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Grindcore is an extreme metal genre formed in the mid 1980's from a marriage of Hardcore Punk, Crust Punk, Thrashcore and the then embryonic Death Metal genre.
Grindcore took Hardcore and Crust Punk's drive for blistering speed and short song format and Death Metal's meatier and heavier sound, as well as taking some influence from Industrial and Noise. A typical Grindcore song on average is about 30 seconds to two minutes long, and usually features downtuned and overdriven guitars and bass with fairly simple punk styled riffs alternating between lightning fast and slower groovier passages. Grindcore drumming usually consists of inhumanly fast blast beating and sometimes slower d-beats. Vocals range from Death Metal growls and grunts to high pitched shrieks, with some bands employing a more Hardcore style of shouted vocals.
Lyrically Grindcore bands usually fall into two camps, ones with political lyrics and messages of many Hardcore bands and the Gore obsessed bands that permeate Death Metal.
The first bands that usually take credit with creating the typical Grindcore sound are the United Kingdom's Napalm Death, formed in 1982, and first releasing the From Enslavement To Obliteration demo in 1986, and the full studio album Scum in 1987, the American band Regurgitation formed in 1986, and releasing the Organic Backwash demo in 1986, before changing their name to O.L.D. and recording the Old Lady Drivers album in 1988, and the United States' Genocide formed in 1985, who would record three demos in 1986, before changing their name to Repulsion and recording the Horrified studio album, which wouldn't be released until 1989 after the group had split up for the first time. Other notable early Grindcore acts include the United Kingdom's Extreme Noise Terror formed in 1985 (though they consider themselves as Hardcore punk), the United States' Terrorizer formed in 1987 featuring many members who would go on to be in other well-known and influential acts, Belgium's Agathocles formed in 1985 who dub their style of Grindcore 'Mincecore', United Kingdom's Unseen Terror formed in 1986 featuring members of Napalm Death, Italy's Cripple Bastards formed originally under the name of Grimcorpses before changing sound and name, Japan's legendary group S.O.B. formed in 1983, and others.
Some bands that must be mentioned for being highly influential to the development of Grindcore, include the Hardcore Punk of Siege, Deep Wound, Discharge, GISM, Amebix, Larm, Asocial, as well as Industrial/No Wave group Swans, and the Industrial group Throbbing Gristle.
Grindcore has also spawned many sub genres.
• Deathgrind.
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.
• Goregrind.
Goregrind is a genre mixing Death Metal and Grindcore. Bands playing in this style feature extremely violent or medical terminology for lyrics, extreme, and for artwork (often times very real pictures), a deviation from the political messages of most Hardcore bands, and many bands make use of pitch shifted or extremely low guttural vocals. The credit for the first Goregrind band goes the United Kingdom's Carcass, formed in 1985 who's debut Reek Of Putrefaction became a favourite of DJ John Peel. Other notable early Goregrind acts include Sweden's General Surgery formed in 1988, United States' Impetigo formed in 1987, and the Netherland's Last Days Of Humanity formed in 1989.
• Pornogrind.
Pornogrind is a genre mixing Death Metal and Grindcore. Bands playing in this style feature the use of porn obsessed imagery and lyrics, extremely distorted and pitch shifted vocals, and often times incorporate much slower and groovy sections within songs. Notable Pornogrind bands include the United States' Meat Shits formed in 1989, and Germany's Gut formed in 1991.
• Cybergrind.
Cybergrind is a genre mixing Electronic and Grindcore. Bands that play this style make use of synths, computers, and drum machines in addition to the usual guitars and bass, while some bands use synths, MIDI files, and drum machines exclusively. Many Cybergrind bands tend to have little to no influence or relation to metal. Japan's Catasexual Urge Motivation formed in 1992 is generally considered the first Cybergrind group with a drum machine nicknamed Cyber E.M.F. Other notable Cybergrind bands include the United States Agoraphobic Nosebleed formed in 1994, and Australia's The Berzerker formed in 1995.
• Noisecore.
Noisecore is a genre mixing Hardcore, Noise Rock, and early Grindcore. Bands that play this style of Hardcore/Grindcore usually eschew any form of song structure, in favour of rapid blast beats or fast random playing with riff-less guitar and bass noise, and indecipherable vocal growls and shrieks. Many Noisecore songs don't even hit the 30 second mark, being short blasts and explosions of chaotic sound. Notable Noisecore bands include Australia's Seven Minutes Of Nausea formed in 1985, United States Anal Cunt formed in 1988, United Kingdom's Sore Throat formed in 1987, Switzerland's Fear Of God formed in 1988, and Japan's The Gerogerigegege formed in 1985. Bands that play Noisecore can be found on MMA under both Grindcore and Hardcore, depending on which style is ascendant.
