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https://www.europesays.com/uk/592442/ Chairmaker – Leviathan Carcass Review #2025 #3.0 #BrutalTruth #Chairmaker #DeathMetal #Entertainment #Grind #LeviathanCarcass #music #Nov25 #Review #Reviews #SelfReleased #UK #UKMetal #UnitedKingdom

Chairmaker – Leviathan Carcass Review

Shit’s gone to the dogs, man. I don’t need to justify this claim. I know it, you know…
#NewsBeep #News #Music #2025 #3.0 #BrutalTruth #Chairmaker #DeathMetal #Entertainment #Grind #LeviathanCarcass #Nov25 #review #Reviews #SelfReleased #UK #UKMetal #UnitedKingdom
https://www.newsbeep.com/uk/281643/

Chairmaker – Leviathan Carcass Review

By Andy-War-Hall

Shit’s gone to the dogs, man. I don’t need to justify this claim. I know it, you know it, and multi-instrumentalist/university lecturer/UK extreme metal devotee Neil Erskine sure knows it, confirmed thoroughly by his new grind outfit Chairmaker and their debut record Leviathan Carcass. A solo effort outside of mixing and mastering,1 Chairmaker is Erskine’s newest conduit for the condemnation of malignant societal forces and the “reactionism and lack of critical thinking that occupies the online political landscape.” This is grind. This all checks out. Chairmaker’s blood is boiling on Leviathan Carcass, but can they get the listener’s boiling, too?

Leviathan Carcass is made of small pieces that all embody the grind spirit: nasty, brutish and short. Chairmaker rages with the pointed hostility of acts like Brutal Truth, describing extreme conditions via scathing lyrics and throat-eviscerating screams while prescribing extreme responses by way of belligerent speed and riffcraft. Songs like “Ratlicker” and “Good Art by Shit People” begin and end with little or no to-do, and every track hovers around a minute long except the two-and-a-half-minute “Dead Optimists.”2 Chairmaker are economic on Leviathan Carcass, filling every second with riffs and beats of deathly (“Making Nails”), scronky (“Leviathan Carcass”) and chugging natures (“Half a Puppy”), recorded with caustic tones and a suffocating production sure to sandpaper the sides of your brain smooth. The emotional needle of Leviathan Carcass sits motionless at the far end of pissed-off, reaching rancorous fever pitches on the blast beat bonanzas of “Pigfucker” and “Loud, Confident and Wrong.” For almost fifteen minutes, Chairmaker states in certain terms just how Erskine feels about our current socio-political landscape on Leviathan Carcass.

Amidst the flash-in-the-pan bursts of pure aggression, Chairmaker display sneaky depth in Leviathan Carcass. Despite the breakneck business of Leviathan Carcass, its riffs are discernible and technical. From the dissonant and squeal-filled “Dead Optimists,” to the one-string ascending “Powdered Nostalgia,” to the math-y chops of “Others’ Interest,” Leviathan Carcass lives in chaotic intentionality. Further, though Chairmaker’s songs flow together so seamlessly that it’s easy to miss where they start and end, Leviathan Carcass contains personality within individual tracks. Even in simple riffs there’s identity: “Making Nails” has a more vintage death metal sound, “Pigfucker” goes off with hammer-offs and “Hagiographers” sees Chairmaker make quick stops that gives the song a jerky, off-balance feel. Naturally, being grind, there are samples throughout Leviathan Carcass, and the ones here either introduce the songs effectively and amusingly (“Micron-Thick Skin,” “Half a Puppy”) or are incorporated in the middle of songs naturally and unobtrusively (“Leviathan Carcass,” “Dead Optimists”). Bundle it all with well-written, inflamed lyricism,3 and you got yourself an album with legs.

