Released in 2011 on Feral Ward, ‘Farewell’ is Direct Control’s nasty, gnarly Skel masterpiece(piss) stamped in 12″ wax – furious skate thrashing Hardcore for freaks only, an acid cruster rager deranged and off the rails. Super raw guitar scratch riffs tearing across mad manic thrasher Bass twang with perfect punchy blown out sound, careening drums just on the right side of in-time and super sick aggro kid vocal dripping with demented energy! Channels the mutant waste of Cryptic Slaughter and Excel’s early melted Crossover Thrash sound right into the eye of their DC Hardcore, and draws from the spirits of old Heavy Metal and Hard Rock too, with little Surf passages and jams here and there, warped from some rad dimension and psybeamed into Richmond VA. 15 minutes of far out fast-as-fukk Hardcore/Thrashcore perfection, deep fried in shitty blasting in-the-red production where the drums sound serrated and the vocal booms like a motherfucker. I don’t often throw a link to youtube on here but I had to revisit this record and it’s not on bandcamp. But who cares, it looks like it’s still available on wax – get one and hesh the fuck out! RIP Brandon Farrell.
Apotheotic crusty Goregrind from one man project Metastasis, brainchild of Evan from Campaign For Musical Destruction and other gore/crust/metal endeavors. Amidst the bands and projects who deservedly received some attention in the late 2000’s and earlier 2010’s for their contributions to mice/gore/crust/noise like Archagathus, Hyperemesis, Violent Gorge or Haggus, Metastasis seems a little neglected, which sucks! ‘Putrefied Humanity’ is an overlooked album, and a perfect entry point to Metastasis’ foul discography of demos and splits. Evan’s incredibly dexterous, careening drums captured in lo-fi blasting excellence on 4-track, super raw crushing cancerous crusty gore Guitars slop on 1000 speed, full of nasty catchy grooves and gnarly details, and atrocious pitch-shifted mega-wretch vocal eruptions congeal into totally anti-human, pro-environment and punk as FUKK Goregrind. A thing of mephitic perfection. You’re only getting a couple preview tracks below – Still available from CFD right here, or grab the recent reissue from Strangulation Furrow here. Sleep no longer!
This was the first Gore Tech mix I heard back in 2010 or 2011, and I was immediately gripped. This mutant sound was everything I wanted from the burgeoning Dubstep scene, complete with 2 step crushing beat perversions and ultra low Bass violations, but with a contamination swirl of tooth chipping Breakbeats and chittering weaponised Jungle mist – A Drone strike of murderous thumping Raggacore, Noise step, breakcore wildman cyborg menacers, ultrafunk bang bang bangers with grainy hellacious textures and fat Bass dangers, lean as fuck rhythms with distorted death kicks and impressive dissonance – spine-ripping Predator bloodrave music! Extreme and metallic, dense with breakbeat design and entropic Dub coursing through it’s veins. Fucking killer.
2 Bands from Finland, 3 members total, 1 Urho. Just under 12 minutes of devotional punk as fukk Grindcore! Tolerance spews 9 tracks of overdriven, putrefying grinding Goreslop Bass puking Gore/Grind with awesome sounding cyber drum machine and vomitous stomping future-Neanderthal cyborg blasting, super low mutant vocal. Lots of disgusting grooves present here, too. Tunkio plays similarly Gory Grindcore with not much difference in sound from Tolerance, more of a band sound as opposed to Tolerance’s bedroom project vibes, and relatively closer to straight Grindcore. Crushing piledriving Gore vocal spew, lots of tempo variations in the fearsome brute drumming, beneath single guitar grooves and grinds. A perfectly insular rehearsal room blast of split 7 GRIND. Tunkio’s link here is just a teaser track, unfortunately.