• Fastcore/Thrashcore.
Thrashcore is a genre of Hardcore and early Grindcore. Bands that play in this style of Hardcore/Grindcore are discernible for making use of shorter song structures, faster tempos, and blast beating, more than regular Hardcore bands, and for this Thrashcore can be considered a forerunner to Grindcore and Powerviolence, As many early Grindcore bands took influence from early D.R.I., Deep Wound, and Septic Death. While many Thrashcore artists are labelled as Hardcore here on MMA, some can be considered closer to Grindcore, these bands include Japan's S.O.B. formed in 1983, and the United States' Siege formed in 1981, and Britain's Atavistic formed in 1985. Bands that play Thrashcore can be found on MMA under both Grindcore and Hardcore, depending on where the emphasis rests.
• Powerviolence.
Powerviolence is a genre of Hardcore and early Grindcore. Bands that play in this style are distinguishable from Grindcore and Hardcore for extremely short song lengths with often and sudden tempo changes, and shouted Hardcore vocals. Powerviolence bands draw on early Thrashcore, Hardcore, and Grindcore for inspiration, such as Scum era Napalm Death, Siege, Deep Wound, Cryptic Slaughter, and early D.R.I. Notable Powerviolence bands include the United States' Infest formed in 1986, the United States' Plutocracy formed in 1988, the United States' Hellnation formed in 1988, the United States' Capitalist Casualties formed in 1987, Germany's Yacopsae formed in 1990, and the United States' Man Is The Bastard formed in 1990. Bands that play Powerviolence can be found on MMA under both Grindcore and Hardcore, depending on which is closer to the band's sound.
Sub-genre collaborators: - Vim Fuego (leader)
- Dobbie03
- Sheavy
Showing only albums and EPs | Based on members ratings & MMA custom algorithm | 24 hours caching
Album · 1988 ·
Grindcore
Vim Fuego
On a first listen to this album, many people would think “Unhindered By Talent” is a highly accurate album title. After all, Sore Throat was hardly known as the most technically accomplished band ever. Noisy, rough, and ready, this early grind album must have seemed like musical Armageddon when it was first released in 1988. The 50 + songs on this album average somewhere around the 40 second mark. It would have held very limited appeal, and would probably have been laughed at, ridiculed, and ignored by the mainstream upon release.
“Unhindered By Talent” though, is the perfect title for this album. Too much musical talent can be a hindrance to creativity. How, you might ask? Because if you know what music is supposed to sound like, it will sound just like music which has already been created. However, if you don’t know how to make music (as in, lacking talent), you’re more likely to come up with something creative, new, and unheard before. That is what happened on this album.
Founding member and vocalist Richard "Militia" Walker was also in Wartorn and Warfear, while bass player John "Doom" Pickering and guitarist Brian "Bri" Talbot had been involved with seminal hardcore band Doom, so the band was not short of experience, but talent? That's a far more subjective proposition.
Like early Napalm Death and Extreme Noise Terror, Sore Throat’s recipe for anti-music was to turn everything up to the red line, get a target in your sights, and just fucking nail it. Some of those targets were political. “Hang Norman Tebbit”, “Fuck the Poll Tax”, “Two Horrendous Nuclear Arsenals”, and “Our Leaders Horrendous Policies” don’t take much explaining. Nor do social observations, like “Horrendous Cut-Throat System”, “Eat Organic”, “War is Horrendous”, “Consumer Terrorisim” and “Yankees Go Home”.
Sore Throat also had strong opinions on what was and what wasn’t right in the hardcore/grindcore/underground scene, as far as commercialism and selling out, and they didn’t care who they offended. Some of their targets included “Invasion Of The Amerikaan HC Clones”, “Billy Milanos Head”, “The Crossover (Is Over)”, “(D.R.I.) Dead Rich Individuals”, “(M.D.C.) More Damn Capitalists”, “Burn The Goths”, and “Record Collectors Are Still Pretentious Assholes”.
