NIHILITY

As this site is in dire need of a faster and more reliable host, I have paid for some hosting and a domain name. Please visit orphy.net for now on.

Whilst hanging out with Julie tonight, we went on Archive.org and I entered in the URL’s to some of my own websites. Needless to say, it was a walk down memory lane. Viewing these pages, it was interesting to see how I’ve grown as a writer, designer, but also as a person. During the early years of my life, I was rather inexperienced in writing and design. By the time I hit junior high, however, my design skills increased significantly, and my website became quite the hilarious blog. My site eventually becacame a rant site, much like this. The site died in mid 2005 to later be resurrected as this one you are viewing now. If you are interested, you can go to Archive.org and search the following websites:

• http://planetwario.hypermart.net
• http://www.planetwario.f2s.com
• http://orphy.ionichost.com
• http://orphy.dilutedpixel.com

Honestly though, it brings back a lot of memories. From almost getting suspended due to slander against a teacher, to why I disliked a fellow student (which I regret a lot now). It makes me want to design all over again. Perhaps if I’m not lazy, I’ll make a real design for wordpress.

Through the classical age of music, theory was essentially developed and applied to the art created in this era. Classical theory still stands today, and has shaped metal in many ways.

The question is, does theory still have any relativity to metal today?

Theory arguably defines music, as it shapes the qualities of composition. Black Sabbath was formed from blues (a derivative of classical theory), where as bands such as Iron Maiden and other NWOBHM acts are clearly the offspring of classical phrasing. As the 80s progressed, theory took on different shapes in metal, from classical, to jazz, to the complete absence of it. Bands such as Mayhem removed much of the theory from their music, as they leaned towards disharmonic, atonal riffs. On the other hand, bands such as Atheist incorporated jazz harmonics and phrasing to push the envelope of extreme metal.

Now, many view theory as restricting, as boxing in. No theory theoretically means a lack of limits. However, there are still many advantages to theory. Theory helps musicians communicate ideas in a universal, coherent language that has stood many centuries. It always for artists to understand what they are playing and why certain sounds and arrangements end up sounding the way they do. In short, theory is simply understanding what one is playing.

As mentioned, without theory, there are no limits. No rules apply to what one is writing, as no theory exists to tell us otherwise. The flaw in this is, however, that we are unable to communicate ideas as clearly as we would with theory, nor do we understand why adding a certain chromatic creates a discordant sound.

The solution is simple: learn theory, but do not rely on theory when it comes to writing. Theory is an excellent tool to understand music, but it is not so helpful when it comes to finding one’s own voice. As metal is the musical and lyrical representation of nihilism, we would hope to avoid cliché and otherwise obvious phrasing, and go for something outside of the norm; something deconstructive. By using theory to understand this, artists can shape around theory, but know when to avoid using a particular scale or chord, where they could instead add an extra note, or go as far to completely diminish it. Theory as a tool gives the writer many options and clarity as to the goal they want to achieve.

Theory is not necessarily essential to write, but in terms of the evolution of metal, should be studied to at least a basic understanding. Musicians should not rely on theory to write, as we would end up writing the same song over and over, but simply as a reference. Many of the great bands of the past relied on “anti-music”, but knowing theory would help one understand why these bands managed to write outside the theoretical box.

Genre: Thrash Metal
Label: Roadrunner
Release Date: 1990
Rating: 94%

Exhorder’s “Slaughter In The Vatican” is one of those albums that you’d want to hide your wife and children from. This album is a full blown desecration on everything from religion to assholes, and 17 years later, is still thirsty for more. Just look at the cover art. That pretty much sums it up; the pope being dragged to his own death sentence, anal lust, homicide… it’s all there, it’s all violent, and it’s all fucking Exhorder.

This album has plenty of aspects that make it an absolutely killer thrash record. First, it has one of the most deadly guitar tones that still sounds ear piercing today. Of course, Exhorder doesn’t rely on a guitar tone for their string section. What we have here are some fucking riffs. Riffs of all kinds. We have thrash riffs in the Vio-Lence/Dark Angel vein, slower, crushing riffs, groove riffs, just about everything you’d want to hear. Exhorder manages to arrange their riffs in an intelligent matter, providing the listener with the most violent experience.

