Wake up. Boot Up. Log in. Hack. Shut down. Wake up. Boot Up. Log in. Hack. Shut down. Wake up. Boot Up. Log in. Hack. Shut down. On repeat for weeks until the problem is cracked. Anything from hunting bugs in a program to breaking into another secure computer. Forget to eat? Redbull and vodka. Forget to sleep? Redbull and vodka. This is your life now. You haven’t shaved in weeks. You thrive on the numbers and strings. You breathe binary. You know no other life. Wake up. Boot Up. Log in. Hack. Shut down.
Thus is the daily grind of a programmer. Now, I do have to say, most real programmers use GNU/Linux (or at least some other *nix like macOS or BSD), but the Windows XP sounds were so believable. And dial-up is so outdated, but what better way to convey getting online? I mean, if I’m using a decade year old OS, why not throw in a two decade old technology too? Splicing these tracks together in Audacity was no problem.
Sound effects can be found listed below:
Although my favorite type of music would be generally labeled as rock (more specifically, 80s hair metal, 80s hardcore punk, and 80s thrash metal), I do enjoy some electronic music. Usually I listen to bands that combine electronic (ie: Industrial, Techno, or Ambient) with rock, like Rammstein (Industrial Metal), Burzum (Dark Ambient), or Atari Teenage Riot (Digital Hardcore), but I can get down to some Throbbing Gristle (traditional Industrial) or Chipzel (Chiptune). There’s also a subset of extreme music that combines death metal and/or hardcore punk with industrial/electronic/noise music, usually categorized as cybergrind, noise rock, or the sort. There’s so much to chose from, so combining with these noise/grind/rock influences with my love for nerd music (like the Hacker Rap of Dual Core), I was able to create the beat below, titled Anrufen (butchered German for ‘To Call’), dedicated to the Phone Phreaks of old who paved ways for the modern hackers. I made the original percussion beat in the FOSS drum program Hydrogen, and gathered a few samples of phones, dial tones, and the infamous dial up tone, layering them all together in Audacity. With some adjustments in volume and sound, the beat came out. I did release this song and a few others on a Noise EP I did a while back, but this exemplifies the creative process I went through to make the EP.
I run a small record label called Petty Treason Records, mainly putting out my own music, and that of friends. I’m also friends with a guy who runs a group on Facebook specializing in music promotion, called Cult XLV. A little while ago we worked on putting together a compilation album/mixtape like thing of a bunch of local/regional bands to cross promote to each other’s fan-base, and I love how it turned out. I would recommend giving this whole thing a listen, as many great Punk, Metal, Rock, Hip Hop, and Noise acts from DC, Maryland, and Virginia are featured. I didn’t edit the tracks much, but I did use audacity to convert the songs (that were usually sent to me as .mp3) to proper lossless audio format (.wav or .flac). Anyone can run a record label with enough time, and if it’s not a serious thing, you don’t need to take much time. The album cover, track listing, and all the info was of my own doing also.
The Sex Pistols are by far, the greatest boy band of all time. You cannot debate me on that. They were a band put together by record producers, featuring people who couldn’t play their instruments (at least Sid Vicious), but I still love them. Motley Crue, is my favorite band, and sure, they wore makeup and big hair, but they were as punk rock as hair metal could be (I mean, their first album was pretty much Glam Punk, in the style of the New York Dolls).
The Sex Pistols released their song Anarchy in the UK as a single in 1976, and it would on their first (and only real) album, Never Mind The Bullocks… Here’s the Sex Pistols. It really sent a message in the UK that would be picked up by bands like Crass and the Subhumans, and later on by numerous anarcho-punk bands across the world. It would be covered by acts like Megadeth and Green Jello, and become a common stable in the world of hard rock, where we all know the lyrics, even if we don’t know what Johnny Rotten was really saying.
Years later, Motley Crue would cover the song and feature it on their 1991 compilation Decade of Decadence. Their version would be slightly faster, adding that metal edge to their version of the song. I’ve mashed these two versions up, as it adds a layer of dissonance to both songs. It’s almost if the original version echos after the cover, reinforcing the message of chaos that that combined tracks preach. Personally, I want to go join a black bloc when I hear this version, and it’s only half because of the complete perversion of a great song from two amazing bands that I want to get away from.