Chris Cunningham is an acclaimed English music video film director and video artist. He was born in Reading, Berkshire in 1970 and grew up in Lakenheath, Suffolk.

“When I draw, whatever comes out is what comes out naturally. I don’t see it as ‘dark’. You’re trying to work instinctively, to make stuff as you would when you were 12.” 

My favorite project, Rubber Johnny, blew my balls off, and I had prime respect before that. I’d die for the book and CD. Don’t forget ”Come to Daddy,” “Windowlicker,” “Come On My Selector,” and “Monkey Drummer.”

Watch: Rubber Johnny

"SLK, Archway, London" from "London Grime"

I have a thing for photographer Peter Beste. It started with his project “Norwegian Black Metal.” I attended a showing in Atlanta, and the girlfriend I had at the time would not allow me to purchase a print. The girlfriend after that, who became my wife, bought me the book for the project as well as a signed print.

I also fanboyed his project “Houston Rap Culture,” being that I’m somewhat from Houston and am intrigued by “true” thug life.

My hometown of Houston, Texas, also known as the Third Coast, is a world all its own. This city is responsible for birthing the Geto Boys, UGK (from nearby Port Arthur), DJ Screw, and the codeine-based drink known as Syrup. Producing an uncompromising and innovative sound all their own, many of these artists existed under the radar for nearly twenty years despite a virtual absence of press outside of the deep south. These photographs are my attempt to bring attention to the music, lifestyle and culture of a very exciting time and place.

Recently, he’s put together two documentaries on both of the said projects. They are well worth a watch.

True Norwegian Black Metal: Part 1 ‖ Part 2 ‖ Part 3 ‖ Part 4 ‖ Part 5
Screwed in Houston: Part 1 ‖ Part 2 ‖ Part 3 ‖ Part 4/Part 5

I picked up a copy of Godflesh’s “Selfless” in 1994. The album hit me hard, namely the track “Mantra.” It was heavier, emotionally connecting, than anything else I’d ever listened to. I was into a spectrum of music back then: early Black Metal, Shoegaze, Hardcore Punk, Dark Drum & Bass, etc… Godflesh wasn’t anything I’d heard before: it was crushing. The first time I ever utilized the internet was to research the band. There, I found Mr. Justin Broadrick. I’ve been following him ever since. Godflesh, Final, Techno Animal, early material with Napalm Death and Head of David, side projects, and finally Jesu.

After stalking, I found I have very much in common with Justin Broadrick, and have gone through similar emotions coinciding with his releases. Jesu’s “Heartache” pounded my emotional stake into the ground.

I have a hard time with idols, as I don’t have many. I had a chance to meet Justin at a show with Wolves in the Throne Room. I failed. I know he’s a down guy, I just couldn’t bring myself to it. I’d rather keep it stunning. I’d rather “not know him” and continue that mystifying personal bond through his music.

“I started Godflesh when I was about 18. To some extent, I had this naïve rebellion or misguided nihilism. As I’ve matured, I think I’ve gotten past trying to fight the ills of the world. I think things have become a lot more internalized. I think an individual, when they are creating some sort of art, they definitely grow with it. Some of the things I’ve tackled in the past are now redundant to me. Instead of having this worldview, I view things in terms of relationships, which are kind of a microcosm of all things, anyway. But it’s not all so personal. Sometimes, I’m regrettably thinking about the fact that human beings tend to be very easily compartmentalized and even relationships can be a bit trite sometimes. I’ve been thinking about that sort of dilemma for the last few years with breakups and things that you think are infinite that are really quite mortal. So I think it’s me getting used to the fact that everything is quite mortal. All these things caused quite a bit of confusion in my life.”

The Eye: Jesu: Part 1 ‖ Part 2 ‖ Part 3

Now available: “Khlyst I” 10-color silkscreen hand-printed by Andy Crawshaw at Broken Press. 32 x 12 inches, signed and numbered in an edition of 100, this print was created to commemorate the San Francisco exhibition, “Catalyst.”

Hydra Headlines ‖ Stephen Kasner

I have a thing for Thomas Köner. Not only is he handsome, but talented. I’ve listened to “Daikan” more times than I can remember. It’s just what I need for Winter. Pick it up.

Thomas Köner is one of the very few able to take the droning ambient genre to unequalled heights. Although very minimal, Daikan feels dense and grabs your attention from the beginning till the end. A very thick, pretty apocalyptic – yet remaining tranquil – soundscape offering the abstract basis on which you can build your own illusions (and believe me, you will). - Jean Marc Dekesel

Thomas Köner ‖ Last.fm