Lyrically, this album is over the top. As mentioned, the lyrics are absolutely violent, and against mostly anything. Lines like “Fuck your god, no regard for religion” certainly set a clear tone for the album. There is much hate towards religion (Slaughter In The Vatican, Homicide), and love towards violent acts (Anal Lust, Desecrator). Each song has their edgy lyrics coupled with equally fierce riffing and pummelling drums. Not to mention that Kyle Thomas has one of the most pissed off voices in thrash. Extremely effective!

Of course, everyone knows that Pantera sounds strikingly similar to Exhorder, from guitar tone, to groove, to lyrics. Pantera just wishes they could’ve been this tough, violent, and this competent as musicians. Sure, Dimebag could solo, but they could never pull out an album this fierce and well written.

Every thrash fan should own this record. Roadrunner reissued this with 1992’s “The Law”, so it shouldn’t be hard to find, plus you get two great albums. This album has everything to please thrash fans: riffs, violence, and ridiculous lyrics.

Genre: Black Metal
Label: Witching Black Records
Release Date: 2006
Rating: 93%

Paulus Kressman never fails to impress. Each band he’s played with has released some incredible records, and Warmarch is certainly no exception to this. Featured in this band is Kressman on guitar, Relf of Disciples of Power on drums, and an unknown bassist known as Lampimaki. These three guys manage to pump out some excellent tunes on this demo.

The first song opens up the tape nicely. It’s a fast paced song, with killer riffs. Riffs dominate this demo, as does arrangement. The arrangements allow the songs to set up nicely for the next part, and further emphasize their power. Also noted on the first track that Kressman can do a battle cry better than anyone out there.

Opening up with a discordant doom section, the second track ends up being a favourite among fans of the demo. The song stays slow, and ends up picking up. Kressman even sings on this track, declaring that this song is indeed a “Declaration”. All jokes aside, this song is a great example of Warmarch’s ability to arrange and let parts flow nicely into each other.

Motorhead seems to have been the inspiration for the last track, or at least for the intro anyway. The song starts with some excellent snare work, and then opens into a great black metal tune in a rocking sense. Great choice for an outro on a 3 song demo.

Warmarch has a sound that is really unlimited by style: you can hear influences from Motorhead, to thrash metal, to doom, and of course black metal. Personally, I greatly anticipate to hear a full length recording from Warmarch, because this is one of the best demos of 2006 without question.

Genre: Death Metal
Label: Independent
Release Date: 1998
Rating: 90%

Everyone talks about Capharnaum’s 2004 effort “Fractured”, but not many mention their 1997 debut, and even less know about this demo from 1998. Interestingly enough, this demo contains some tracks from “Fractured”, even though it was released 6 years earlier. The Suecof brothers and company certainly knew what they were doing, and had already nailed the technical proficiency years before they put out “Fractured”.

First, the production on this demo sounds like it’s from about 1993. Everything is audible, but it has that early 90’s death metal production to it: somewhat clicky (but not nastily triggered) drums, dirty yet crunchy guitars, and audible bass (which is a nice surprise). Definitely appropriate for a demo, and even passible enough for a full length.

Anyway, the song writing on this is quite brilliant, and is quite interesting when juxtaposed to “Reality Only Fantasized”. Both contain rhythmic riffings against counterpoint melodic riffs, but the difference is the simplicity of “Reality…” versus the technicality on this demo. Riffs contain much fret board work, creating inertia around itself, further propelling the extremity of the songs. This is much on par with hyper technical band Martyr.

As mentioned, two of the tracks on here ended up appearing on “Fractured”, and with good reason. One of those being “Icon Of Malice” which is one of the best Capharnaum songs ever. “Refusal” also appears, except as an instrumental. The only differences you’ll notice in these demo versions are the solos. While still being effective and well executed, with the absence of Dan Mongrain, and perhaps years of experience for Jason Suecof, they do not touch “Fractured” in that sense.

However, I find myself in preference to this demo to Fractured for one reason: vocals. None of Matt Heafy’s annoying yells plague this release. All the vocals are done by Jason Suecof, in his traditional death metal voice. It is much more enjoyable to hear competent death metal vocals with death metal, rather than average yells in it.

All in all, this is a superb demo, and is recommended to Capharnaum fans who love “Fractured”, and want to hear that same approach in song writing.

The year has come to an end once again, and once again everyone has their lists of their favourite albums to come out. This was a difficult task to achieve. Not because there were so many great releases, but there were far less than 20 albums that were stunning, while the rest were just there. Skimming through my collection, I feel I have listed the twenty best albums of the year. Some of these albums are absolutely brilliant, and a few are just better than most other releases this year, hence why they are on my list. The following are in no particular order.

