Monthly Archives: November 2020

Miasmatic Necrosis surfaced in the States sometime this year and have rightly caught a great deal of hype for their first full length release ‘Apex Profane’. The hype is certainly deserved. Deathgrinding Goregrind riff fest of the groove infested, brutal kind, killer mid-heavy production that feels like total gutripping slaughter DETH – there’s proper true grinding Bass sound underpinning Death Metal riffs and warped lead parts in the Carcass tradition, extremely present and heavy drum sound and vomitacular vocal retch and gurgle of total profanity, honing the influences of Dead Infection and Regurgitate into a thing of Goregrind simulacra perfection. Pathological and rampaging, putrid metallic Goregrind of a masterfully grotesque clarity of anatomy – the riffs are really the highlight here, snaking their way into your memory from the first spin, all deathly groovy and sardonically pleasing, catchy and deadly. This reminds me most of Butcher ABC, similar in it’s mid heavy crunchy Death/Gore sound and use of chugging midpaced crush. If you like your Goregrind more on the Metal side of things, then this sound will surely slake your bloodthirst. No ping/pong snare, no ‘Mince’ or noise – only GORE!

Goatgrind Records


Gas Rag’s complete discography (I think), released on cassette by the excellent Pissed Off! Records in Malaysia. Volatile, unstoppable Hardcore bulldozer shit, scummy and fucking crummy. Gas Rag’s aplomb for fist-smashing, wild rocking chords and burning simple lead lines makes their particularly filthy brand of Punk totally pissed up on cheap alcohol substitutes, leather-gloved and morally decrepit – Fuzz encrusted Swedish D Beat and mangled US Hardcore hate, stomping rager anti-art school irreverence, vicious, cruel and fukken mindless. Lickin’ slashin’ white hot Guitar sounds, mid-range Bass strangle rumble with foot-down-fast and hard drumming, storming rounding toms and nihilist aggression sleaze grunt and yell vocal. A prurient delight of minimalist Hardcore nihilism and 2 chord Rock N Roll hubris. Score.

Pissed Off! Recs

Tolerance’s first album is a post apocalyptic vision of the inhumanity, despairing violence and perpetual inequality of our present. Urho has honed Tolerance’s deathly toxic riffs, drum programming and rhythmic grooves into something blasting, grooving and despairing, punk and cybercrust with a slew of grind genre influences, like CUM, LDOH, CBT, Napalm Death and Sore Throat coalescing into a uniquely grinding, putrid sound. Pong blast beat cruster bangers, Noisecore primitive style blurred-out blaster tracks, gory downtuned groove midpaced thrashers with switch hitting tempo changes causing whiplash, unwieldy drum machine set to kill, gut-punch Guitars, deadly savage (and audible) riffing with amazing tones and ghastly grooves, sick weird 90’s effects mauled low vocal attack for that uniquely mutant anarchist humanist survivor of the unfurling apocalypse vibe, warped, sleazy and slimy eurobeat synth segues framing each side of the record in a haze of creepy Italian post apocalypse movies. Extremely impassioned inaudible lyrics – perfectly blunt, poignant and dramatic, describing both the carnage of our current world and the nightmarish futures it beckons. The whole album has a really palpable mutant apocalypse, sewer HQ resistance vibes, a Grindcore Terminator 2 sci fi mirror to our current state of fucked up reality at the crest of capitalist psychopathy meltdown. Crucial record. A mutant Grindcore masterpiece. Get an LP from Bringer of Gore, Grindfather or Selfmadegod.


Rock n Roll two piece from Parana, retrogress RnR Acid psych, ‘an experimentation of blues and psychedelic rock’ , extra stringy blues and mega lo-fi jam freak-out. Faux proto stoner Psychedelic power duo, very raw and melted sounding Blues, dusty and warped Rock- just a couple of devotees banging out their truth of animalized blues and low life troubadour greasy folk – Fuzz guitar boogie, distant wailing vocal, muffled drums, Stooges raw power and corrupt blues in devout contamination. Couldn’t be simpler. Burn one.


Restricted Records


Yet another hyper assault on the senses & addition to the meticulously curated armada of self-released obscure sounds belonging to none other than experimental sonic guru/record mogul/photographer/art bastard & interdimensional necro-pornographer Jay Watson. This comes off like a vaporized dance club. Any ounce of smoothness has been sand blasted to carbon avant-garde bones & thicc black goth beats. Coin flip, you could either use this as a soundtrack to plan the theoretical extraction/elimination of an enemy or eat some ass. Whatever you’re into. Imagine 10,000 Arabian Super Nintendo death-bots grinding their crotches in a rocket made of melted ninja tune remix cdr’s. Every single track is baptized in crunchy distortion & glazed in a perfectly melted wall of overwhelmingly doom-ridden harsh noise crackles intertwined with industrial breakbeats. A sound distinctly otherworldly but unmistakably containing that hard hitting Detroit aura found nowhere else. Get it before it gets you. All proceeds to this album goes to the Detroit Dog Rescue.

