Demo-lition Derby: Divorce Party

Divorce Party
Astrocongertion Oporium
I hate to start with a motheaten cliché, but here it goes: Divorce Party are about the journey not the destination. That is unless you consider “down the rabbit hole” to be a destination. A potent audio psychedelic, Divorce Party is what would happen if Melt-Banana were to drunkenly hook up with Minus the Bear for some Phantomsmasher cosplay at a chiptunes convention.
What I’m saying is somewhere James Plotkin is smiling in approval, but if you’re not a multidimensional musical visionary, the five songs of blibbity bloop core with Charles Dodgson-style nonsensical wordplay can be frustratingly discursive. “Chipidy Clop,” a fairly representative sample smack in the middle of the EP, is a giant bouncy balloon castle of a song where the rhythms stumble drunkenly and slide askance, leaving you little purchase. It’s a kaleidoscopic swirl of coruscating shapes and colors. The band holds up a fun house mirror to grind and punk sensibilities, but I found many of the songs never seemed to grow beyond mildly entertaining slights of musical hand. Whether this Jabberwock-core is a postmodern rip on musical stagnation or audio trolling, that’s for you to decide. Two of their EPs are available at their Bandcamp page.

Steelers: Willowtip and the Pittsburgh Four (+1)

There was something brewing in Pittsburgh in the late 1990s and into the start of this century, and it wasn’t the city’s fondness for pisswater beer. There was a surly, bruising breed of death/grind monstrosities that packed all of the wallop of the burnt out industrial burg’s vaunted Steel Curtain defensive line. I went to college a couple hours outside of the city at the time and much of my metallic worldview was formed during shows at the dearly departed Club Laga. I can’t remember ever seeing any of these bands there, but by the late ’90s their names were already circulating through the pits.
Pittsburgh deathgrind, centered on the up and coming Willowtip label, was an incestuous tumult of bands and musicians who set out to make ugly, forward thinking music that compares favorably to the Phoenix scene of the same era. The insularity and spirit of collaboration that dominated at the time ensured the best ideas had been put through a proving process that fired away the dross, leaving only a core that was as grim and hardened as the steel mill shift workers.
The bands, following the trail of forerunners such as Human Remains and hometown heroes Hideous Mangleus, were not slaves to the traditional death metal ruts so many other bands churned at the time. This was music that was often ahead of its time, and you can draw a direct line to subsequent artists such as Luddite Clone, Noisear and Maruta. In the process these are also the bands that help establish one of the finest labels supporting great music today.

Circle of Dead Children
The Genocide Machine
Willowtip
2001
Circle of Dead Children were and are Pittsburgh’s nexus. They’re the last man standing and best exemplars of the city’s deathgrind ugliness and 2003’s The Genocide Machine was their apotheosis. This is a grim, grisly feral album that doesn’t wallow in so much as celebrate humanity’s impending, self-inflicted doom. It's all the more surprising considering the meh-diocrity of their prior full length, Starving the Vultures. The coal-blackened guitars churn up the kind of slag-laden sludge you can only find along the coal barges docked along the Allegheny and Monongahela rivers. The drums are the pounding of a steel foundry cranking out the girders that built a nation while Joe Harvarth is the living voice of the clock-punching shift worker who stopped short of going full Travis Bickle on his neighbors' asses for another day.
Circle of Dead Children are the apex predator of Pittsburgh’s musical underbelly because they have proven infinitely adaptable. As contemporary bands dissolved, members were systematically absorbed into CODC in a process of constant musical transfusion that has kept them hunting and vital.


Creation is Crucifixion
Automata
Willowtip
1999
A full decade before either Anonymous or Lulz Sec decided to shred residual notions of online security in the name of drollery or trollery or some ideological point they have yet to articulate, Creation is Crucifixion were passionate proponents of the hacktivist lifestyle. Their music was just as visionary and may only be finding its moment today. First full length Automata found the band blending stolen samples, audio experiments and their own roiling cyborg ant colony riffing with a lyrical obsession with subverting the consumerist impulse and bending technology to their own techno-anarchic ends. CiC were grappling with the intersection of humanity and the digital culture long before it became fashionable. The music was just as visionary. Churning maelstrom blastbeasts backline suffocating waves of silicon-sharp guitars that squeal and skronk like protesting machinery. Whey Skynet goes sentient, Creation is Crucifixion will be the fitting soundtrack as the bombs start dropping. Like the band boasted, this is where technology and anarchy fuck.