This being said, Chairmaker still don’t rise above some of the things that make grind a hard sell for many. For one, I wonder how effective Erskine’s lyrics can be to most listeners when delivered in such an indecipherable, monotonous manner. Whether railing against ideologically-driven historical revisionism on “Powdered Nostalgia,” the bottomless greed of the 1% on “Others’ Interest,” or any number of other topics on Leviathan Carcass, Chairmaker use the same language of relentless noise to communicate it vocally. I think some of the individual nuances of the messaging are lost as a result. Further, though many of its songs are fully baked despite their runtimes, some songs like “Ratlicker” or “Micron-Thick Skin” feel somewhat incomplete, like they’re missing a section or two needed to really bring it home. The relentless energy of Leviathan Carcass also means the album is mostly one-note, meaning it’s both easy to lose focus and hard to get in if you aren’t already bought in on grind. Chairmaker is a more than competent grind outfit, but Leviathan Carcass likely won’t change too many minds about the genre, either.

But Leviathan Carcass was not assembled while senselessly incensed, but instead incensed by senselessness, and that makes all the difference for Chairmaker’s success. Leviathan Carcass is a vicious record, and while specific details of its listening experience might not stick easily, the overall impact of it lasts well after its conclusion. At Leviathan Carcass’s worst, Chairmaker is still an entertaining and thoughtful entity. At its best, Leviathan Carcass is the kind of teeth-gritting, knuckle-whitening ragestorm everyone needs once in a while. I have no idea why he went with “Chairmaker,” though. It’s a bit befuddling.

Rating: Good
DR: 4 | Format Reviewed: ~260 kb/s VBR mp3
Label: Self-Released
Websites: chairmakerblast.bandcamp.com
Releases Worldwide: November 14th, 2025

#2025 #30 #brutalTruth #chairmaker #deathMetal #grind #leviathanCarcass #nov25 #review #reviews #selfReleased #ukMetal

Chairmaker – Leviathan Carcass Review

By Andy-War-Hall

Shit’s gone to the dogs, man. I don’t need to justify this claim. I know it, you know it, and multi-instrumentalist/university lecturer/UK extreme metal devotee Neil Erskine sure knows it, confirmed thoroughly by his new grind outfit Chairmaker and their debut record Leviathan Carcass. A solo effort outside of mixing and mastering,1 Chairmaker is Erskine’s newest conduit for the condemnation of malignant societal forces and the “reactionism and lack of critical thinking that occupies the online political landscape.” This is grind. This all checks out. Chairmaker’s blood is boiling on Leviathan Carcass, but can they get the listener’s boiling, too?

Leviathan Carcass is made of small pieces that all embody the grind spirit: nasty, brutish and short. Chairmaker rages with the pointed hostility of acts like Brutal Truth, describing extreme conditions via scathing lyrics and throat-eviscerating screams while prescribing extreme responses by way of belligerent speed and riffcraft. Songs like “Ratlicker” and “Good Art by Shit People” begin and end with little or no to-do, and every track hovers around a minute long except the two-and-a-half-minute “Dead Optimists.”2 Chairmaker are economic on Leviathan Carcass, filling every second with riffs and beats of deathly (“Making Nails”), scronky (“Leviathan Carcass”) and chugging natures (“Half a Puppy”), recorded with caustic tones and a suffocating production sure to sandpaper the sides of your brain smooth. The emotional needle of Leviathan Carcass sits motionless at the far end of pissed-off, reaching rancorous fever pitches on the blast beat bonanzas of “Pigfucker” and “Loud, Confident and Wrong.” For almost fifteen minutes, Chairmaker states in certain terms just how Erskine feels about our current socio-political landscape on Leviathan Carcass.

Amidst the flash-in-the-pan bursts of pure aggression, Chairmaker display sneaky depth in Leviathan Carcass. Despite the breakneck business of Leviathan Carcass, its riffs are discernible and technical. From the dissonant and squeal-filled “Dead Optimists,” to the one-string ascending “Powdered Nostalgia,” to the math-y chops of “Others’ Interest,” Leviathan Carcass lives in chaotic intentionality. Further, though Chairmaker’s songs flow together so seamlessly that it’s easy to miss where they start and end, Leviathan Carcass contains personality within individual tracks. Even in simple riffs there’s identity: “Making Nails” has a more vintage death metal sound, “Pigfucker” goes off with hammer-offs and “Hagiographers” sees Chairmaker make quick stops that gives the song a jerky, off-balance feel. Naturally, being grind, there are samples throughout Leviathan Carcass, and the ones here either introduce the songs effectively and amusingly (“Micron-Thick Skin,” “Half a Puppy”) or are incorporated in the middle of songs naturally and unobtrusively (“Leviathan Carcass,” “Dead Optimists”). Bundle it all with well-written, inflamed lyricism,3 and you got yourself an album with legs.

