MobileSuitLilah

Quaint Witch, Sad Enchantress

  • she/her

Incredibly based gay trans woman poster 🏳️‍⚧️🏳️‍🌈 | Lover of books, music, and video games ✨| Happily married to @milktea ❤️ | Icon by @peachparfait

Praise for @MobileSuitLilah

“Lilah is maybe the internet’s greatest poster…a unique and very funny sense of humor…her jokes are specific and experimental while still being accessible to a mainstream audience”
The New York Review of Posts

“Men you may not like it but…[Lilah’s posts are] what peak performance looks like”
— Virginia Woolf, author of Orlando

“I’m a huge admirer of Lilah’s posts to the point that I left my wife…only then did I discover Lilah is gay and had also never heard of me”
— Jonathan Safran Foer, an author I guess

"Lilah's posts were a huge source of relief during the development of DonPachi...it's no exaggeration to say Cave wouldn't exist without her posts"
— Tsuneki Ikeda


Peepshow is an album that’s very dear to me, not just my favorite Banshees record but also high on the list of my favorite albums ever. After losing their fourth (!!!) guitarist after Through the Looking Glass, the band hired Jon Klein on guitar and expanded into a five-piece with multi-instrumentalist Martin McCarrick. The result was an exciting and bold new dimension to the band’s sound, a kind of cinematic goth pop tinged with strings and accordion spread across a killer album that swings from strength to strength. The post-punk traditionalists may prefer The Scream or Juju but to me this is the Banshees’ greatest achievement.

It all kicks off with “Peek-A-Boo”, one of the album’s best. Combining a skittering beat, sampling, accordion, an acrobatic vocal performance from Siouxsie and great drum work from Budgie, it feels like the album’s most forward-thinking track and like it was beamed out of a haunting alternate 1920s.


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