Fate of Icarus
Cut Your Throat Before They Do
Willowtip
2000
From humble beginnings as a rather straightforward death metal band with grindcore inflections, the short lived Fate of Icarus developed a unique, slurring riff style for the underrated Cut Your Throat Before They Do. Fate of Icarus stood as the pivot between Circle of Dead Children, whose throat monster Joe Hovarth chipped in mic work on some early tracks (collected on Suffocate the Angels), and the parallel dimensions being inhabited by Creation is Crucifixion, with which the band shared guitarists Ryan Unks and Adam MacGregor. (Bonus points: The band also boasted links to Pittsburgh crossover goofs Crucial Unit as well.) Fate of Icarus’ protein-laden death was interwoven with roiling maggots of guitar histrionics that gave the Cut Your Throat its prickly texture. Songs roar along at just sub-blastbeat tempos, placing the burden on the other instruments to carry the musical load. This is pissed off swarm of hornets (dressed in the black and yellow, natch) with iron wings and a truly bad attitude.

Sadis Euphoria
Instinct/Obsession
Willowtip
2003
While Sadis Euphoria’s lumbering, traditional death metal lurk may have positioned them as the Lenny to their contemporaries’ more ambitious George, their gurgled take on Cannibal Corpse by way of some grind influences slouched and snarled with the best of them. Sadis Euphoria were Pittsburgh’s anchor to traditional death metal with a focus on slab-sided riffs and shotgunned drumming. Everything is propulsive and concussive, dropping like a dirty bomb at the city core with timely farting bass breakdowns and vocals churned up straight from the duodenum. Though Sadis Euphoria never seemed to find their foothold among the death metal hordes, drummer Mike Bartek and one-time Sadis bassist Drew Haritan both suited up for CODC’s Zero Comfort Margin, carrying their band’s musical tradition forward.


Bonus Beating From Across the Border:

Rune
The End of Nothing
Willowtip
2003
Dayton, Ohio’s Rune were birthed 255 miles too far to the west to truly count as a Pittsburgh band, but if we’re charting the rise of Willotip’s early core, they have to be included. After an early EP of traditional deathgrind murder and a split with New York’s Kalibas, Rune migrated to Willowtip for their farewell mindfuck The End of Nothing. This is a protean band that showed a different face with ever release. Here, their doomed out death is what Neurosis songs would sound like as played by Morbid Angel. Everything is groaning and miserable, flecked with emotive, evocative riffs and swirl like poorly vented smokestack choking the neighborhood with toxic emissions. The End of Nothing sounded like absolutely nothing anybody was doing at the time – or today for that matter. It’s doom death that keeps the focus squarely on the death part, knowing when to drop in a timely blast to keep things from wallowing too deep in the mire. Sadly, the band evaporated like mist in a dreary forest shortly after the album was released. Members moved on to bands like Kenoma and Mouth of the Architect, but they never recaptured the thunder the way they did on The End of Nothing.

Panic! At the Discography: Agathocles

Agathocles
Mincecore History 1985-1990
Mincecore History 1989-1993
Mincecore History 1993-1996
Selfmadegod
2001
The fact that I enjoy Agathcoles as much as I do – which is more than is probably healthy – comes despite – not because – of the fact that I own three of band’s four discography collections courtesy of Selfmadegod. When I said the discography is probably worst blight inflicted upon grindcore, these are exactly the albums I had in mind.
The Belgians are the king of the split, which is great because a little Agathocles can often go a really long way. So being hit upside the head with 40 or 50 poorly produced tracks from the band’s various splits and comp appearances is exhausting, wearying and aggravating. In their original format as one off 7-inches, these songs would pass without comment and quite a few would rule hard. But being bludgeoned relentlessly by – let’s be honest here – interminably identical songs of often questionable quality does not do the band proud.
Packaging-wise, the normally awesome Selfmadegod simply collects the material onto a single disc. There’s no liner notes from band mainstay Jan Frederickx illuminating the band’s various travails, revolving membership or at least highlighting bits and pieces of the songs and spoken word bits. Instead each album treats us to the same career discography that was probably woefully out of date by the time it was sent to the printer. For a band whose back catalog is as deep and varied as Agathocles', context is not a luxury for these kinds of collections; it's a necessity.
This is exactly what bothers me about a lot of discographies. Collecting 75 minutes of material (in triplicate) is enough to test the most ardent grind fan’s patience, so I expect discographies, especially if I’m shelling out for a physical copy, to go the extra step and offer me something that places the music in some sort of perspective. Discographies should be more than a collection of disparate music; they should illuminate either the band or their moment in history. To simply shovel songs onto an album just doesn’t cut it. Discographies done right can often serve as an excellent gateway into a band that maybe you haven’t explored before. But if you are new to Agathocles and interested in the legendary Belgians, I can’t imagine a worse introduction. Go grab pretty much any split or full length at random. These are for the hardcore record collector nerds only.