This being said, Chairmaker still don’t rise above some of the things that make grind a hard sell for many. For one, I wonder how effective Erskine’s lyrics can be to most listeners when delivered in such an indecipherable, monotonous manner. Whether railing against ideologically-driven historical revisionism on “Powdered Nostalgia,” the bottomless greed of the 1% on “Others’ Interest,” or any number of other topics on Leviathan Carcass, Chairmaker use the same language of relentless noise to communicate it vocally. I think some of the individual nuances of the messaging are lost as a result. Further, though many of its songs are fully baked despite their runtimes, some songs like “Ratlicker” or “Micron-Thick Skin” feel somewhat incomplete, like they’re missing a section or two needed to really bring it home. The relentless energy of Leviathan Carcass also means the album is mostly one-note, meaning it’s both easy to lose focus and hard to get in if you aren’t already bought in on grind. Chairmaker is a more than competent grind outfit, but Leviathan Carcass likely won’t change too many minds about the genre, either.

But Leviathan Carcass was not assembled while senselessly incensed, but instead incensed by senselessness, and that makes all the difference for Chairmaker’s success. Leviathan Carcass is a vicious record, and while specific details of its listening experience might not stick easily, the overall impact of it lasts well after its conclusion. At Leviathan Carcass’s worst, Chairmaker is still an entertaining and thoughtful entity. At its best, Leviathan Carcass is the kind of teeth-gritting, knuckle-whitening ragestorm everyone needs once in a while. I have no idea why he went with “Chairmaker,” though. It’s a bit befuddling.

Rating: Good
DR: 4 | Format Reviewed: ~260 kb/s VBR mp3
Label: Self-Released
Websites: chairmakerblast.bandcamp.com
Releases Worldwide: November 14th, 2025

#2025 #30 #brutalTruth #chairmaker #deathMetal #grind #leviathanCarcass #nov25 #review #reviews #selfReleased #ukMetal

Chairmaker – Leviathan Carcass Review

By Andy-War-Hall

Shit’s gone to the dogs, man. I don’t need to justify this claim. I know it, you know it, and multi-instrumentalist/university lecturer/UK extreme metal devotee Neil Erskine sure knows it, confirmed thoroughly by his new grind outfit Chairmaker and their debut record Leviathan Carcass. A solo effort outside of mixing and mastering,1 Chairmaker is Erskine’s newest conduit for the condemnation of malignant societal forces and the “reactionism and lack of critical thinking that occupies the online political landscape.” This is grind. This all checks out. Chairmaker’s blood is boiling on Leviathan Carcass, but can they get the listener’s boiling, too?

Leviathan Carcass is made of small pieces that all embody the grind spirit: nasty, brutish and short. Chairmaker rages with the pointed hostility of acts like Brutal Truth, describing extreme conditions via scathing lyrics and throat-eviscerating screams while prescribing extreme responses by way of belligerent speed and riffcraft. Songs like “Ratlicker” and “Good Art by Shit People” begin and end with little or no to-do, and every track hovers around a minute long except the two-and-a-half-minute “Dead Optimists.”2 Chairmaker are economic on Leviathan Carcass, filling every second with riffs and beats of deathly (“Making Nails”), scronky (“Leviathan Carcass”) and chugging natures (“Half a Puppy”), recorded with caustic tones and a suffocating production sure to sandpaper the sides of your brain smooth. The emotional needle of Leviathan Carcass sits motionless at the far end of pissed-off, reaching rancorous fever pitches on the blast beat bonanzas of “Pigfucker” and “Loud, Confident and Wrong.” For almost fifteen minutes, Chairmaker states in certain terms just how Erskine feels about our current socio-political landscape on Leviathan Carcass.

