My introduction to El-P was Cannibal Ox’s seminal debut The Cold Vein (which he produced). That kind of trippy, cold dystopian sci-fi vibe is present throughout the production of the album. It’s what I’ve always identified as “The El-P sound” even as his music has evolved

What’s amazing about ‘Replicas’-era Numan is that, while he was heavily influenced by Philip K. Dick, the narratives and characters he created for those albums were original. I think part of the reason his music holds up so well is he didn’t just think “I like Do Androids Dream Of Electric Sheep, think I’ll make a…

I would toss DALEK into the mix for the sci-if/apocalyptic production vibe.

Excellent. Really interesting stuff here, O’Neal. El-P’s a really interesting guy - he’s said he listens to John Carpenter to warm up for beat making, too. Plus, let us never forget his Steven Seagal fan-fiction.

Really looking forward to the new Gary Numan album, his last few albums have been amazing and he’s a live powerhouse, especially given he’s getting on in years.

El P and Divine Styler are the best post-apocalyptic-sounding sci-fi hip hop producers out there. Divine’s Def Mask LP a couple years ago was a mind fuck. It was also consciously modeled on Blade Runner; the artwork as well as the subject matter. There’s even a song called “Voight Kampff”.  

I feel like Ford has gotten increasingly less grumpy and more fun ever since The Force Awakens. Maybe playing these big characters again gets him more excited than other roles?

I don’t completely agree with what you wrote, though I agree more than I disagree, and I greatly enjoyed reading it. It bugs me too that Scott declared Deckard a replicant well after the fact, as part of the beauty of the movie is that we’re never really sure one way or the other.

The two films that have really enveloped me in their atmosphere the most, and hit me on a physical and emotionally visceral level, are Blade Runner and The Revenant. It’s kind of funny too, given that one is an oppressive and claustrophobic future-city-scape, while the other is the exact opposite.

Ex-Machina did in under two hours what HBO’s Westworld couldn’t achieve in 10.