The sneaky bastards. “Having released 10 albums since their debut in 2008, it’s hard to believe that ‘Crystal Bullets b/w King Tears’ is the first ever 12” single” from White Denim, so sayeth their Bandcamp page. But in a delightfully devilish move from the band, it’s actually their first ever secret vinyl-only album. And it’s friggin’ great! Maybe even the best thing they’ve done since “Performance”! It finally seems like the current lineup of the band is gelling as well in the studio as when I’ve seen them live, and there’s enough space in here to give each member room to shine. There’s a sly nod to Bernard Purdie in the shuffling rhythm of the track “Crystal Bullets”, which just sits so deliciously inside the lush and luxuriant sound they’ve been adopting lately. It’s subtle, sleek and sexy, but above all, it’s MEMORABLE. The rushed feeling I got from their previous two records isn’t anywhere to be found here, every track has been gloriously crafted into a swirling, jubliant vessel. On the whole, the album is quite a mellow affair, even the parts where they bring the energy up have a light and breezy quality to them. Unfortunately, unless you grab the vinyl, you’ll only be able to stream the title track(s) through their Bandcamp page. I’m well aware that White Denim reviews make up about 40% of my contributions to this site, but if they continue to put out such great material on a regular basis as they have been doing for the last few years, don’t expect me to change any time soon.
Sorry goregrind goobers & mincecore meatballs, but scary lo-fi murder punk is the sexy hot flavor those dang underground bandcamper kids wanna suck down this season. Hell, take a gander at Iron Lung Records/Youth Attack/ect’s latest crop of stuff & you’ll see what I mean. And when digging through the proverbial fruit bucket of similar bands you’re bound to find a supremely juicy one. Here I present this plumper:
Fashion Change blast out 10 minutes worth of grating intense Negative Approach style hardcore mixed with Flipper-infested groove with a dash of Crossed Out on this tape. Mix it with an almost hypnotic feedback & background hiss that makes it feel like you stumbled across some gross ancient hardcore demo tape made by bad people & you have a most memorable listening experience. The six songs seem longer than they are, each one having their own specific vibe. It’s not fast. But it also kind of IS in a weird way, with the almost tribal-like drums & building waves of distortion crashing like rusty cars being demolished. And after it’s over you’ll wish it kept going because it’s also extremely catchy. You won’t get out of this without listening to it at least twice. Heavy, gross, depressing, but also super fucking energetic & groovy as all hell. Track this tape down & pray to your weird Henry Winkler bedroom shrine that they put another release out some day because this rips. This feels like a 1 and done but you never know.
Tunkio is a Grindcore two piece from Finland, featuring Urho from one-man nuclear meltdown Tolerance. Crusty Gory Grindcore from an industrial wasteland – nightmarish, blasting and noxious, splattering and sputtering in carbonising contaminated convulsion! Putrefied mutant pitch shift vocal atop road warrior sounding Crustcore chords, with hyperblasting drums full of mincing and grooves, punk as fuck presentation and filthy non production, ultra lo-fi & DIY, aggressively and incensed at a world of, well, maniacs. As with Urho’s other affiliated projects, there’s only a couple teaser tracks to tease you here – check out MELTAAARGH!!!! / Bringer Of Gore Records and see if you can scoop a copy.
Check it out kids, it’s Japans amplifier imploding death grind super trio MORTIFY, returning to the scene of the crime. The offense: eviscerating frontal lobes with their patented brand of HM-2 powered Swedish death inspired grindcore madness. Continuing where “Stench of Swedish Buzzsaw” left off, Grotesque’ is slightly shorter, clocking in at under ten minutes with 12 original songs & an Agathocles cover. Sonically it’s even more blown out that the first full length with the guitar tone dialed in through multiple HM-2 pedals, screeching through every track, while the drums fill the back end just as loudly & twice as fast. I ha e to say, when the instruments are running through just two humans playing at this level, the stop/go precision is usually more prevalent & shines a bit brighter than most (see Assück/D.A./Ruins/HIRS), and MORTIFY definitely fit into that category. The songs feel more thought out while keeping that sporadic element you need in grind. And the voice work on this entry elevates this production to even higher peaks as Adam Jennings wretches & snarls his throat muscles into the reverberating abyss like the corpse of a rotting lunatic murderer being brought back to life mid-kill spree. MORTIFY have even worked a couple cinematic soundbites into this venture, adding to the overall gruesomeness of the affair & showing the right amount of growth without cheapening the impact (or worse yet, slowing down!). Everything crammed into this 9 minute horror show is a solid A+. Musically, lyrically & aesthetically (the art & logo work/layout on all their releases are top notch) they hit all the right notes & manage to not roll out a lazy chunk of laughable cheap shit you’ve heard before (something I’ve noticed many many many grindcore bands have been extremely fucking guilty of as of late, especially a lot of these “super groups”). Hearing this gets me even more pumped for their upcoming split 7″ on 625 Records w/ LA’s H.A.R.M. And hopefully after that we get blessed with another installment of the MORTIFY tale, because I don’t think these guys are ready to put down the buzzsaw & stop killing just yet. So if you like GOOD grindcore, get this thing. If you like death metal but hate that they fuck around & play way too long, get this thing. If you hate your neighbors & have a CD player with a loop function, get this thing.