Placenta Recordings

Jay of Sidetracked has kindly agreed to let me repost this short review he wrote on facebook of the new 4 way split on Chaotic Noise, here’s what he thought:

4 way assault upon the senses. I’m gonna start with the first and last bands: 7M$ and Suppression. I could never get too into 7M$ too much because its kind of a wall of sound with the whole no lyric/no songtitle approach to noisecore that is just kind of lost on me. Suppression knocks it out of the park once again with 19 tracks of perfect noisecore. More great lyrics/vocals and enough variation where it doesn’t all run together. EM Digital Spazz Unit was pretty nuts. Starts off kinda PE then breaks into some crazed digital grindcore that brings to mind something like Kusari Gama Kill or like an ANb remix. Uddercock was truly bizarre. Imagine someone doing death grunts with their regular voice simultaneously with a pitch shifted one and a bass guitar trying to simulate a swarm of bees buzzing. That’s what it sounds like to me and it goes on for a really long time. Pick this tape up. Its a wild ride.

Chaotic Noise Productions

Thirdorgan from Japan. Originally released on CDr by UK label Dead Sea Liner in 2006. Opening with a loop from Dawn of the Dead, ‘Satanico Pandemonium’ then blows the gates wide open to a dimension of the psychic dead walking the earth amidst collapsing, hallucinatory psychedelic scrap Harsh Noise audial event deluge, psychotropics summoned, controlled flooding Noise dam destruction, samples inhumed and corroded slowly in effects chain, a languorous but methodical pace of piercing experimentation – Harsh Noise pandemonium and cudgel psychedelia – swirling visual vapor trails achieved via concussion and painkillers. I’m less familiar with Thirdorgan’s output than I should be, barring some of their most well known and loved early cassette releases like Heavy Metal Battle Fighter, Mirrorman, Pessimistic Cyborg, and The Pornography of Despair, (recently reissued by the excellent Hospital Productions) – in remedy to this alarming oversight I’ll be diving into their well curated Bandcamp page right here. ‘Satanico Pandemonium’ is a total fuckin’ mindpeel!


Rehearsal raw evil Metals from Chile, ruthless Black Thrash Metal with lots of Doom and Heavy Metal influence and a really evil, possessed vibe. Old Germanic style Thrash Metal cruelty and sodomic wrath, live-mix drum sound with terrifyingly tight Toms of war, rasping deimos vocal spite, thrashing and scything riffs over very possessed and fluid drumming, swordthrust riffers full of barbarian hate! Fucking killer cover, too – Cimmerian Metal to slay feeble serpentile gods! Great rehearsal demo with appropriately dungeon dwelling atmosphere. For Crom!


Serial misanthropes Under return with another horrible offering of confounding time signatures and angular noise-rock insanity. It’s an EP, so those who were too faint-of-heart for “Slick” and “Stop Being Naïve” might find this release mercifully short. That’s about the only mercy that’s offered though; a relentless grind of massive, fucked up riffs and agonised vocals is the order of the day. “I DO WHAT THEY SAY, I DO WHAT THEY SAY!” comes the howled refrain of “Dividers in Hell”, a vicious diatribe bemoaning the drudgery and tedium of daily employment. Their powers of musicianship are simply stunning; the proggy, avant-sludge weirdness they serve up is in an unnerving league of its own. Fearlessly fucking original. The concept they’ve come up with for the physical release is really neat too, made to be a mock-up of a mindless corporate coaching programme. Even the scorching cover version of Black Flag’s “My War” is (dare I say it?) better than the original. Under are one of those bands who seem to just get better with each subsequent release, and “Training Resource #5” is no exception to the rule. Essential listening from one of the UK underground’s finest.

APF Records

Tomorr from Italy with their first full length – rural Hypnos Doom, traversing the rural mountain range in the baking sun, steeped in Albanian cultures and practices. Om style mesmerism inducing drifting smoke riff incantated – stupefaction and dehydration by shamanic riff and groove is the ordure of the day. Atmospheric and hazy with xhaxhi cultural music and instrumentation, Tomorr intends to evoke the rituals of those before, carving rhythmic processian groove paths in desert Rock, muscular Bass sounds, heaving drums and impassioned bellow/grunting melodious vocal cries, swells in texture and tempo roll naturally as the mountain passes, with moments of blazing solar lead Guitar psychedelia. Ecstatic, sandswept caravan Doom – The riffs are roiling and dude-excellent, fluid and ancient, antediluvian, the mid tempo swings and sways to impel stoned head nod & bang. “Tomorr comes from the rural world of the ancient corners without concrete, of slowness and fatigue, of bad weather and stones, enemies and walls”. Check out an interview with them right here.  Fucking cool.


