Ranking: Every Joy Division Song in Honor of Ian Curtis

A commemoration of a poet whose legacy lives on 40 years later and counting


Joy Division never wrote a bad song; there just wasn’t any time. In the four years the Manchester outfit existed, Ian Curtis, Bernard Sumner, Peter Hook, and Stephen Morris were a force of creativity — pure and unadulterated. They weren’t just talented, they were in sync, and their tragic gasp of a timeline has nurtured an enduring legacy.

“I’ve never been in a group as solid as Joy Division,” Hook recently told Consequence of Sound. “The four members were so balanced and so equal, and their inputs and their creativity were so important to the group as a whole. There were no passengers in Joy Division. It was absolutely perfectly balanced. We never got to appreciate ‘It’ because ‘It’ was overshadowed by Ian’s death.”

“We didn’t want to become famous and sell millions of records,” Sumner told us back in 2010. “We did it… honestly… because we loved music. I think that if you love music, and you’ve got a record collection, you love listening to music, you can reverse that process. You love the output, you love writing music. In a strange way, the music sort of wrote itself rather than us write it. We just waited for the music to fall in front of us.”

Cohesion aside, there’s no denying the inimitable influence of Curtis. The late singer-songwriter has and always will be the pillar on which Joy Division stands upon, and that notion is hardly lost on the band’s surviving members — even today. “None of us had the vision,” Hook admitted in the same interview. “The one who had the vision was Ian.”

It’s been 40 years since Curtis took his own life on May 18, 1980. in that time, Joy Division has become an institution, and his poetry has crossed over into countless mediums of culture, be it literature, graphic novels, films, television shows, infrastructures, and body art. Curtis’ short tome of work continues to inspire, and that’s worth celebrating.

“Joy Division is a fantastic story,” Hook shared. “The music, Ian’s lyrics, his image … the mystique it creates within rock and roll is what makes it perfect. So, I try not to live up to the myth. I try to just play the music.”

Act accordingly.

50. “You’re No Good for Me”

If there’s a “basic” track in all of Joy Division’s catalogue, it’s without a doubt “You’re No Good for Me”. One of their earliest songs to date — the recording even features OG drummer Steve Brotherdale on drums — this Warsaw track screams: “I love my inspirations!” It’s a clumsy Sex Pistols track at best, though Sumner’s genius at the guitar does eek its way through. –Michael Roffman

Tattoo This: You’d be best to keep looking.

49. “As You Said”

An instrumental B-side of 1980’s “Komakino” single, “As You Said” is about as rough as it gets in the Joy Division catalogue, which is still crystal enough to listen to wholeheartedly. It’s a two-minute collage of electronic effects, all of which would be incorporated into the New Order Sound. No wonder it would later be paired with New Order’s “Video 586” single. –Michael Roffman

Tattoo This: Perhaps you can get the notes? Otherwise, no dice.

48. “At a Later Date”

Every band has that moment where things begin to click. “At a Later Date” isn’t exactly that magic hour, but it’s close. The song’s much too brutish, but that Joy Division sound is creeping up. You get the sense that everyone’s starting to realize they can actually do this (or at least catch up to Curtis). Unfortunately for Brotherdale, he would soon be left behind. Literally. –Michael Roffman

Tattoo This: “Human beings are dangerous and they call me in the dark”

47. “Gutz”

In another life, Joy Division were the progenitors of a rabid post-hardcore movement throughout the ’70s underground, and that might have been interesting to see play out. Of course, it would have also meant the loss of their greatest anthems (and you could forget New Order), so we’ll use this as a nice what-if, and marvel at Curtis and Hook’s Cujo moment. –Michael Roffman

Tattoo This: “Don’t laugh at murder, I wont pay the price”

46. “Komakino”

An outtake from Closer, and later released as a single (and coupled with 1988’s Substance), “Komakino” reads more like a blueprint for New Order than Joy Division, at least if you consider the sounds off of 1981’s Movement. Lyrically, it finds Curtis cycling through the myriad tunnels of anxiety, contending that with every new resolution comes another new fire to extinguish. Too true. –Michael Roffman

Tattoo This: “Something I’ll never forget”

45. “Inside the Line”

