Deathgrind

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Deathgrind is a genre mixing Death Metal and Grindcore. Bands that play in this style typically are heavier sounding and more technical in playing and song structure than your average Grindcore band. Deathgrind is closely related to both Goregrind and Pornogrind stylistically. Notable Deathgrind bands include the United States' Brutal Truth formed in 1990, the United States Cephalic Carnage formed in 1992, the United Kingdom's Defecation formed in 1987, Germany's Blood formed in 1986, and the United States' Righteous Pigs formed in 1987. Bands that play Deathgrind can be found on MMA under both Grindcore and Death Metal, depending on where the emphasis lies.

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LOCK UP Necropolis Transparent Album Cover Necropolis Transparent
LOCK UP
4.56 | 4 ratings
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CEPHALIC CARNAGE Xenosapien Album Cover Xenosapien
CEPHALIC CARNAGE
4.14 | 3 ratings
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CEPHALIC CARNAGE Misled by Certainty Album Cover Misled by Certainty
CEPHALIC CARNAGE
4.00 | 6 ratings
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BRUTAL TRUTH Extreme Conditions Demand Extreme Responses Album Cover Extreme Conditions Demand Extreme Responses
BRUTAL TRUTH
3.97 | 13 ratings
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deathgrind Music Reviews

DEFECATION Intention Surpassed

Album · 2003 · Deathgrind
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UMUR
"Intention Surpassed" is the 2nd full-length studio album by US grindcore act Defecation. The album was released through Nuclear Blast Records in January 2003. Defecation was formed as a side-project by Righteous Pigs guitarist Mitch Harris (guitars, bass, vocals) and Napalm Death drummer Mick Harris (drums, vocals) in 1987. They released the "Purity Dilution" debut album in 1989. It was initially a one-off project, as Mitch Harris joined Napalm Death in late 1989, and both guys focused on that band (not for long though as Mick Harris soon left Napalm Death to form Scorn). However Mitch Harris opted to ressurect Defecation in the early years of the new millenium and recorded "Intention Surpassed".

While "Purity Dilution" was a team effort, "Intention Surpassed" is a one-man project where Mitch Harris handles all guitars, bass, drum programming, and vocals. Although there are 14 years between the debut album "Intention Surpassed", the music style is at it´s roots pretty much the same on the two releases. It´s Napalm Death influenced grindcore with some nods toward death metal. "Intention Surpassed" is a much sharper and less chaotic sounding release compared to "Purity Dilution" though and the programmed drums also provide the album with a more artificial and less organic sound than the case was on the debut album. The vocals are also a bit different as they are more aggressive and higher pitched than the growling vocals featured on the debut album.

"Intention Surpassed" is as such well produced but the programmed drums aren´t that suiting. They are fairly well programmed but in this case I´m sure a human drummer could have done the music more justice. The fact that the material on the 13 track, 39:04 minutes long album is a bit one-dimensional is not exactly a positive either, but it´s still overall a decent grindcore/death metal release deserving a 3 star (60%) rating.

DEFECATION Purity Dilution

Album · 1989 · Deathgrind
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UMUR
"Purity Dilution" is the debut full-length studio album by US/UK grindcore act Defecation. The album was released through Nuclear Blast Records in 1989. Defecation was formed as a side-project by Righteous Pigs guitarist Mitch Harris (guitars, bass, vocals) and Napalm Death drummer Mick Harris (drums, vocals) in 1987. It was initially a one-off project, as Mitch Harris joined Napalm Death in late 1989, and both guys focused on that band (not for long though as Mick Harris soon left Napalm Death to form Scorn). Mitch Harris ressurected Defecation in the early years of the new millenium and released "Intention Surpassed" in 2003.

The music on "Purity Dilution" is Napalm Death influenced grindcore with the odd nod towards a punked version of old school death metal. The album was recorded and mixed in 29 hours and was co-produded by Danny Lilker (Anthrax, Nuclear Assault, Brutal Truth). It´s audible that the band probably didn´t have time to do more than a few takes of each track, because this is a very organic sounding and not always tight performance. On some tracks the vocalist sounds pretty commanding, delivering some convincing growling vocals, while he sounds strained and hoarse on other tracks, which is probably the consequence of having to record all the vocal tracks within a few hours.