And just when it all seems like a hard grind, along comes “The Molecatcher”. If ever there was a song on this album entirely lacking in talent, it’s this one. It is a traditional bawdy ballad, rife with innuendo. Someone doesn’t know how to play the accordion, someone doesn’t know how to sing, and no one really knows the tune. It’s a car crash of a song, but like driving past a crash scene, rubbernecking is compulsive. It’s really quite compelling, and just like someone says at the end, it’s fucking horrible.
The rest of the album basically vacillates between blasting grind and grinding sludge, if that makes sense. There’s the odd strange interlude though. “In Their Hypocrisy, They’ll Probably Sue Us” is a spoken word rant at the state of the record industry. “A Bow To Capital” is a Billy Bragg-esque protest song with incredibly earnest anti-capitalist lyrics, and guest vocals by Peter Pax. “Iron Lung” is a Black Sabbath pisstake, featuring Peaceville Records founder Hammy on vocals.
This is one of those Marmite albums. For those who don’t know what Marmite is, it is a yeast extract spread, of British origin, but named after a French cooking pot. There are different versions made in South Africa and New Zealand, the less than original Vegemite from Australia, and the completely weird Cenovis from Switzerland. Anyway, all share the common quality in that they look like a mixture of sump oil and shit, and people either adore or loathe the taste. You are either going to loathe or adore “Unhindered By Talent”. There is no middle ground.
Album · 2010 ·
Grindcore
Vim Fuego
And this is the album where Anal Cunt did a “Cold Lake”. Or did they?
Yep, noisecore’s greatest exponents made a glam album. “Fuckin’ A”? Fuckin’ sellouts! The cover is a parody of Motley Crüe’s “Too Fast For Love”, there’s songs about chicks, bikes, and fucking, and most shockingly of all, most of the music is actually recognisable as music!
Unlike so many Putman jokes though, (for example the “...is gay” song titles, jokes about Hitler and the Nazis, seeing how much formless noise fans would accept as music) this one actually works, and is pretty fuckin’ funny!
For guys who had made a career as non-musicians, this starts out in fairly tupical style, with fuzzy guitars and Seth screeching like a rutting tomcat. However, the pace is slowed a bit, and riffs actually emerge from the noise. It’s all dumbed down, showing off a different sort of stupid. “Fuck Yeah” has a shouted chorus of, you guessed it, fuck yeah! “Crankin' My Bands Demo On A Box At The Beach” continues in a similar vein, with a suitably tuneless over the top solo mid song.
“Loudest Stereo” is a song about well, the loudest stereo on the the block. It sounds like Venom playing Judas Priest songs recorded on a cheap old tape recorder. “Kickin' Your Ass And Fuckin' Your Bitch” kicks ass and fucks your bitch.
Unlike the old glam trope of using thinly veiled double entendres, there’s no fucking pretence here. Four song titles in a row: “Hot Girls On The Road”, “Whiskey, Coke And Sluts”, “All I Give A Fuck About Is Sex”, and “I'm Gonna Give You AIDS”. These songs would have made Lemmy blush. There is actually a bit of a Motörhead vibe to these songs too. Every glam album needs the obligatory power ballad. In this case, the final track “I Wish My Dealer Was Open” pretends to be a scratchy sounding power ballad, up until the moment Seth opens his demonic noise spewing mouth, and the song instantly transforms into a sludge/stoner monster.
For a supposed glam album, there’s really not that much posing and posturing going on. It’s heavy as fuck with little regard for melody. The music is pretty simplistic, but fun, and it’s still soaked in static and blur. Anal Cunt’s fans need not worry about hearing any of these on FM radio.
A glam sell out? Don’t be fucking stupid! A glam metal skewering? Vlad the Impaler would be proud. “Fuckin’ A”? Fuckin’ A+!
Album · 1989 ·
Grindcore
Vim Fuego
This shouldn’t have worked. Imagine a mainstream death metal label releasing a compilation with saxophone abuse, lo-fi hardcore, vomited goregrind, ropey demos, comedy thrash, keyboard and piano led tracks, avant-garde experimentalism, industrial weirdness, oh yeah, and a bit of death metal. It looks like a big mash up of unrelated and unrelatable genres. And the cover. The gaudy eye bleeding high contrast artwork looks like it would cause migraines in the same manner as the music.
But you know, this odd compilation of unknown, fringe, and underground bands with several different tracklists, and different versions of the tacky artwork has become one of the most important compilations in the development of extreme metal as we know it. This album is a legend. This is “Grindcrusher”.