Again, there’s not much depth to explore here beyond the obvious sounds of The Sex Pistols. Granted, there’s a raw energy to “Inside the Line” that’s fun to behold, but Joy Division’s best tracks traditionally managed to sound both highly engineered and ruggedly exposed — like a mechanical heart beating in an open chest. Elsewhere, the Sex Pistols made their mark sounding like a festering nipple piercing wound, but hey, to each their own. –Dan Pfleegor

Tattoo This: “Anarchy in the U.K.” (‘Nuff said)

44. “The Drawback”

Imagine, if you will, a group of punky young lads in Manchester releasing a surf rock anthem replete with “Wipeout” drum cascades. It goes about as good as you’d think. “The Drawback” always stood out as an odd track, but completist super fans looking to catch some gnarly waves will still need to hang 10 on this one. –Dan Pfleegor

Tattoo This: Locals Only!

43. “Auto-Suggestion”

Perception is reality, as they say, and for some, that notion is terrifying. Curtis tackles that fear head on in Unknown Pleasures outtake “Auto-Suggestion”, which takes its name from the act of someone repeating a verbal phrase so that an idea may be willed into existence — at least subconsciously. Given the use of repetition throughout Joy Division, one could argue this is a skeleton key of sorts into Curtis’ lyrical way of thinking. And that ending? Post-punk bliss. –Michael Roffman

Tattoo This: “Say you tried”

42. “I Remember Nothing”

“I Remember Nothing” is the closing track on Unknown Pleasures and serves as a fitting epilogue. Curtis laments, “We were strangers,” and while the listener may have gained some insights into the group, it’s still unclear if we’ll ever fully be able to bridge the spaces that exist between art and true comprehension. What were we supposed to take away from the album? Is it possible to know? Like the poor souls at the end of Lucio Fulci’s horror classic The Beyond, it seems the listener and Curtis alike are doomed to continue exploring the foggy ether of life for some greater understanding that may not even exist. –Dan Pfleegor

Tattoo This: “The gaps are enormous, we stare from each side/ We were strangers for way too long”

41. “Leaders of Men”

When a song that’s over 40 years old can still speak to the context, challenges, failures, and frustrations within the world-at-large … what the hell does that mean? Curtis put it simply: “Reach the dumb to fool the crowd.” –Phillip Roffman

Tattoo This: “Self-induced manipulation/ To crush all thoughts of mass salvation”

40. “From Safety to Where…?”

Like “Auto-Suggestion”, “From Safety to Where…?” was culled from the Unknown Pleasures sessions and later handed over (graciously) to Fast Product’s 1979 compilation Earcom 2: Contradiction. One of the more political anthems in Joy Division’s catalogue, the track digs into the fallibility of society and how it’s always sabotaging itself. Nihilistic? Sure, but he’s not wrong. –Michael Roffman

Tattoo This: “Just passing through, ’till we reach the next stage”

39. “Wilderness”

A commentary on the ways religion divides and delineates progress, “Wilderness” feels like a catacomb of confusion, thanks to the interplay between Hook and Sumner. Curtis’ use of repetition — particularly, “What did you see there?” — only adds to the hallucinatory feelings, making this Unknown Pleasures deep cut a bewildering experience. –Michael Roffman

Tattoo This: “Tears in their eyes”

38. “The Sound of Music”

The anxious mind often rebels by cutting everyone and everything off. Yet this is unwieldy and often dangerous, conclusions Curtis comes to on “The Sound of Music”. Not to be confused by the iconic film, this latter era track — recorded during the sessions for “Love Will Tear Us Apart” — finds Curtis at a tragically sobering moment: that only love and life can lead to any kind of resolution. For many, that simply feels impossible. –Michael Roffman

Tattoo This: “Love, life, makes you feel higher”

37. “Incubation”

The other B-side to “Komakino” — and arguably the best of the three — “Incubation” and the entirety of its instrumental performance prove that Joy Division could have easily diversified their catalogue. Similar to Italians Do It Better, they could have operated as a band front and center, or they could have worked behind the red velvet curtains. –Phillip Roffman

Tattoo This: Nada.

