The Summer 2014 edition of 2600 magazine includes an article by Brett Stevens about the intersection between the heavy metal underground and the hacker underground.
“Crossover: Where Metal and Hacking Met and Mixed” concerns the early years of PC hacking when hackers used the BBS underground and other facilities, some borrowed, to communicate about the nascent underground metal scene. It includes interviews with the leading hackers of that era who listened to heavy metal, including Cult of the Dead Cow and Erik Bloodaxe.
The article follows up on an earlier article published at Perfect Sound Forever, a long-running music e-zine, entitled “Hacker Metal.” That article introduced the concept of hacking and how hackers used BBS culture to stay informed about heavy metal and work around low media coverage.
Although a small portion of the metal community, the crossover between hackers and metalheads provides a fertile ground for the outlook that seeks to defy pointless rules and pay attention to the mechanics of power instead. 2600, named for the signal that allowed hackers to dial out on a line to which they were connected, provides a nexus for the hacker community who may now discover its inner Hessian.
The best-selling death metal band of all time, Cannibal Corpse maintains its audience by writing rhythmic hooks and cramming a half-dozen riffs into each song in a way that is memorable enough for the average listener. On their 13th album, A Skeletal Domain, Cannibal Corpse sensibly alter just about nothing to their winning formula.
If you can imagine the 1988-1990 period for Slayer and Exodus combined and turned up to 11, the basic idea of Cannibal Corpse will shine through the genre labels such as “death metal.” This music has little in common with early Morbid Angel, Deicide, Asphyx or other founders of the genre. If anything, it resembles 1980s speed metal given the death metal treatment with extremely distorted vocals, absurdist gore lyrics, and a higher dose of intensity in technique and speed.
Songs build themselves around either a chorus or a memorable riff, usually with hints of melody, and the rest of the time create a primitive groove based on an expectation of rhythmic satisfaction interrupted in sub-divided patterns that recombine the same few basic riff ideas. The guitars support vocals which take center stage in a monotone that foreshadows and echoes the dominant rhythms of each piece. Lead guitars sound straight out of the 1970s but played faster and more erratically, and bass while active and precise acts in a support role to guitars. The result delivers a compact sound that displays little internal variation.
When you listen to this album while distracted, after smoking a bowl, or while typing on the internet, it seems rather impressive. Each individual riff makes sense and the riff after also makes sense. The problem is that songs as a whole do not make sense. They fit together, but no internal tension or communication occurs, which leads to a very “postmodern” style where chaos surrounds an articulated foot-tapping chorus rhythm. The lack of relation and relevance between riffs and the whole of each song makes Cannibal Corpse seem like a stream of spare parts, even if linearly riffs follow in sensible order. You will hear a lot of Slayer in these riffs, which is always welcome.
Metal fans love this band and it is hard to see why they would not. It is catchy, extreme and chaotically hilarious. Its subversively discordant attitude toward all aspects of what most people accept as good and natural life makes it the surly kid who sneaks cigarettes into chapel. The best riffs are often the support riffs, which work in melody and challenging rhythms, and often sound like more intense versions of what second-string speed metal bands like Heathen, Atrophy and Assassin used to do. While I can praise what this album does well, and appreciate the ear candy attributes of it, there is no reason I would purchase this with my limited funds and listen to it on a repeated basis.
Although it has little in common with the horror movies and apocalyptic fantasies reviewed here, Ferngully: The Last Rainforest won me over with its themes of humans losing touch with nature and becoming greedy narcissistic dorks who then cause the destruction of rain forests.
Warning: this movie is about 1 hour 15 min long and is children’s animated film, thus can be forgiven its heavy-handed approach since we all know that movies for children are basically propaganda from well-meaning but usually delusional dipsomaniac adults. The soundtrack has traditional folk music that sounds mystical and yet upbeat like Dead Can Dance, and this redeems much of the loss of atmosphere that occurs once any story transitions to cartoon.
The story involves loggers using a leviathan of a machine to chop down trees in the last rainforest and polluting the land as well. A human gets accidentally shrunk by the forest spirit (faeries in this case) and sees the reality of the situation and makes attempts to stop this. This evokes a physical/metaphysical antagonist who is like the Satan of forests. He was trapped in the trees in a long-past age but the churning of the machine inadvertently releases him and he melds with the machine and takes control of it. His intent is to finish his diabolical plot to destroy all forests and the life within them, possibly branching out Antaeus-style to destroy all life after that.
Naturally, our heroic characters launch on a quest in situ to defeat this monster. The intro mentions the pre-history: the humans also used to know of the existence of the fairies and during the black-demon cataclysm a Satan figure called Hexxus was spawned whose goal is to destroy the forest, and while the humans ran away and the fairies trapped Hexxus inside a tree. As you can imagine, a restoration of the magic in the soul brings back the fairies and possibly saves the last rainforest.
You probably do not want to watch this as an adult unless you are so drunk that you have an irrepressible urge to destroy rainforests and need a simple, step-by-step guide to changing your attitude. I mostly recommend this for adults to show to children, who are never too young to be taught the right propaganda — and I think this is probably better than the other options — to program them for zombie-like life among the office towers, fast food joints, sewage treatment plants and arms dumps of the modern world.