Nasum - Grind Finale
This is the best release of 2006 without question. I reviewed this album and gave it a perfect score, which I don’t ever do. This album is a collection of all of Nasum’s non album material on two discs, totaling 152 songs. This is essential for every Nasum fan, as it shows the evolution of the greatest grindcore band to ever play. The perfect way to end off Nasum, this album is the best 2006 has to offer.

Gadget - The Funeral March
Exit Nasum, and enter Gadget. Gadget is a newer grindcore band that plays in similar style to Nasum/Rotten Sound. A mix of crust and grind comes together with sludgy interludes, creating an extremely dynamic album. This band is going places, and there is something for everyone on here.

Cretin - Freakery
Gasp, more grindcore! Cretin has been around since the early 90s but finally started releasing material recently, and this is their debut. Cretin is essentially Repulsion worship, with nods to other grindcore greats like Napalm Death and Terrorizer. Everything from the production, to the riffs, to the lyrics, are Repulsion worship. Nonetheless, this album manages to stay fresh and reminds everyone of grindcore’s definitive days. Col Jones plays drums on here, so expect some mastery playing.

Axis of Advance - Purify
Edmonton’s very own Axis of Advance unleashes a 5 song EP this year. Of course, this is not Strike, but it’s very much Axis of Advance. The production is as noisy as every as these men bash their instruments through the frontlines of metallic war. Excellent EP, try to grab this limited 10″ EP if you can.

Warmarch - Demo 2006
Another band from Edmonton, Warmarch is a new band from Paulus Kressman (Sacramentary Abolishment/Rites of thy Degringolade). This band is metal without limits, as we can hear nods to everything from Motorhead to Paulus’ signature style black metal. This demo is only 3 songs, but every second is well done. Expect a full length in 2007.

Amon Amarth - With Oden On Our Side
Amon Amarth returns with another album, and completely betters their 2004 effort. Amon Amarth play their tried and true formulas with as much conviction as ever, and continue as they always have. This band is definitely ahead of their genre, and will continue to be if they keep on releasing albums as they have.

Converge - No Heroes
Following up 2004’s “You Fail Me”, Converge unleashes this great album. This takes the ideas presented in their last two albums and fuses them together. The first half of this record grinds along in a Converge style, and then features some longer, more moody tunes. Fans of this band shall not be disappointed, as it continues as Converge always has.

Celtic Frost - Monotheist
Three and a half years worth of recording and writing, and Celtic Frost finally returns to the metal front with this monolithic comeback. While this album is certainly like nothing they’ve done in the past, it still seems like Celtic Frost. The riffs are all slow and eerie, while any speed this album has comes from the drums. The lyrics on this album are extremely interesting which is well complimented by the music. Some fans disliked this release due to it being so slow, but I can assure that after a few listens, it will become addicting.

Incantation - Primordial Domination
This album by Incantation fits into Incantation’s discography just as well as any of their others. Incantation has always been the most consistent death metal band, and this album is no exception. There is nothing to say about this album, other than fans of the band will be pleased.

Misery Index - Discordia
Taking a step down from their last full length “Retalitate”, this album still manages to be a great listen. It seems to have more awareness of melody and utilizes it more. Misery Index still stays with their great death/grind combo and writes some very catchy songs.

Napalm Death - Smear Campaign
I haven’t heard any Napalm Death releases since 1988, and after hearing how much this band has changed, I didn’t know what to expect. Well, Napalm Death appears to have returned to their grindcore roots as this album grinds with the best of them.

Poser Disposer - Waiting To Inhale
Right out of my birthtown of Saskatoon, Poser Disposer is a grindcore band with lots of crust punk influence. This release is short, but sweet. Each song has a hook in a grindcore-way, and manages to keep the attention of the listener effectively. This is a great band that needs to continue releasing material.

Psycroptic - Symbols of Failure
After the departure of Matthew Chalk, many fans were skeptical about the new Psycroptic album. Psycroptic manages to prove the skeptics wrong and deliver a monster of a follow up to “Scepter of the Ancients”. The vocalist on this album manages to stay in similar style to Chalk, which should satisfy fans. The songwriting is as technical as ever, with great riff variation and arrangement.

Rotten Sound - Consume To Contaminate
Finnish grind giants Rotten Sound tease us with an EP in 2006, which features a new drummer. Up to par with their previous drummer, this album features more experimentation with slower parts, which make the grinding seem all the more extreme. I am definitely looking forward to hearing the next LP from these guys, as this is a great preview of things to come.

