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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 Kingdom's 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 | 60 min. caching
Album · 2017 ·
Grindcore
Vim Fuego
At its heart, grindcore is really a very uncomplicated, honest form of music. Take an idea and some instruments, smash them together as hard as you can, and record the carnage. All too often, the result is a dreadful, tuneless sludge, as evidenced by the mountainous slagheap of unloved and unlovable demos polluting the grind scene. Yes, good on the bands for having a go and getting something out there, but some quality control would be nice.
Every so often though, the crushing weight of carbon black detritus produces a diamond. Bavarian band Genocide Generator is one such gem. ‘III’ is a fairly simple album. The bug-eyed hand-drawn zebra on the cover of this album is a welcome change from the usual grind standards of mangled internal organs and copro-perversity. This album features two guys with a singular vision, creating razor sharp, slightly metallic grindcore. The duo squeezes in the odd industrial and electronic element to churn out their self-named “grindustrial” music. Unlike many bands, these guys don’t rely on their machines for their extremity or brutality, but merely to enhance their sound, like The Berzerker minus the silly masks and most blatant death metal elements.
It all seems quite straight forward. Two Germans playing hard, fast, loud music. Grind away for a couple of minutes, finish, repeat. But just be a little careful, because these guys have a few tricks just to stop the listener getting too settled. ‘III’ is actually Genocide Generator’s second album. In keeping with the industrial theme, there are no song titles on the album. Instead, each has a two digit number. There is no human meaning to it, the numbers being the anti-musical machine’s code. But really, do individual songs matter? This is an album to be listened to in its entirety. It’s not a huge stretch, at just over 18 minutes, but it’s like an intense rollercoaster which only ever hurtles downward. It spirals and loops, without ever slowing. A drum machine gets thrown into the terminal velocity plunge, but gets left behind. There are other machines of loving gracelessness thrown in too, but where they end and the cyborg musicians begin is lost in the maelstrom.
This is sharp grind with a clear cutting sound, like Wormrot at their razorblade best. Unlike Wormrot though, there is enough of a metallic tinge for curious metal fans too. There are heavier albums, and there are faster paced albums, but many of those are to be endured rather than enjoyed. ‘III’ is one of those rare finds where it satisfies the base desire for brutality, but leaves you wanting just a little more.