Demo-lition Derby: Priapus

Priapus
Air Loom
North Carolina’s Priapus leave me absolutely speechless. Not because their Maruta meets Benumb at a Jello wrestling convention crush doesn’t kick ass. Because it totally does. No, Priapus have stolen all my words because cmon… Priapus! So many dick jokes to choose from to kick this off. I’m paralyzed by the possibilities. As it is, Priapus is turgid with possibilities because they swing enough sack to give Jesse Helms horrific Mapplethorpe flashbacks. Their six song demo verily throbs with one of the burliest guitar tones you’ll ever hear on a demo, exploding with an orgasmic fury.
Ok, but enough of that.
Over 11 minutes of erectile destruction, Air Loom mixes slippery fingered dexterity with a grunting Neanderthal bluntness. It’s the same subterranean grumble that slouches toward Maruta, waiting to be born. All of that is corralled by a Pete Pontikoff style drill sergeant bark that keeps all the kiddies in line. Highlights include the prickly hedgehog “Where is Everybody,” which is spiked all over with concertina wire guitar nastiness.
You can check out Air Loom at Priapus’ Bandcamp page, and if it tickles your nethers, a short run of CDs is also available at Big Cartel. I’d highly recommend giving this one a spin, but if enjoyment lasts more than four hours, consult your physician.

Grindcore for Dummies

Extreme metal demands extreme marketing.
As sub-sub-sub genres like folk-inflected post-death blackened NeurIsis-core further slice and dice the metal audience into niche-ier and niche-ier niches, bands have to work harder and harder to woo their target demographic. And clearly they don’t think we’re bright enough to read the giant hype sticker on the front of their album proclaiming them the grindiest grind that ever ground because a number of them go to absurd lengths to remind us they play grindcore.
Absurd lengths like…

Magrudergrind
Magrudergrind
Willowtip
2009
Magrudergrind play grind and they’re from the Magruder neighborhood near D.C. You see where this is going? That’s like me naming my this place Suburban Townhouse Grindcore Blog, the only name possibly worse than the one I already chose. But if you write grind tunes as catchy as Magrudergrind, you may want to make it as obvious as possible to their target demographic that they’re not banging out Maroon 5 covers at their high school dance.

While few bands have gone to the length of shoving grind into their name, more than a few have oh so subtly reminded you of the blastbeaten proclivities in their album titles.

Nasum
Grind Finale
Relapse
2006
More than any other band, Nasum have earned the right to proclaim their grindcore bonafides via album title with an unparalleled track record of essential albums. I’ve previously sung the praises of this immaculate tribute to the late Mieszko Talarczyk, which collects everything that didn’t end up on their four Relapse albums. This is grind incarnate and the finale of an unsurpassed career. They get a pass. But statistically speaking, your band is probably not Nasum (the numbers are not gonna lie there; don't argue with numbers). So that means you should probably avoid that level of obviousness. You haven't earned it.

Denak
Grindcore
Cooperaccion
2003
How obvious can you get, you ask. Astute question, young grasshopper.
Spain’s Denak are as about as blatant as you can get, simply naming their retrospective collection Grindcore. Try to picture how that in-band conversation may have gone:
What should we name our album?
I dunno. How about grindcore?
Glad that's settled. Who's up for some tapas?
Aaaaaaaaaaaaaaaaaand ... Scene.
Band members would develop more tact when they went on to form Looking for an Answer, but Denak was brash enough to stake their claim to the genre as a whole. They were talented enough to back it up as well. See the Nasum rule above. You are not Denak. Do not do this.

324
Rebelgrind
HG Fact
2006
How do you rebel against grind? If 324 are to be believed, it includes copious amounts of crust and a few gang choruses. 324 doubled down on the grind proclamations with 2006’s Rebelgrind, announcing their intentions not only through the title but also in the CD tray, which anoints their music “Grind Babylon/Babylon Grind.” Yeah. I have no clue what the fuck that means either. But it's Japanese, so I'm just gonna assume it's awesome and involves tentacle rape. But perhaps the whole “rebel” shtick was a defensive move because 324 knew how polarizing this album would be.

Unholy Grave
Grind Killers
SelfMadeGod
2010
Japanese antiterrorism freaks Unholy Grave put a hit out on grindcore with 2010 live in the studio album Grind Killers. Dear Unholy Grave, this is an intervention. After 18 years and a metric butt ton of splits, we know you play grindcore. And if we didn't, I'm pretty sure we could have intuited that fact based on Unholy Grind Destruction, Grind Freaks, Grind Victim, Angry Raw Grinder, Raw Grind Mayhem, Grinding Hell Slaughter, Grind Heads, Grind Eternal, Grindholic, Grindignation, The Grind Militia, Immortal Grind Legion, Grind Hell and Grind Blitz.
We get it. Now please stop.

Putting the grind in your band name or album title will certainly grab the eyeballs, but some people just don’t want to be that gauche. Album art provides another excellent outlet to proclaim your grind fidelity.