Skitsystem - Stigmata
Another great grind band, Skitsystem plays extremely crusty grind, and effectively do so on “Stigmata”. Songs on here are extremely catchy but brutal at the same time. This is the kind of album that will force a feeling of energy to its listeners. Check this out if you’re into Nasum’s debut!

Suffocation - Suffocation
The legends Suffocation return with a self titled album. This album is much on par with “Souls to Deny”, and at times seems better and worse. The riffs are as crazy as ever, but there are some goofy lyrics (ie: “My mother once told me, shut up!”). Nonetheless, this album is excellent to hear, and great to know that Suffocation is still going strong. I was able to catch them live and they did songs from this album and others with justice.

Anata - The Conductor’s Departure
Anata is a technical death metal band that has been getting more recognition over the years, especially with this new album. This album features many duel guitar lines that create an excellent mind-fuck of a sound. There is much brutality countered with melody that manages to stay original and avoid cliché scales. Absolutely recommended to fans of Martyr.

Martyr - Feeding The Abscess
Speaking of Martyr, their 2006 release is also a great one. I often have conflicts about my feelings for this album until I listen to it again, and it ends up being a solid listen each time. However, they are some goofy lyrics much like Suffocation (”Now smile and shut the fuck up!”). The playing on this album has gone to the next level of mastery, with some very interesting bass lines, and more jazz inspired parts. Martyr manages to release something that is very much their style, but does not manage to top “Warp Zone”. This album was worth the long wait nonetheless.

Drudkh - Blood In Our Wells
Ukrainian band Drudkh releases its 4th album in a row in early 2006 (as they also released another just recently). This is still very much in traditional Drudkh style, so there’s really nothing to say about this album other than it will please fans of the band.

Decapitated - Organic Hallucinosis
Decapitated returns with a new vocalist, and almost a new style. This album sounds like Decapitated listened to a lot of Meshuggah, and we get a sound very reminiscent of the two. Polyrythyms and mind-boggling leads break up the Polish death metal that Decapitated is so well known for. The new vocalist, Covan, has vocals that are also very much in Meshuggah style.

This was a difficult list to chose, but I feel it is complete. As always, I’m sure I will hear some albums in the coming months from 2006 that should belong on here. Looking over this, I realize that I have purchased the majority of these albums, and would recommend to someone who wants to hear some recent metal that is the cream of the crop. Here’s to a prosperous 2007 with hopes of great releases from bands old and new. Be sure to look out for Immolation, Inveracity, Rotten Sound, and many more.

I’m tired of the way the word “elitist” is thrown around. Many new and young metallers use the word in a negative way, as if being “elitist” is a bad thing. However, this use of this word usually is a result of another individual disliking a particular band that the newbie happens to like.

Please, shut up. Many listeners of metal have developed a more refined taste over the years, including myself. Some bands I enjoyed when I was in junior high, I don’t enjoy at all anymore. Some band I never liked. I know what I like, as are many experienced listeners of the genre, so don’t try and fall on remarks of “you’re too elitist to like this”.

There’s nothing wrong with knowing what one likes. When someone is new to metal, it is common for this individual to gobble down every band they hear, or they are simply hearing only bands that are easily accessible (in terms of both popularity and digestibility). It is only natural that over time, one will reject some of these bands after becoming more familiar with the genre, and thus refine their taste.

Sure, there may be some assholes out there that try to look knowledgeable, but they couldn’t tell you why they don’t like a certain band or even why they’d like others. This doesn’t translate to elitism. This is just egotistical. Note the difference.

Now, I don’t listen to poorly produced music for the sake of listening to poorly produced music. I listen to it because I actually am able to look past it, and discover the actual value of the musical and lyrical content. I don’t need crystal clear overproduction to enjoy something.

I know what I like. What you listen to is elementary. You’ll realize this one day. I’m a damn proud elitist.

The genre of death metal has given us many albums. Some are classic, some are genre-defining. With the vast amount of releases, some get credibility for what they don’t have, and others fall under the radar and don’t get their praise. After being asked in an internet forum, I’ve compiled a list of the most essential, classic and unique death metal albums of all time. The list is in no order.