36. “In a Lonely Place (Detail)”

It doesn’t get any more explicit than that. One of the last songs to be written by Curtis, “In a Lonely Place (Detail)” was actually salvaged by Hook from a rehearsal tape, which explains the muddy quality. Given the chilling lyrics — “The hangman looks ’round as he waits” — the audio quality only adds to the track’s mounting dread. Look for a killer cover by Bush off The Crow: City of Angels soundtrack. –Michael Roffman

Tattoo This: “How I wish we were here with you now”

35. “Warsaw”

“3 5 0 1 2 5 Go!” That’s a weird way to count into a song, right? Well, ”31G-350125” was Adolf Hitler’s Deputy Führer’s prisoner of war serial number. The man behind the number? Rudolf Hess, aka the piece of shit who signed “The Nuremberg Laws of 1935.” You know, the laws that stripped Jewish citizens of Germany their rights in the lead-up to the Holocaust? With each scream of “31G” we are reminded of his atrocities. –Phillip Roffman

Tattoo This: “31G!”

34. “Candidate”

Curtis marries politics with the personal on “Candidate”. The somber Unknown Pleasures track uses the titular figure as a way to tread through the instincts, conceits, and conflicts of a relationship, mirroring a fractured relationship with that of an aspiring politician. Given the rocky tensions involving Curtis’ affair outside of his marriage, there’s a lot to glean from the meditations in this one. Voyeuristic is one way to put it. Confessional is another. –Michael Roffman

Tattoo This: “Oh, I don’t know what made me”

33. “Walked In Line”

Originally carved out for Unknown Pleasures, “Walked the Line”, well, walked right off the album until it found shelter in Still. Probably a smart idea. It’s clear they were still shrugging off their Warsaw energy, and that level of aggression really has no place on their debut. Neither does a track with haunting Holocaust imagery (at least this explicit). Alas, as you’ll soon learn, a number of their sharpest songs are without albums. –Michael Roffman

Tattoo This: “They carried pictures of their wives/ And numbered tags to prove their lives”

32. “Something Must Break”

I made a playlist in college to accompany my journey to Stephen King’s The Dark Tower, and you can bet that “Something Must Break” made the cut. The books follow an inter-dimensional cowboy who travels through wastelands and past monsters in his pursuit of the titular beacon, while the song’s frenetic and warbling synths elicit the feeling of a man on the run, chasing after something he’ll never comprehend, and making decisions along the way without realizing their impact. Both the story and the song maintain the steady hum of circumstances being wrong. They also remind their respective audiences that we cannot maintain this pace forever and must await the inevitable tipping point. –Dan Pfleegor

Tattoo This: “Had thoughts for one/ Designs for both”

31. “The Only Mistake”

Out of all the outtakes for Unknown Pleasures, “The Only Mistake” feels like a true outcast. It’s a bridge track between the band’s two studio releases, falling somewhere between the minimalism of their debut and the colossal swells of Closer. Sumner’s performance is incredible, though, and he never lets up. He rips right into his guitar as Curtis’ vocals bubble underneath. It’s shoegaze before shoegaze; it’s an intriguing piece of their puzzle. –Michael Roffman

Tattoo This: “Strain, take the strain, these days we love”

30. “Exercise One”

The past haunts. Whatever’s happened already happened. The only thing that remains are the scars. Or the memories. “Exercise One”, an outtake of Unknown Pleasures and the opening track for Still, sinks its teeth into that reality. Curtis uses Rockwellian imagery to surround this gripping existential anxiety, and it’s all too relating. Those shrieks and wails only add more fuel to the fire. –Michael Roffman

Tattoo This: “Time for one last ride before the end of it all”

29. “Ice Age”

The context of a 1970’s economic downturn and a worldwide energy crisis reframes “Ice Age” as a period where living things cannot survive. We can stockpile all of the supplies we want, but there’s not hope of anything growing. Nor any chance of establishing new human connections. Just a cold void that stares back while you search in vain for a way to keep going. –Dan Pfleegor

Tattoo This: “Into the cold/ No smile on your lips/ Living in the Ice Age”

28. “Atrocity Exhibition”

The opening salvo off Closer, “Atrocity Exhibition” is a tumble into hell, made all the more epic by Morris’ tribal drumming. It was a statement, alright, and producer Martin Harnett ensured they got their message out loud and clear, despite Hook and Sumner’s protests. That scrawling guitar, the sub-atomic bass, it’s all a way to truly give Curtis’ Dantesque allusions even more terror: “This is the way, step inside.” Who didn’t. Who wouldn’t. Who couldn’t. –Michael Roffman

Tattoo This: “Take my hand and I’ll show you what was and will be”

27. “The Eternal”

