siLLy puPPy Not exactly the most prolific band, the Belgian trio DAYS OF DESOLATION released its self-titled debut in 2013 and is only now following up in 2022 with its second offering CIRCLES. Both albums are only slightly over 30 minutes long but in the band’s defense it has contributed a lengthy list of splits in that time. This band comes from the small city of Halen in the Limburg region of Belgium and creates a caustic blend of fast-paced grindcore with the slap-in-the-face stripped down production style and extensive use of screaming featured in the most extreme forms of hardcore punk but then again grindcore itself is one of those punk derivatives in the metal universe.

CIRCLES is a fairly typical grind-punk release with succinct violent bursts of unrestrained energy, caustic guitar riffs, percussive explosiveness and angry screaming / shouted vocals. This particular album is out of the Pig Destroyer playbook and features short clips, clean melodic passages and atmospheric bridges to offer a break from the otherwise corrosive din presented in the main musical performances. The album while short offers enough variation to keep the oft one-dimensional nature of grindcore from becoming too monotonous. This trio consists of Owen (vocals, drums), Jasper (guitar, bass) and Bart (guitar).

As with most of these grind-punk albums, the tracks are mostly of a playing time of less than 3 minutes but 3 tracks do exceed that time limit with the bizarre “Neuron Nebula” and closing “Hypersleep” stretching past 4. This particular track is perhaps the most interesting as it features extended feedback noise and other tricks and trinkets for extending the otherwise no nonsense approach of creating the most vitriolic uproar as possible. The production is actually really good as it features the perfect mix of violent distortion in a DIY sort of style and the slicker contrasting elements.

While DAYS OF DESOLATION doesn’t really add anything new to the paradigm of crust fueled girndcore, these guys do manage to craft a compelling specimen of this most caustic corner of the punk metal universe. While most of the album rages on at the speed of light in a form of sonic dystopia, there are also rare moments of pure melodic chill time in just enough doses as to keep the listener from going completely insane. Overall this is a well calculated example of grind-punk even if it’s not revolutionary in any particular way. I guess it’s safe to say that it may be another nine years before the band’s next independent releases finds its way into the world.