The demonic and the righteous both function as destroyers of trivial complacency

Evidence

Martin is a perverse double of 1976’s most iconic of icons, Johnny Rotten, that demonic purge of trivia and mediocrity. If Rotten’s Nietzscheanism (“I yam an antichrist”) concealed a burning core of righteousness, Martin’s surface charm belies malevolence. At the limit though, what both Rotten and Martin show is the deep complicity of “good” and “evil”, their mutual interdependence. Both Martin and Rotten are ultimately deliverers, destroyers of fragile status quos, bringers of disequilibrium and agents of chaos. Punk’s greatest disgust was with the trivial and the mediocre, with the existential death of boredom. — Mark Fisher (edited by Darren Ambrose), K-Punk, 301