Gorguts - Obscura
The title of this albums says it all. This is the one album that went beyond all metal, taking everything to a higher level of technicality and intensity. Everything about this album goes far beyond typical metal stylings, and would make a jazz player confused. Yet, it manages to stay in control. Riffs revolving around discordant chords slam together in odd time signatures, which are supported by equally aggressive bass lines and tight-as-a-glove drum beats. Lyrics touch on many philosophical themes and self awareness. The album is presented with honest production, retaining the timbre perfectly. Without question, this album is absolutely essential.

Cryptopsy - None So Vile
Described as “the classic grind album”, Cryptopsy moves farther away from their Suffocation worship and delivers a blasting death metal masterpiece. Riffs spiral away with their own melodies, penetrating the ultra-quick drum beats. Song structures present chaos, break down, and resolve in their own chaotic momentum, thus maintaining a sense of balance. Production is improved from their former distant, sewer-pipe sound previously, but still manages to throw new-comers off. Each song has its own identity, much like the aforementioned album, thus, making it necessary to own among every other reason.

Incantation - Onward to Golgotha
Easily one of the most under-rated classics, Incantation’s debut full length sets the tone for the rest of their career. Their first masterpiece contains song structures that feature blistering riffs that are counter pointed with bludgeoning doom parts. Arrangement is emphasized here due to this. Lyrics flow and reveal the very nihilistic nature of death metal. Production is much on par with many of their peers in the NYDM niche, but Incantation manages to be above the rest due to their powerful song writing. Craig Pillard’s bellowing voice encompasses the album, and assists in it’s delivery. Songs on this album are still favourites today. This album, along with most of Incantation’s discography, is solid as can be.

Immolation - Here In After
Immolation found their sound on this album, straying away from the standard NYDM tendencies that were displayed on their debut. Odd chords make up the riffs, tied together with equally odd melody. Rhythm is accentuated on this album due to the nature of the riffs. Song structures leave an impression of chaos that takes time to be revealed. Perhaps the prelude to Gorguts’ “Obscura”, this album also holds much value as it improves in worthiness over the course of many listens. The best part of this album is it’s uniqueness; it does not attempt to mix with outside genres, but rather stays within death metal and develops its identity within, thus making it not only totally appropriate, but an insult to those trying to push limits with hybrid genres.

Suffocation - Effigy of the Forgotten
New York Death Metal is defined by this album. Taking queue from Morpheus Descends, Suffocation wraps death metal and grindcore into one sleek package. Riffs grind out and slamming breakdowns are their counterpoint. Aside from memorable riffs and powerful drumming, the production on this album greatly compliments its nature, as it is very bassy and powerful. Frank Mullen’s vocals are in their prime here, they are as guttural as they ever will be. An influence for generations of “brutal death metal” to come, Suffocation will always be hailed as the leaders of NYDM.

Atheist - Piece of Time
The band that first started to experiment with metal and its lack of technical bounds, Atheist reveals that jazz harmonics and theory fit very well with death metal. Bass lines are the feature on this album, as riffs are constructed around them, rather than the opposite. Drums are equally as interesting, as they take much influence from jazz as they do death metal, and swirl around the song structures. Lyrics question much of existence, and assure us that we only have our “piece of time”. Although their career was short, Atheist is responsible for initially raising the bar of technical skill in death metal.

Entombed - Left Hand Path
“Left Hand Path” defines what Swedish death metal used to be in the early 90’s. Crunchy distortion complimented by slamming riffs and tremolo picked melodies, Entombed harnessed diminished scales to go along with their death metal aesthetic. Created from the ashes of Nihilist, much of these songs were written before Entombed existed. Entombed, however, just pushed these songs beyond their original demo quality, and made them all the more powerful on this classic. Every true Swedish death metal band owes it to Entombed for having their sound.

Martyr - Warp Zone
A modern classic, Martyr burst out from Canada in 1997 with their debut, and followed it up in 2000 with this hyper technical slab of brilliance. Everything from riffs, to arrangement, to lyrical content shows intelligence, thought, and precision. Riffs are scattered across the fret board, and are dazzling as they are puzzling. Polyrhythms are utilized, as are almost every nameable technique in metal, and pushed beyond previous boundaries. Taking queue from fellow Quebecois Voivod, Martyr does what Voivod would’ve done if they kept going on their original path come the new century. Lyrics deal with many philosophies, and are echoed through the well arranged patterns in the music. Martyr was at their prime on this album.