Another fat banger from your new favorite noise tape label by way of
premier Japanese noise offender K2. Two live sets for each side of the brain.
The listener is treated to a sound akin to willingly dragging your half dead body onto a loading dock for the sole purpose feeding what’s left of yourself to an angry machine. Ever changing thunder bass broadcasting through ten thousand increasingly louder channels of breaking windshields and flaming helicopters in perfect intervals. It says something special to an individuals sound manipulation abilities when they can conduct rhythmic pulses in simultaneous bursts of serenity and volcano-like digital bile. 50+ min & not an ounce of fat. Get blown out.
Highly recommended.

Deathbed Tapes

Perverse, masturbatory Noise Rock from Chicago. Total pigfucking shit. Brainbombs one riff per song formula, with knuckle dragging Bass noise crumple, slashing atonal sub-Rock guitars, sloppy drumming and self hating, compulsive masturbator dude vocal – Hardcore Punk influences, filtthy tones and sentiments to match, sounds like a shithammered hangover, ciggarette burns and assault charges. Repetitious, overdriven, heavy as sin. The bass sounds here, in particular, are absolutely caved-in and formless, a suffocating blanket of fukked up distortion, contrasting in pleasing ways against the more high/mid register, head-punch guitar attack. Obstinate, incorrigible and offensive.



Horrifically splatterized Goregrind from Finland, from members of Tunkio and Tolerance. A short demo full of midpaced suppurated Goregrind noise slop with ridiculously disgusting aqua vocal vomits, echo pong snare with a very dry drum sound, massive, maggoty bass sound, putrid fast blasting parts and  mutant slamming parts, and little in the way of riffs or hooks but structured with blunt impact in mind. Goregrind from the larval dimension. Stomping, raw as fukk, unapproachable. Dig it.

What’s The Point Records

Cassette release from Kenny Sanderson’s project Like Weeds – Two tracks of distorted, crackling urban Industrial and Harsh Noise terror, soundscape collage of choking industry and repression. Drilling overdriven synthesizers (I think), humming pulses of contained signal threatening to burst,  Sinister and Harsh, claustrophobic, voices of dogmatisms – Immersion is made greater by use of field recordings, the cell doors closing, the stirrings of distant automation mixed with hand held hammer strikes (to my ear), a knitting of woeful isolated industrial workplace efforts, short crescendos of arcing, striking Noise remind that this is the man behind the long running dub-minded Harsh Noise unit FACIALMESS – the din and clatter betrays a keen sound design. Like the bucky on the cover of the tape – a weapon of very home-made fashion, yet desperately lethal in it’s creator’s hand. Desperation and despair.

Flag Day Records


A brutish amalgam of filthy banging Dutch style Hardcore/Speedcore and post-internet Vaporwave haze, a maximalist and bludgeoning, yet simultaneously tranquilizing experience of cyberpunk euphoria. A deft cocktail of potent Ketamine visual vapor trails and cheap, stepped on rush sub-ocular explosions – Ambient Cybergrind? Overstimulating pulsing beats, loops and choked out breaks pummel you into comatose hypnagogic state, wall of sampled ambience and chintzy melodies overlapping ad-nauseum with bad vibes chug and dirge, skittering across the hyperblasting bass hammers and rolling snare samples in a strange and pleasing tandem. Hyperspeed vaporwave, Wavecore? A weird and intoxicating burn of post music cuts. Cool.

business casual

Brutalist slaughterhouse Harsh Noise from the seedy underbelly of the hidden-camera slaughterhouse documenter. Spacious cuts of throat slitting Harsh Noise blast and terrible judder, missing intended throat and ploughing into prone skull, urban field recordings applied in the FACIALMESS method, harsh gates changing lanes quick as fuck and smashing into hanging corpses with rib splitting asperous body blows. Live and unedited. Blood and grime obscures the lens. Lots of negative space between carvings of Harsh cuts allows each blow to really resonate and damage. Rupturing, pulsing, fucking devastating. Clinical brutalism, grim and paralyzing electronics sabre rattling. Cut Up Harsh Noise mastery!

Update – Kenny has released the complete collection of Slaughterhouse sessions here – Get Slaughtered.

Pro Noise .15