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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 (+ child sub-genres):
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Album · 2001 ·
Pornogrind
Vim Fuego
With a band name like Cock and Ball Torture, you know you’re not going to get high art, but you can reasonably expect something extreme and nasty. “Sadochismo” is extreme and nasty, but not how you’d normally expect.
The opening track is called “Where Girls Learn To Piss On Command”. Right, nasty enough sounding so far. The first riff has something of a steady groove, and feels like it’s preparing to burst into something heavier and faster. Waiting... there’s the cum-gargling vocals. Can’t understand a thing because they are pitch-shifted to monstrous levels. Waiting... yes, there’s the double time section, and here comes the blast beat... waiting... waiting... more double time, surely it’s time for the blast beat... waiting. And that’s the end of the song. What?
OK, second track “Heterosexual Testosterone Compressor”, here we go. Ominous riff, feels like it’s building to something. There’s the horny grumbling crocodile vocals again. Oh good, a double time section… and an impending bla... nope, slowed down again. Ooh, a massive breakdown. Surely it’s time for a blast beat. Waiting... OK, double time, yes, yes, yes... no, no, no... hmm... finished again without the orgasmic release of a blast beat.
In the world of modern home-made porn, this is known as edging, or prick teasing in the old days. The victim is aroused to the edge of climax, and then... stimulation is withdrawn and they deflate again, as it were. The delicious torment continues, building to a massive, gushing, shuddering release of pleasure and ecstasy... but it never arrives. Nope. This entire mostly mid-paced album is without blastbeats!
There are other sorts of extremity on show though. “Instant Onanizer” is the most unsettling track here. Have you ever seen a Japanese porno? If not, don’t go out searching for it online. Let’s just say that female participants do not enjoy these movies. So of course, these sickos have a sample from such a flick (no, it’s not a fucking snuff movie. Even perverts have standards!). Domination and humiliation are the main objective here. You’ll either be disgusted or aroused, or disgusted that you’re aroused. And then there’s a few seconds of music.
None of this album is a comfortable listen in any way, but at the same time is somewhat hypnotic. The three-piece band do hit massive grooves, and it’s speaker-wreckingly heavy at times. The song titles are amusingly filthy – “Kamikaze Incest”, “Aphrodisianus” or “Cellulite Convoy” anyone? And the lyrics are probably along a similar line, but who the fuck can tell? Pornogrind’s most extreme element is also it’s weakest – the vocals. Yes, the voice is another instrument, and is as distorted as the other instruments, but that also renders it a bit useless to convey anything other than sound shapes. This is the reason John Tardy originally didn’t have set lyrics to Obituary’s songs. He wanted to make the right noises for the songs, and the words didn’t matter. Unfortunately, Sascha’s sicko gurgling don’t compare to Tardy in the slightest. Oh well, at least it sounds extreme as fuck.
The other problem with playing heavy and extreme is that there’s little variety in the songs. True, it’s a pretty good initial sound, but there’s little to differentiate between “Enema Bulldozer” and “G-spot Gigolo” (couldn’t resist another couple of song titles!). There’s not even a lot of variation in tempo.
In the end, this album leaves you with a case of grindcore blue balls (or the equivalent organ, whatever your gender orientation). It teases, titillates, and tortures, but ultimately doesn’t deliver.