Amidst the flash-in-the-pan bursts of pure aggression, Chairmaker display sneaky depth in Leviathan Carcass. Despite the breakneck business of Leviathan Carcass, its riffs are discernible and technical. From the dissonant and squeal-filled “Dead Optimists,” to the one-string ascending “Powdered Nostalgia,” to the math-y chops of “Others’ Interest,” Leviathan Carcass lives in chaotic intentionality. Further, though Chairmaker’s songs flow together so seamlessly that it’s easy to miss where they start and end, Leviathan Carcass contains personality within individual tracks. Even in simple riffs there’s identity: “Making Nails” has a more vintage death metal sound, “Pigfucker” goes off with hammer-offs and “Hagiographers” sees Chairmaker make quick stops that gives the song a jerky, off-balance feel. Naturally, being grind, there are samples throughout Leviathan Carcass, and the ones here either introduce the songs effectively and amusingly (“Micron-Thick Skin,” “Half a Puppy”) or are incorporated in the middle of songs naturally and unobtrusively (“Leviathan Carcass,” “Dead Optimists”). Bundle it all with well-written, inflamed lyricism,3 and you got yourself an album with legs.

This being said, Chairmaker still don’t rise above some of the things that make grind a hard sell for many. For one, I wonder how effective Erskine’s lyrics can be to most listeners when delivered in such an indecipherable, monotonous manner. Whether railing against ideologically-driven historical revisionism on “Powdered Nostalgia,” the bottomless greed of the 1% on “Others’ Interest,” or any number of other topics on Leviathan Carcass, Chairmaker use the same language of relentless noise to communicate it vocally. I think some of the individual nuances of the messaging are lost as a result. Further, though many of its songs are fully baked despite their runtimes, some songs like “Ratlicker” or “Micron-Thick Skin” feel somewhat incomplete, like they’re missing a section or two needed to really bring it home. The relentless energy of Leviathan Carcass also means the album is mostly one-note, meaning it’s both easy to lose focus and hard to get in if you aren’t already bought in on grind. Chairmaker is a more than competent grind outfit, but Leviathan Carcass likely won’t change too many minds about the genre, either.

But Leviathan Carcass was not assembled while senselessly incensed, but instead incensed by senselessness, and that makes all the difference for Chairmaker’s success. Leviathan Carcass is a vicious record, and while specific details of its listening experience might not stick easily, the overall impact of it lasts well after its conclusion. At Leviathan Carcass’s worst, Chairmaker is still an entertaining and thoughtful entity. At its best, Leviathan Carcass is the kind of teeth-gritting, knuckle-whitening ragestorm everyone needs once in a while. I have no idea why he went with “Chairmaker,” though. It’s a bit befuddling.

Rating: Good
DR: 4 | Format Reviewed: ~260 kb/s VBR mp3
Label: Self-Released
Websites: chairmakerblast.bandcamp.com
Releases Worldwide: November 14th, 2025

#2025 #30 #brutalTruth #chairmaker #deathMetal #grind #leviathanCarcass #nov25 #review #reviews #selfReleased #ukMetal

Chairmaker – Leviathan Carcass Review

By Andy-War-Hall

Shit’s gone to the dogs, man. I don’t need to justify this claim. I know it, you know it, and multi-instrumentalist/university lecturer/UK extreme metal devotee Neil Erskine sure knows it, confirmed thoroughly by his new grind outfit Chairmaker and their debut record Leviathan Carcass. A solo effort outside of mixing and mastering,1 Chairmaker is Erskine’s newest conduit for the condemnation of malignant societal forces and the “reactionism and lack of critical thinking that occupies the online political landscape.” This is grind. This all checks out. Chairmaker’s blood is boiling on Leviathan Carcass, but can they get the listener’s boiling, too?

