilla’s reason and motivation for the song: “That song was totally true. He caught so much flack from the police for being a clean young man. The police department was down the street from where we lived, and every time he pulled off they’d stop him and harass him. They even tossed the car once looking for something; because he was young and clean-cut, they thought he was selling drugs. [D12 rapper] Proof was at the house one evening when James had another run-in with them. He had only gone to the gas station which was three doors away. I told him not to get upset because he was hurt to tears. He was so angry and just tired of being harassed, so I told him, ‘Look, this is what you do: you go downstairs and make a song about it, and you laugh in their face.’ And that’s when he came up with the 'F the Police’ thing. And people are still singing it today! Every time I go somewhere, that’s one of the songs they play.” [+]

Matt Anniss documents Sheffield bleep techno and details Cabaret Voltaire's conversion to club sounds.