The tracks feature both mid-paced heavy parts, faster punk rhythms, and furiously fast-paced blast beat sections. Despite the relatively varied rhythmic approach the material is a bit one-dimensional and not many tracks stand out from the others. The sound production is pretty raw, lo-fi, and parts of the production lacks punch. So upon conclusion "Purity Dilution" is quality wise a bit of a mixed bag. I admire the DIY approach of the project, but the outcome really isn´t the greatest or most distinct sounding grindcore release and a 2.5 (50%) rating is warranted.

LOCK UP Demonization

Album · 2017 · Deathgrind
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UMUR
"Demonization" is the 4th full-length studio album by multi-national death metal/grindcore act Lock Up. The album was released through Listenable Records in march 2017. It´s the successor to "Necropolis Transparent" from 2011 and features one lineup change compared to the predecessor as lead vocalist Tomas Lindberg (At the Gates) has been replaced by Kevin Sharp (Brutal Truth). The remaining members of the lineup are Shane Embury (bass), Nicholas Barker (drums), and Anton Reisenegger (guitars). All prolific musicians on the extreme part of the metal scene.

"Demonization" opens in great deathgrinding assault mode with "Blood and Emptiness", and pretty much continues down that road all the way through the 14 track, 41:54 minutes long album. It´s a highly energetic and fast-paced release featuring elements from both hardcore punk, grindcore, and death metal. The pace is lowered a couple of times during the album´s playing time, but it doesn´t happen that often, and when it does (like on the title track), it´s usually only for short periods of time before the deathgrind assault continues. Kevin Sharp is a suitable replacement for Tomas Lindberg, and his performance here is solid, although he doesn´t bring anything special to the vocal part of the album. His delivery is somewhere between death metal growling and a distorted shouting hardcore type vocal style. The instrumental part of the music is very well performed. Especially drummer Nicholas Barker stands out with his powerful and creative approach to extreme metal drumming.

"Demonization" is well produced, and features a sharp, clear, and powerful sounding production, which suits the music well. So upon conclusion "Demonization" is a quality release by Lock Up. The only minor issue is that not enough of the tracks on the 14 track, 41:54 minutes long album stand out, and few are easy to remember when the album ends, but it´s still a very enjoyable release while it plays, so a 3.5 star (70%) rating is deserved.

RIGHTEOUS PIGS Live and Learn

Album · 1989 · Deathgrind
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Vim Fuego
What do you do if you're a fan of extreme music, but you live in Las Vegas, the world capital of easy listening lounge music? You make your own, like Righteous Pigs did. ‘Live and Learn’ is a harsh, horrible sounding album, full of inept drumming, tuneless out-of-time shouting, and chaotic guitar and bass which only occasionally manages to string together a riff. The production is awful, the mix unbalanced, and the lyrics misogynistic and deliberately offensive. The band sounds like it is falling apart at times. Hell, there’s even two songs listed which don’t actually appear on the album. So why the hell is it so damned addictive? The attraction is the unrestrained violence of it all — brutal, unpolished, in your face, and downright confrontational. Vocalist Joe Caper can't sing. He knows it. He sounds like he'd kick your face in if you told him. Scott Leonard's drumming sounds like he was in the band just because he was the only drummer the rest of the band knew. Throw tin cans and ball bearings in a food processor and change the speed from time to time and you'll get something like the effect he produces. The band does hit the right note from time to time. ‘Misconduct’ sounds like MOD playing Grindcore, all four members of the band managing to stay together for two minutes. Other tracks like ‘Hidden Zit’, ‘Celibate Tease’ and the delightfully titled ‘I Hope You Die In A Hotel Fire’ could all be vintage Extreme Noise Terror. On the liner notes, the band complains they had to re–record the album after mixing had been fucked up initially. It would have been difficult for the end result to have been much worse, or much better. Much of the charm of this album is its spontaneous, immature, amateur feel. The blast beats are insane. The lyrics are vicious. Two tracks listed on the cover are missing from the album. The whole beautiful mess finishes so quickly you feel compelled to play it a second time. Oh yeah. Guitarist Mitch Harris went on to join Napalm Death.