Leviathan Carcass is made of small pieces that all embody the grind spirit: nasty, brutish and short. Chairmaker rages with the pointed hostility of acts like Brutal Truth, describing extreme conditions via scathing lyrics and throat-eviscerating screams while prescribing extreme responses by way of belligerent speed and riffcraft. Songs like “Ratlicker” and “Good Art by Shit People” begin and end with little or no to-do, and every track hovers around a minute long except the two-and-a-half-minute “Dead Optimists.”2 Chairmaker are economic on Leviathan Carcass, filling every second with riffs and beats of deathly (“Making Nails”), scronky (“Leviathan Carcass”) and chugging natures (“Half a Puppy”), recorded with caustic tones and a suffocating production sure to sandpaper the sides of your brain smooth. The emotional needle of Leviathan Carcass sits motionless at the far end of pissed-off, reaching rancorous fever pitches on the blast beat bonanzas of “Pigfucker” and “Loud, Confident and Wrong.” For almost fifteen minutes, Chairmaker states in certain terms just how Erskine feels about our current socio-political landscape on Leviathan Carcass.

Amidst the flash-in-the-pan bursts of pure aggression, Chairmaker display sneaky depth in Leviathan Carcass. Despite the breakneck business of Leviathan Carcass, its riffs are discernible and technical. From the dissonant and squeal-filled “Dead Optimists,” to the one-string ascending “Powdered Nostalgia,” to the math-y chops of “Others’ Interest,” Leviathan Carcass lives in chaotic intentionality. Further, though Chairmaker’s songs flow together so seamlessly that it’s easy to miss where they start and end, Leviathan Carcass contains personality within individual tracks. Even in simple riffs there’s identity: “Making Nails” has a more vintage death metal sound, “Pigfucker” goes off with hammer-offs and “Hagiographers” sees Chairmaker make quick stops that gives the song a jerky, off-balance feel. Naturally, being grind, there are samples throughout Leviathan Carcass, and the ones here either introduce the songs effectively and amusingly (“Micron-Thick Skin,” “Half a Puppy”) or are incorporated in the middle of songs naturally and unobtrusively (“Leviathan Carcass,” “Dead Optimists”). Bundle it all with well-written, inflamed lyricism,3 and you got yourself an album with legs.

This being said, Chairmaker still don’t rise above some of the things that make grind a hard sell for many. For one, I wonder how effective Erskine’s lyrics can be to most listeners when delivered in such an indecipherable, monotonous manner. Whether railing against ideologically-driven historical revisionism on “Powdered Nostalgia,” the bottomless greed of the 1% on “Others’ Interest,” or any number of other topics on Leviathan Carcass, Chairmaker use the same language of relentless noise to communicate it vocally. I think some of the individual nuances of the messaging are lost as a result. Further, though many of its songs are fully baked despite their runtimes, some songs like “Ratlicker” or “Micron-Thick Skin” feel somewhat incomplete, like they’re missing a section or two needed to really bring it home. The relentless energy of Leviathan Carcass also means the album is mostly one-note, meaning it’s both easy to lose focus and hard to get in if you aren’t already bought in on grind. Chairmaker is a more than competent grind outfit, but Leviathan Carcass likely won’t change too many minds about the genre, either.

But Leviathan Carcass was not assembled while senselessly incensed, but instead incensed by senselessness, and that makes all the difference for Chairmaker’s success. Leviathan Carcass is a vicious record, and while specific details of its listening experience might not stick easily, the overall impact of it lasts well after its conclusion. At Leviathan Carcass’s worst, Chairmaker is still an entertaining and thoughtful entity. At its best, Leviathan Carcass is the kind of teeth-gritting, knuckle-whitening ragestorm everyone needs once in a while. I have no idea why he went with “Chairmaker,” though. It’s a bit befuddling.