For an album that’s supposed to be so influential on the death metal scene, there’s not actually a lot of death metal on it. Yes, there’s death metal royalty in the forms of the already legendary Morbid Angel, and the emerging Entombed, the Morbid Angel-related sci-fi death weirdos Nocturnus, and the highly influential Carnage, which evolved into Dismember, and spun off members into Carcass, Arch Enemy, General Surgery, Therion, Dark Tranquillity, and a few others too. But that was it.
But wait, you say, what about… Bolt Thrower, Terrorizer, Napalm Death, Carcass, Repulsion... Stick your little labels on them and call ‘em what you fucking like, but they were considered grindcore at the time. So was Godflesh, Heresy, Unseen Terror, and even Filthy Christians, and perhaps Sore Throat. Hellbastard? Intense Degree? Stick some sort of –core in there somewhere... But then when it came to Naked City, Old Lady Drivers, Cadaver, Sweet Tooth, Mighty Force, and Spazztic Blurr... Just throw up your hands and say fuck. No one bothered trying to figure out what to call the music, it was just there to be listened to and enjoyed.
It’s useless trying to sum up this record track by track. There’s some fucking stunners, like Morbid Angel’s “Chapel Of Ghouls”, Terrorizer’s “Dead Shall Rise” and Godflesh’s industrial nightmare “Streetcleaner”. There’s a couple of historically important tracks, like Repulsion’s “Radiation Sickness” and Carnage “Malignant Epitaph”. There’s some total weirdness in Spazztic Blurr’s “He-Not-A-Home-Me-Marco”, Naked City’s “Osaka Bondage”, and Old Lady Drivers’ “Colostomy Grab-Bag”. There’s an exclusive version of Carcass’ “Exhume To Consume”, and there’s even some novelty fun, with Napalm Death’s “You Suffer”, and “Satan’s Trampoline” from the smarter than they seem Lawnmower Deth.
Hindsight is a wonderful thing. There were a couple of duds on this album. Hellbastard inexplicably never made a huge impact, and “Justly Executed” is not their strongest track. Napalm Death’s “Malicious Intent” is a bit dry. Intense Degree, Sweet Tooth, and Mighty Force had good tracks here, but never made waves beyond this. No matter, “Grindcrusher” is like metal archaeology. Some of these bands grew and evolved. Some are left here in fossil form. All need to be heard.
Album · 1988 ·
Grindcore
Vim Fuego
Dan Lilker’s place in extreme music is well cemented. He had a go at thrash, with Anthrax. Then there was crossover thrash, with Nuclear Assault and S.O.D. When thrash was dying a death, Lilker reinvented himself once again, this time taking on grindcore with the highly influential Brutal Truth. Through all this Lilker redefined the dark art of the bass guitar. What is less known is he gave grindcore drums a go too.
Yep, Extra Hot Sauce’s “Taco of Death” was a one-off grind/crust album from 1988, featuring big Danny on drums. It’s rough, spontaneous 80s grind with a sense of humour. If you know Unseen Terror and Spazztic Blurr, just imagine a band somewhere between the two and you have Extra Hot Sauce.
“Lookout For The Cheeba Man” is a funky reggae workout, a la Bad Brains, until it hits a mosh section, then a full on grinding blur, before skanking back down a couple of gears again. It’s silly but fun. “Passive Terrorism” is Nuclear Assault with a turbo charger and crust punk vocals. “Homina Homina Homina” is a seven second hardcore blast of a song.
There’s a bit of the aforementioned S.O.D. politically incorrect humour included, but like S.O.D. there’s the odd serious message thrown in to. Or it seems like there is. The lyrics are a bit hard to decipher, but the song titles look that way. Or they could be a complete piss take. Who knows? On “Tony’s Dilemma”, Tony is complaining because a girl he picked up gave him AIDS, while “I Need A Job” speaks for itself.
There are three covers on the album. What would you generally expect a grindcore band to cover? Discharge? GBH? The Exploited? How about Black Sabbath, Led Zeppelin, and Lynyrd Skynyrd? No? Well, that’s what ya get here. Yep, supercharged, supercheesed, supershort versions of “Paranoid”, “Communication Breakdown”, and “Freebird”. None of these are very clever, but it’s lots of fun!
And fun really is the recurring theme. None of this is to be taken too seriously, but it’s seriously well executed. The whole album is an exercise in exploring musical dynamics, song structures, and the seemingly limitless possibilities of a fledgling genre.