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Elizabeth Sandifer

Elizabeth Sandifer created Eruditorum Press. She’s not really sure why she did that, and she apologizes for the inconvenience. She currently writes Last War in Albion, a history of the magical war between Alan Moore and Grant Morrison. She used to write TARDIS Eruditorum, a history of Britain told through the lens of a ropey sci-fi series. She also wrote Neoreaction a Basilisk, writes comics these days, and has ADHD so will probably just randomly write some other shit sooner or later. Support Elizabeth on Patreon.


  1. Laura Paananen
    August 19, 2020 @ 9:00 pm

    You wrote so beautifully about it. I am happy you got to hear it when you clearly needed it. I have heard only half of it, but I am sure everything you said is true.

    I need to wait waits till midnight strickes in Finland just one more day, and then it’s friday.


  2. Eamon
    August 22, 2020 @ 1:54 am

    In the order that they happened, moments of this album that have made me cry:

    During Alex’s Terminus Fest performance, he played “Remember to Breathe”. I was caught off guard by the vocal layers at the start of the song, which sound utterly unlike anything Seeming has ever released. By the time I realised what the song was doing, by the second instance of “remember to breathe”, I was crying.

    (I would also like to note the pitch-perfect resentment in Alex’s voice for the delivery of “with the cops” in that performance. Fuck yeah).

    In “Go Small”. The second line. On Alex’s Patreon he had posted an excerpt of the vocals for the choruses and the second verse, so I was expecting “write the song you need to hear” to be the first line. But I really did not expect “when you’ve done it, tell me how”. If you want to read Alex as having vanished from Seeming’s music some time around the speaking of his name on “Convincing”, this is him returning, broken and not okay, a sense that only grows through the whole first verse. “Gutting billionaires” and “in the white beyond”, especially….God.

    A number of listens into “Reality is Afraid”, I started crying while singing along with the chorus. Attacking reality is a good way to feel hopeful, it turns out.

    On the bridge of “The Flood Comes For You”, there is an incredibly righteous, precise, and vicious application of the word “motherfuckers” which made me slightly tear up, and is probably my favourite single moment on the album.

    The second verse of “Permanent”.


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