BRUTAL TRUTH Extreme Conditions Demand Extreme Responses

Album · 1992 · Deathgrind
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Vim Fuego
Not every band lives up to its name. Extreme was anything but extreme. Danger Danger was quite safe. Brutal Truth lived up to its name in every way possible. This album is brutal as all fuck, and some of the messages it contains are so true it hurts. Put together by former Anthrax/SOD/Nuclear Assault/insert-huge-list-of-bands-here bassist Dan Lilker and mental hospital outpatient and sometimes journalist Kevin Sharpe, most people thought the band a bit of a gimmick to start with, banking on Lilker’s previous experience. No one expected anything quite so deeply rooted in Grindcore. Drummer Scott Lewis had formerly played for the legendary Winter, the enigmatic late 80s Doom band which played at a glacial pace, so he wasn’t expected to keep up the pace for a Grindcore band. However, Lilker and Sharpe had been studying Japanese Hardcore in some detail, while Sharpe had a liking for power tools. The combination proved deadly. Y’see, Japanese Hardcore isn’t like your everyday garden variety Hardcore. It’s not all about burly, sweaty bald men covered in tattoos yelling about unity and vegetarianism. Japanese Hardcore is utterly insane, played so fast, as Sharpe once put it, you need to hold your nuts in a sling. Sounds painful... As for the power tools, Sharpe liked attacking pieces of metal with angle grinders and hammers and recording the resulting racket. There’s a definite Metal vibe right from the start of ‘Birth Of Ignorance’, with the guitar tone, Kevin Sharpe’s growl, the double kick drum rumble, and then the blast beats. This could be put down to Colin Richardson’s production. After all, he’s the man who brought out the metal in Carcass and even crusty Punks The Exploited. However, this is Grindcore, not Metal. Sharpe pulls out the screaming demon vocals to go with the death grunt, and there’s no time for any superfluous solos or leads or drum fills. Second song ‘Stench of Prophet’ is where things really get grinding. Scott Lewis out-blasts the rest of the band with consummate ease. Dan Lilker’s dirty distorted bass makes its presence well and truly known, grumbling so low it upsets seismographs. The riffing is sharp and simple. The overall effect is very clear and intense sounding, at a time when many Grindcore outfits were drowned in distortion and fuzz. A few tracks stand out above the others. Clocking in at around a minute and a half long, ‘Walking Corpse’ is a song built around three incredible bursts of hyper-blastbeat energy. Rather than being a literal tale of zombies and the walking dead, Sharpe rails against the repetitive pointlessness of the nine-to-five existence. It also includes a memorable sample intro of a distressed voice saying “I hope you make sure we’re properly dead before you start...” ‘Wilt’ is another blast-abusing song, which also has a memorable intro, this time Tom Hanks and Meg Ryan: “Do you believe in God?” “I believe in myself.” It aims at evangelical religion, an easy but always worthwhile target. It starts with a slow, menacing riff, which pops up between the blasts throughout the song. ‘Anti-Homophobe’ was originally misinterpreted by a number of fans as an anti-homosexuality song. It’s as much anti-prejudice as it is pro-gay, but it’s all aggression. There’s also a small matter of a world record included on this album, all 2.18 seconds of it. ‘Collateral Damage’ is a musical marathon alongside Napalm Death’s 0.75 second ‘You Suffer’, but it holds the record for the world’s shortest music video. You could watch it 82 times in the space of the average three minute music video. This isn’t an album where the listener can get bored easily. So much flies past so quickly your subconscious attention shifts from one idea to the next, hoping you can keep up. The political lyrics and the powerful imagery of the cover are highly thought provoking, and a little easier to comprehend than the music. It is also reasonably easy for the average Metal fan to stomach. Alongside Carcass’ ‘Necroticism: Descanting The Insalubrious’, ‘Extreme Conditions Demand Extreme Responses’ helped set a new standard for Grindcore, paving the way for outfits like Discordance Axis and Nasum. Grindcore need not be slipshod and amateurish, it could be tight and clear, and Metal fans could listen to it without feeling alienated.

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