“The Eternal” is a woeful funeral procession that would lend itself well to the closing scene of a black and white film where everybody dies (see: Ingmar Bergman’s The Seventh Seal). The song’s dreary instrumentation contrasts well with the strained beauty of Curtis’ vocals, however, which reluctantly show off his strange knack for melody and otherworldly vibrato. –Dan Pfleegor

Tattoo This: “Scattering flowers washed down by the rain”

26. “Day Of the Lords”

Chris Nagle, engineer on Unknown Pleasures, said Ian Curtis would listen to a track once before doing his vocal track — all in just one take. To make the setting even more dramatic, Curtis would insist on recording completely in the dark to aide his memory of the lyrics. Imagine being in that darkness and hearing him scream: “Where will it end? Where will it end?” –Phillip Roffman

Tattoo This: “Where will it end?”

25. “Colony”

Factory Records was known to give Joy Division an incredible amount of leniency when it came to their contractual obligations, which was not only unprecedented but absolutely necessary to the creed of Joy Division. Granted, it cost the group millions of dollars, but this laissez-faire attitude helped define Factory and its brand. Consider “Colony” its anthem and each verse a reminder of its core principles. –Phillip Roffman

Tattoo This: “Stood alone here in this colony”

24. “These Days”

It would only make sense “These Days” would be the B-Side to one of the most beloved singles of all time:“Love Will Tear Us Apart”. The song’s an electric sweetheart, riddled with guitar lines that Andy Summers of The Police would no doubt admire, and a sound LCD Soundsystem would strive to achieve years later. –Phillip Roffman

Tattoo This: “Broken heart romance to make it pay”

23. “Decades”

With “Decades”, Curtis seems nearly hyper-aware of the inevitability of time passing and the burden it plays on each generation existing within. In a sense, it’s almost an obituary to the human spirit, and, in hindsight, to himself. –Phillip Roffman

Tattoo This: “Here are the young men, the weight on their shoulders”

22. “Novelty”

Do yourself a favor: Pickup the compendium Substance and indulge in every sought-after Joy Division song. Once you’re done foaming at the mouth for more, give another listen to “Novelty”, and you’ll realize the true definition of the word: “the quality of being new, original, or unusual.” –Phillip Roffman

Tattoo This: “Can’t rest on your laurels now”

21. “Ceremony”

One of the last songs written by Curtis, “Ceremony” would live on through New Order. Of the three recordings with Joy Division — one live, one in the studio, and one at a soundcheck — Curtis is hardly audible in all, making the song all the more tragic. It’s worth trying to listen, though, if only to hear a gasp of what could have been. It will haunt you. It will taunt you. Let it. –Phillip Roffman

Tattoo This: “Heaven knows, it’s got to be this time”

20. “Glass”

Recorded in 1978, “Glass” captures the primordial dark energy of a proper goth track. The jarring minor chords and ominous snare cracks would fit right in on a playlist of bands like Bauhaus and even The Cure, who were simultaneously cultivating their own takes on the emerging genre. The lyrics get a little bit hokey pokey (“Take it quick, take it neat/ Clasp your hands, touch your feet”), but the instrumentation more than compensates for any shortcomings. –Dan Pfleegor

Tattoo This: “I bet you wish you’d do it again”

19. “The Kill”

Peter Hook’s bass line revs like a runaway train careening down wobbly tracks, so much so that I had to confirm the speed levels of the song before continuing along its racing journey. Although it’s technically a B-side, “The Kill” serves as an extraordinary marker in the band’s evolution. The song wields the angry tempo that informed the rest of their Warsaw thrashers, but the vocals and crumbling post-punk production bring it closer to the group’s signature sound. –Dan Pfleegor

Tattoo This: “But through it all I kept my eyes on you”

18. “No Love Lost”

How Edgar Wright didn’t fit this into Baby Driver is beyond us, but someone needs to rob a fucking bank to this song. Call to action: anyone who didn’t get their stimulus check. Can ya’ll do a TikTok? All joking aside, Joy Division clearly brings the guns and ammunition with this Substance jam — nearly four of cool right here. Impossible to stream without a cigarette. –Phillip Roffman

Tattoo This: “No life at all in the house of dolls.”