Cyness
Loony Planet/Industreality
Sound Pollution
2003
I randomly bought Cyness’ debut album during a going out of business sale at Tower Records. For you whippernsappers out there a “Tower” was one of many physical places called a “store” that sold “records” in an era before you could simply download it. Now get the hell of my lawn.
Why did I grab this, having previously never heard of the German band? Well that gigantic “grindcore” spooning underneath their logo on the album cover was pretty much all the enticement I needed. Well played, gentlemen.

Bear in mind this is not a foolproof system. For every band jumping up and down on a street corner shouting “GRINDCORE” into a day-glo green megaphone, you’ve also got to keep an eye out for moments of pareidolia. Moments like…

Scrotum Grinder
The Greatest Sonic Abomination Ever
Prank
2001
Scrotum Grinder sounds like the kind of name you’d pick for your high school Carcass cover band. And when you hear the Floridians feature Steve Kosiba, bassist on Assuck’s Misery Index, visions of blast beats should start dancing in your bewildered little heads. Actually, this chick fronted band surfed the final wave of southern crust punk, drawing more inspiration for Antischism than Anal Cunt. While still an enjoyable listen (and despite a fixation on Ronald Reagan 13 years after he left office) the down tempo chug-a-lug shoutalong may not satisfy your bpm jones. And album title to the contrary, it is not the worst sonic abomination ever. I've heard Pat Boone's metal album.

AfgrundVid Helvetets Grindar
Willowtip
2009
Also beware the illusory false cognates. Sure Afgrund sounds like it should be some sort of past participle tribute to their grinding awesomeness (think something like Metallica, but hopefully not pissing off Hitler). But the name actually means Abyss in Swedish (please tell me they're recording their next album at Peter Tagtgren's studio). Afgrund set you up for a double dose of misconception here because their second album, Vid Helvetets Grindar, sounds like it's out to pimp grind like Unholy Grave. Nope, foiled again. Run through an internet translator, I’m told Vid Helvetets Grindar has nothing to do with hellaciously awesome grind. Instead, it means something close to “At Hell’s Gates.” Still perfectly metal, just not as grindcentric as an amateur translator may assume on first glance

Blast(beat) from the Past: Unsane Crisis/Hashassin

Unsane Crisis/Hashassin
Split
Throne Records
2003
With a new Looking for an Answer album making me do the Snoopy dance, I wanted to pay tribute to another transitional fossil in the Spanish band’s evolutionary development: Unsane Crisis. I’ve already gushed my warm manlove for Denak, where Looking for an Answer vocalist Inaki and drummer Moya got their start, but bassist Ramon traces his roots back to Unsane Crisis.
That band, whose discography consists only of this split with fellow Spaniards Hashassin and then another shared album with Ekkaia, actually leans more to the burly, grisly grind of another slice of Spanish awesome, Nashgul. Their opening 16 selections sound like a tribute to classic grind: all blower bass rumble and power drill riffing done in a tidy 30 seconds or less for the most part. Though they keep it short, Unsane Crisis manage to ensure each song has an identity and a movement of its own without giving way to faceless blasting. Ramon also makes his mark on the song “Anti-Emo” where he busts out a pitch perfect parody of self indulgent Red Hot Chili Peppers bass noodling. You can see why Looking for an Answer had to snag him a few years later.
Flipside, less info is available about Hashassin (so if anybody knows more, feel free to share) whose 13 songs are burdened under the weight of overly long, intrusive samples and a featureless wall of fuzz and screaming. While the band occasionally channels Total Fucking Destruction style vocal wipeouts, their songs are mostly a forgettable blur that don’t demand close listens. As far as I can tell, this is the sum total of the band’s existence.
Neither band was destined for the grindcore hall of fame, but for those curious about the emerging supremacy of Spanish grind, this is an interesting footnote in that development.

Grindcore Numerology

You didn’t think we were gonna leave it like that didja? After 20 alphabet posts, we officially bring this project to a close with this final (admittedly) tiny mixtape collecting grindcore’s numerical offerings. I hope you've found the whole exercise helpful, maybe discovered a hidden gem or two or finally checked out a band everyone has been raving about that had escaped your notice. There were a few in here that came as a surprise to me too. Hello, Muleskinner!
But here we are at the end of the road and I can't let go. I also can't think of a better to wrap way to this all up than with 324 either (but I wasn't able to find a decent 7 Minutes of Nausea rip either). Think of it as a spoonful of sherbet to cleanse your palette on the way out. Go ahead. You have room. It’s only wafer thin.
Here’s your Numbers Mixtape [Mediafire]:

7000 Dying Rats – “Annihilator the Devastator”
40 Gradi – “Limitless” (Croatia)
48 – “Hitori” (Japan)
324 – “Broken Clock” (Japan)

Grand total: 404 bands