That extremist Christians on the Internet always have poorly designed or maintained web presences (case in point, the complete failure of the video for “Jesus Muzik” to embed properly)? Perhaps this is because people who are well versed in technology don’t want to help those of you who SCOFF IN THE FACE OF SCIENCE work your particular corner of the TubeBot.
Oh, and just because I run a blog:
GO VOTE YOU FUCKERS. All four of you who read this. Who have all already voted.
A child of the Midwest, (over)educated in the South and then further (over)educated in the city of my birth, now beginning my studies on the East Coast. I love music in all its forms, but I have a real jones for the following subheadings: contemporary art music, indie rock, metal, and technology. I love writing and talking about music, but I also create a fair deal of it myself, composing and performing everything from minimalism to southern rock to grindcore to area-specific sound installations with equal enthusiasm. Most of it ends up published here. In between, I try to fill the spaces with cool music-related videos, images, and links, with the occasional “thinkpiece” essay, just to show Tumblr that old-school blogging is still alive and kicking. I have another blog, Pulses, that deals with everything else on the internet that I like, or anything non-music related that I feel like discussing. I encourage you to follow that one as well!
But that doesn’t mean I have to stop watching the horror cinema equivalent of Lynyrd Skynyrd deep cuts (See Squidbillies Season 2 Ep. 7 “Government Brain Voodoo Trouble” for the obscure reference there).
Right now, on my coffee table, are copies of Cronenberg’s remake of “The Fly”, with Jeff Goldblum, “Terror Train”, the Jamie-Lee-Curtis-as-scream-queen vehicle (king? queen? Hermaphroruler? Below the belt shot there, I know, I know), and Marino Girolami’s Italian zombie also-ran, “Zombie Holocaust”. Tonight we screened Dario Argento’s arguable post-Suspiria magnum opus “Tenebrae”, which was, as always, a breathtaking visual spectacle, but a little weak in terms of script delivery. Several nights ago we watched one of the more recent Romero entries, “Land Of The Dead”, which was classic Romero, and, before that, “Children Of The Corn”, which was uninspired and underwhelming compared to the Stephen King story from which it derived a name and nothing else.
Why do horror movies hold such a special place in my heart? Who knows the answer to that question. I think that perhaps I like horror movies for the same reason that I like heavy metal: I like finding things that are well-done, but off of most people’s pop-cultural radar. It’s not cool to like splatter flicks, just like it’s not cool to listen to Pig Destroyer, but there is still real, visceral, emotional art going on, and, frankly, the less people that find out about it, the better. I don’t want a bunch of hipster trash spoiling grindcore for me the way they ruined Mastodon for me (thanks, hipster trash. Really. The first two times I saw Mastodon? Slammin. Then you guys showed up and they played all the shitty stuff that you like because you think it sounds like Pelican if their drummer was having a seizure and YOU REFUSE TO MOSH YOU BASTARDS.). I don’t want to have to listen to some underweight American Apparel acolyte squeezed into a deep V-neck t-shirt and a pair of Cheap Mondays wax rhapsodic about how “Suspiria” just, y’know, STIRRED something in his, like, PSYCHE man.
I’m painting in broad strokes here, as I tend to do, and I’m confident that I’m sounding rather elitist (which I don’t mind; I’m not sure if there’s anything wrong with elitism, and, furthermore, as long as I’m being elitist towards OTHER elitists, what harm is done?), but I really do think that the best thing to happen to the development of horror cinema/extreme metal is that people wrote it off, and then left the true visionaries of the genres to create the craziest stuff they could imagine. The inherent lack of commerciality in these disciplines is what makes them so vibrant as art movements. Granted, there’s a lot of schlock, but, if you can wade through it, there are a lot of gems, too.
In fact, part of the fun, I think, is IN wading through the schlock. Mocking movies like “Children Of The Corn” for being so cliched and terrible is almost as much fun as watching a really well-constructed horror flick, and makes the good films far more satisfying. In fact, by making these predictably bad choices and indulging in tired horror movie cliches, these bad horror movies teach us what’s GREAT about the movies that really scare the shit out of us, just like listening to Six Feet Under shows us how NOT to make death metal (poorly mixed, predictable, and unlistenable, for the record).
So, there you have it: my semi-annual “I love horror movies and death metal” post. In other news, I love the band Zombi now more than ever, I’m trying to purchase a steel guitar (following a blistering set from The Hold Steady/Drive-By Truckers that has left my ears ringing three days ex post facto) to make both country music and experimental black metal with, I still am in no hurry to get my doctorate, and I have to give a clinic in TX in three days about percussion performance via Internet2. Oh, and tomorrow, we get a satellite dish, so expect a few tweets/tumbls about how wonderful/awful television is in the next few days.