17. “Twenty Four Hours”

It can be said that Stephen Morris has never been so prevalent in a Joy Division song nor has he ever sounded so good than he does on “Twenty Four Hours”. The Closer gem allowed for a more cinematic approach to the experience Joy Division would typically create on stage. Having the ability to see that live at Birmingham University in 1980 must have been wild. –Phillip Roffman

Tattoo This: “So this is permanent”

16. “Passover”

Here’s a history lesson: The album cover for Closer is a photo taken by Bernard Pierre Wolff of the Appiani family tomb located in the Monumental Cemetery of Staglieno, Italy. The cemetery is home to Giuseppe Mazzini, Michele Novaro, and Nino Bixio, all important Italian political figures who fought for unification. “Passover” seems at peace with this artwork, serving as a deep meditation on the pain and suffering that comes from any kind of power. How a band can take you through that terror through instrumentation and sound is beyond me… –Phillip Roffman

Tattoo This: “Sanctuary from these feverish smiles”

15. “Dead Souls”

How “Dead Souls” never ended up on an album is astonishing. It’s such a quintessential Joy Division track, firing on all cylinders at every conceivable facet. Curtis is at his most defiant behind the mic, too, sounding like a drill sergeant gone AWOL. From beginning to end, he marches with deafening fury, creating a trail for Nine Inch Nails to follow years later with their cover for The Crow. Both are essential. –Michael Roffman

Tattoo This: “A duel of personalities/ That stretch all true realities”

14. “Interzone”

Sharing the same raw elements and heritage of “Failures” and “No Love Lost”, “Interzone” truly is a refugee finding residency in Unknown Pleasures. The album absolutely needs its charm and proves to be the best saved material from the demolition of Warsaw and the debacle of those RCA recordings. –Phillip Roffman

Tattoo This: “…all forgotten youth…”

13. “New Dawn Fades”

Set on heartbreak and self destruction? Seek “New Dawn Fades” and listen to yourself be reborn. Notice how Hook’s bass lines flirt effortlessly with Sumner’s six-string lullabies, then allow Curtis to guide you through each heart attack. From there, you should be able to crawl from the ashes you once laid in. –Phillip Roffman

Tattoo This: “…walked on water, run through fire…”

12. “Insight”

Like Brian Epstein for The Beatles, producer Martin Hannett is often considered a silent member of the Manchester outfit. Take “Insight”, for example, a track built by the boards, what with its Star Wars ricocheting and found effects. By all accounts, he was an agent of chaos, and that’s all over this track. It’s a marvelous thing. (Fun fact: The Killers would be inspired by it 27 years later for Sam’s Town hit “When We Were Young”.) –Phillip Roffman

Tattoo This: “…when we were young”

11. “Heart & Soul”

Part of the appeal of Joy Division has always been The Cool. Their sleek minimalism takes on an almost fashionable quality — in sound, in mind, in tone. “Heart & Soul” speaks to that truth. Credit goes to Hook, who peels away like an 8-bit car in Rad Racer, but equal kudos are due to Morris’ mathematical beats. Track could have been 30 minutes long and we’d only move to light another cigarette. –Michael Roffman

Tattoo This: “That little kiss you stole/ Held all my heart and soul”

10. “Failures”

It’s fitting that “Failures” would close Joy Division’s debut EP, An Ideal for Living. It’s the true K.O. within their catalogue. The moment Sumner’s guitar explodes, you feel that crushing left hook. This is Raw Power kind of filth, ripping Curtis right out of Manchester and tossing him into the dirtiest confines of Detroit. It’s admittedly an image worth fancying, seeing how the band tragically never had a chance to hit North America. It’s a bruiser, alright. –Phillip Roffman

Tattoo This: “Break the image of your father’s son”

09. “She’s Lost Control”

Witnessing another person suffer from mental and physical ailments is scary enough. But imagine the painful realization that the same disorder is about to start coming after you. This troubling scenario befell Curtis while he was helping a young, epileptic woman find employment in the town of Macclesfield. Unfortunately, she, like Curtis after her, was not long for this world. The only silver lining one can extract from this painful exchange though is the fact that it inspired one of the most personal Joy Division songs ever put to tape. –Dan Pfleegor

Tattoo This: “She’s lost control again/ She’s lost control”

08. “Shadowplay”