Rounding out the gelatinous pulsating ball of moose diarrhea that is 2020 & hot off the heels of the swankiest feel-good grindcore LP of the summer (Internal Rots ‘Grieving Birth’), we have yet another top-to-bottom deep dish megaton goreblast of excellence from the mind of Brad Smith & his singular mammal-like kill squad TAKE THAT VILE FIEND. On the bands second offering “Surplus Flesh”, Mr. Smith has compiled & treated us to over 30 minutes of unrequited hyperfast goregrind so heavy it borders on volcanic. This release in particular is a masterclass in the fusion of old school fistfucking blast grind and thundering modern gorenoise blursts. The ultra-primative guitar tone does exactly what it intends to do in complimenting the ungodly fast drumming that distinctly hits a nostalgic nerve yet also highlights the steady progression of modern rapid percussion. Vocally it’s all over the map with mostly low-end ubervomit burp shrieks, throat clogging cancerous ribbits & distorted bong hits. Yo, this is legit the third grind release I’ve heard this year with bong noises for vocals and I’m not even mad. If it works, it works. And hey, there’s definitely enough groove & drop d sludginess to balance out what seems to be an unrelenting hammer storm of snare stabs so the insufferable riff nerds won’t cry too hard.
Now, to the untrained ear this album could easily pass as some super gnarly mid-90’s Warsore-era grind madness, but it’s too fast & that’s where its youthful vigor is revealed to the listener (none of this is a negative btw). The envelope is most definitely being pushed & Mr.Smith is one of the few active grind drummers currently at the forefront (others included in this international cadre are Japans Yuya Yakushiki & North Americas Isaac Horne). Weather it’s TTVF, Internal Rot, his 1-man/10arm monster the Blarghstrad, Umbilical Tentacle or any other of his side projects, one off’s & spontaneous combustions he continues to innovate & melt boundaries from the other side of the planet. When grind is good, its REALLY good. Massive big dick energy on this porkchop.
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.
Complete discography of slightly overlooked and short lived Power Violence/Hardcore band Forced Expression, released by Mortville Noise. These tracks are taken from demos, split 7″ records and compilations, with plenty of unreleased and alternate tracks too, all culled from across their one year of existence. 56 tracks of manic, violent, decimating Power Violence and bludgeoning super fast Hardcore with brutal blurted madman low vocal/high vocal tradeoff, stomping catchy Hardcore pit-starter parts stacked up and toppled by lightning fast blast beat parts, with an awesome Bass sound across most of these different recordings too. Pissed, forceful and supremely tight and faaaaast. Fuckin’ killer! Reminds me of Heresy, Ripcord and other early super-fast UK Hardcore bands, and of course Power Violence like Crossed Out and No Comment, but Forced Expression manage their own stamp on the sound. Forced Expression is band i’m shamefully unfamiliar with, one that I recognised from the covers of splits but never really got around to checking out properly. This I regret. Buy a CD and be a #scenesupporter!
Unreleased specimens from Seal Team 666. Two tracks of longform and somewhat clinical pulsing Harsh Noise, cryptic in intent and cryptid in appearance. Shifting coils of noise, pulse canons concealed beneath the exterior carapace – this is alien weaponry electronics. This reminds me a bit of the HarshNoise.Org EP Randall put out as ST666 a few years back, with a very weapons test vibe. Modular tectonic weapons affixed to a slow moving but unstoppable reticulated python infiltration unit. Lots of gates and restrictions in volume imply a sort of hostile capability, but many of these haywire cataclysm alarm sounds are very restrained and controlled, only swelling up to harsh volumes sparingly. Sound builds in slow coils, bursting out of the steaming undergrowth to terminate targets with extreme prejudice. Use headphones and crank the volume.