Angelcorpse - The Inexorable
The last of the original 3 Angelcorpse albums, this album manages to be faster, and literally more ripping than any previous Angelcorpse material. Shattering through sonic boundaries, riffs are highly Morbid Angel influenced, but are all the more interesting. Piercing leads whirl within the songs, along with the blasphemous tongue of Pete Helmkamp. This album manages to be memorable without falling into the trap of radio-friendly song devices. An absolute must for fans of Morbid Angel who crave something that still sounds extreme.

Therion - Beyond Sanctorum
By their second album, Therion reached their creative peak, and that is “Beyond Sanctorum.” Songs revolve around romantically crafted structures which are effective in their arrangement. Each riff has a point to further progress the situation, and are complimented by diminished melody. Production is raw and bassy, as it should be. Most people dismiss Therion due to their symphonic “metal” they presently play, but that only makes an album like this sound all the more grand. Each aspect of this album is an honest effort, as it was recorded in only 4 days (in other words, they didn’t have time to fool around with phoniness).

And thus, the list is complete. It was extremely hard to narrow it down to ten albums, as there are tons of great classics out there that did a lot for the genre.

I am very conflicted at the moment, due to a classroom English discussion that took place earlier today. The discussion was based around the idea of (not) hiring people based on their hair length, skin colour, sex, etc. I argued that these things are superficial, and should not limit an individual to what types of jobs and careers they can obtain. However, some students in my class felt the opposite, and even my teacher was lumped in with some of these individuals.

Not only do I find this completely conflicting, but disgusting and disappointing at the same time. In today’s society, we try to teach values of tolerance, acceptance, uniqueness and individuality. Our schools teach us that everyone is unique individual, but we are all human and all competent. Of course, not everyone lives up to their human potential, but still, the idea stands that ones appearance does not dictate their abilities. So, when I hear that people feel it is acceptable to deny an individual a job based on these appearances, I’m rather disgusted at society.

This issue strikes very close to home for me, as I have long hair, and have been denied jobs before due to it. Even when I was in junior high, I received much negative comments towards my choice in hair, but I kept growing it. Today, my hair is still long, but no one really gives me much of a hard time about it, aside from a denied job about a year ago. The odd time I’ll have idiots tell me to cut it randomly. This is something I don’t understand. Long hair on males has been around for centuries. Look at biblical paintings, mythological characters, important historical figures. Many have long hair. It’s only been in the last century or so that long hair suddenly became “unacceptable” to the modern man. Why is this so unacceptable?

Men can look professional with long hair. All it takes is a little grooming and a hair tie, and the best word to describe that is “Suave”. But honestly, how can long hair affect the way an individual accomplishes tasks? I’ve always been an honour student in school with out much of a problem, even between long and short hair. So why is it a problem? It seems a bit sexist to me, but that’s just my long-haired opinion.

Oh of course, customers may be offended by the long hair! This argument is complete tripe. Who cares if a customer or client is offended by an employee with long hair? That is their own prejudice, and thus, their problem. Something is obviously wrong with society if people are being offended by ones hair or some other superficial aspect, and instead of trying to teach people acceptance and tolerance, we remove the individuals who look “different”.

Our teachings in the schools have been smashed. Uniqueness, individuality, acceptance and tolerance have all been sacrificed in the name of money. How fucking beautiful it is.

This classroom discussion continued on with an example of someone asking me if I owned a metal record store, would I let someone with short hair and glasses work there? Of course I would, assuming the individual knew what he or she was talking about. That’s what matters. It was then proposed that what if a white person was to be working in a hip-hop record store, what would customers think about that? I was absolutely disgusted that this situation was brought up and deemed acceptable not to hire someone based on their skin colour.

The bottom line is, our schools are contradicting themselves. Petty things such as long hair and skin colour mean absolutely nothing, what does matter is the individual’s skills and competence in the work place. Some of the smartest men I know have hair much longer than mine, and some of the most knowledgeable metalheads I know have short hair and dress very much outside the cliché metal outfit. Is there anything wrong with that? Of course not. People need to realize this. Who gives a damn if someone’s hair is long or short, their skin black or white. We’re all 99.9% genetically the same, and I’ll be damned if I’m going to base the way I treat people on that fractional percent difference, especially when it comes to careers. Employers need to get past their superficial biases, and start looking for intellect instead. Society needs look past their prejudices and learn to deal with the fact that people make individual choices, and some prefer not to look like everyone else. Besides, if everyone dressed and styled themselves the same, we’d live in quite the boring world.