Stephen Morris could be considered a human drum machine. (Seriously, anyone check the man’s pulse? Is he truly an android?) But really, what it boils down to is Hannett’s production. All too often, the wild late producer would take Morris’ drums, play it in a bathroom, record that with an additional microphone, and then feed that through a digital delay filter. “Shadowplay” is the epicenter of this sound and modification … and that’s only one reason why it’s so essential. –Phillip Roffman

Tattoo This: “I let them use you for their own ends”

07. “A Means To An End”

“A Means to An End” feels like touring the kill floor of a factory that staffs dogs and vultures to produce widgets of distrust. And business is good! The song paces from one bar to the next with a cold, engineered efficiency, contrasting with a warbling sense of accusatory concern from Curtis. “A Means to An End” is also a track that lends itself well to live renditions. Curtis’ strained vocals display a full range of betrayal and anger, especially in his evolving repetitions of “I put my trust in you” that start with a bang but end in a whimper. –Dan Pfleegor

Tattoo This: “A house somewhere on foreign soil/ Where ageless lovers call”

06. “Isolation”

With “Isolation”, Joy Division unknowingly forged a bridged for post-punk and new wave, one that the likes of The Cure, U2, and, most importantly, New Order would soon cross years later. It almost didn’t happen, either. The song was saved by Martin Hannett after an original tape was botched by a young engineer. Oh, by the way, it just so happens that Hannett would go on to have a hand in U2’s debut international single “11 O’Clock Tick Tock”. –Phillip Roffman

Tattoo This: Surrender to self-preservation”

05. “Digital”

“Digital” carries a lot of weight within Joy Division’s catalogue. It’s not only one of the catchier tracks to mine from Substance, but it would wind up being the last song ever performed by group — recorded at Birmingham University on May 2nd, 1980. Sixteen days later, Curtis would be gone from the world, making the words “Don’t ever fade away” feel all too prescient. It’s chilling to revisit. –Phillip Roffman

Tattoo This: “Day in, day out”

04. “Transmission”

Salvaged from a rejected self-titled album in 1978, “Transmission” would wind up serving as the debut single of Joy Division in October 1979. Given a faster tempo, the song truly feels like an introduction to the quartet as everyone’s given the spotlight, breaking barriers and expectations of the genre at the time. It’s an undeniable fan favorite that feels strangely underrated in the band’s canon. –Phillip Roffman

Tattoo This: “And we could dance”

03. “Disorder”

Despite the doom and gloom, Joy Division could never shy away from a great hook. “Disorder” has about five of them. Maybe even more. There’s Hooky’s 8-bit bassline, Sumner’s Dick Dale-grooving, and Morris’ popcorn percussion for starters. Curtis grooves right over it all with ease — wielding a near-Roy Orbison falsetto, no less — and an anxiety attack has never sounded so sexy. Completely sets the tone for Unknown Pleasures. –Michael Roffman

Tattoo This: “I’ve got the spirit, lose the feeling…”

02. “Love Will Tear Us Apart”

“Love Will Tear Us Apart” is ubiquitous. Whether you were an early follower of Factory Records, a childhood fan of Donnie Darko, or a reader of any publication’s list of best songs ever, “Love Will Tear Us Apart” serves as the common entry point for fans of the Manchester quartet. Curtis’ somber lyrics about his disintegrating marriage, combined with a synthy, new wave romp display the essential elements of the group’s brilliant albeit short musical career. It’s perhaps tragically fitting too that the title would soon find itself etched into the headstone of Ian Curtis, a man torn from this world much too soon. –Dan Pfleegor

Tattoo This: “Love will tear us apart” (as if you had any doubt!)

01. “Atmosphere”

Death is a release. No matter how tragic one’s passing may be, there’s a finality that comes with it. Any anxieties, any fears, any misgivings, any debts, they’re all put to rest. Buried. Burned. Gone forever. For some, that’s terrifying. For others, it’s comforting. It doesn’t matter either way because it’s inevitable. Rather than cower from that inevitability, there’s peace to be had from accepting it. “Atmosphere”, in all its funereal glory, encompasses that rationale. It’s a majestic walk to the grave, a self-aware hymnal written too soon, a postscript penned before the ending. It’s all of these things. But, it’s also the true anthem of Joy Division, encapsulating the pain, the power, and the beauty of the Manchester act. It’s so good it almost feels perfunctory. And yet, it exists as they did. –Michael Roffman

Tattoo This: “Your confusion, my illusion”