Rating: Good
DR: 4 | Format Reviewed: ~260 kb/s VBR mp3
Label: Self-Released
Websites: chairmakerblast.bandcamp.com
Releases Worldwide: November 14th, 2025

#2025 #30 #brutalTruth #chairmaker #deathMetal #grind #leviathanCarcass #nov25 #review #reviews #selfReleased #ukMetal

Chairmaker – Leviathan Carcass Review

By Andy-War-Hall

Shit’s gone to the dogs, man. I don’t need to justify this claim. I know it, you know it, and multi-instrumentalist/university lecturer/UK extreme metal devotee Neil Erskine sure knows it, confirmed thoroughly by his new grind outfit Chairmaker and their debut record Leviathan Carcass. A solo effort outside of mixing and mastering,1 Chairmaker is Erskine’s newest conduit for the condemnation of malignant societal forces and the “reactionism and lack of critical thinking that occupies the online political landscape.” This is grind. This all checks out. Chairmaker’s blood is boiling on Leviathan Carcass, but can they get the listener’s boiling, too?

Leviathan Carcass is made of small pieces that all embody the grind spirit: nasty, brutish and short. Chairmaker rages with the pointed hostility of acts like Brutal Truth, describing extreme conditions via scathing lyrics and throat-eviscerating screams while prescribing extreme responses by way of belligerent speed and riffcraft. Songs like “Ratlicker” and “Good Art by Shit People” begin and end with little or no to-do, and every track hovers around a minute long except the two-and-a-half-minute “Dead Optimists.”2 Chairmaker are economic on Leviathan Carcass, filling every second with riffs and beats of deathly (“Making Nails”), scronky (“Leviathan Carcass”) and chugging natures (“Half a Puppy”), recorded with caustic tones and a suffocating production sure to sandpaper the sides of your brain smooth. The emotional needle of Leviathan Carcass sits motionless at the far end of pissed-off, reaching rancorous fever pitches on the blast beat bonanzas of “Pigfucker” and “Loud, Confident and Wrong.” For almost fifteen minutes, Chairmaker states in certain terms just how Erskine feels about our current socio-political landscape on Leviathan Carcass.

Amidst the flash-in-the-pan bursts of pure aggression, Chairmaker display sneaky depth in Leviathan Carcass. Despite the breakneck business of Leviathan Carcass, its riffs are discernible and technical. From the dissonant and squeal-filled “Dead Optimists,” to the one-string ascending “Powdered Nostalgia,” to the math-y chops of “Others’ Interest,” Leviathan Carcass lives in chaotic intentionality. Further, though Chairmaker’s songs flow together so seamlessly that it’s easy to miss where they start and end, Leviathan Carcass contains personality within individual tracks. Even in simple riffs there’s identity: “Making Nails” has a more vintage death metal sound, “Pigfucker” goes off with hammer-offs and “Hagiographers” sees Chairmaker make quick stops that gives the song a jerky, off-balance feel. Naturally, being grind, there are samples throughout Leviathan Carcass, and the ones here either introduce the songs effectively and amusingly (“Micron-Thick Skin,” “Half a Puppy”) or are incorporated in the middle of songs naturally and unobtrusively (“Leviathan Carcass,” “Dead Optimists”). Bundle it all with well-written, inflamed lyricism,3 and you got yourself an album with legs.

This being said, Chairmaker still don’t rise above some of the things that make grind a hard sell for many. For one, I wonder how effective Erskine’s lyrics can be to most listeners when delivered in such an indecipherable, monotonous manner. Whether railing against ideologically-driven historical revisionism on “Powdered Nostalgia,” the bottomless greed of the 1% on “Others’ Interest,” or any number of other topics on Leviathan Carcass, Chairmaker use the same language of relentless noise to communicate it vocally. I think some of the individual nuances of the messaging are lost as a result. Further, though many of its songs are fully baked despite their runtimes, some songs like “Ratlicker” or “Micron-Thick Skin” feel somewhat incomplete, like they’re missing a section or two needed to really bring it home. The relentless energy of Leviathan Carcass also means the album is mostly one-note, meaning it’s both easy to lose focus and hard to get in if you aren’t already bought in on grind. Chairmaker is a more than competent grind outfit, but Leviathan Carcass likely won’t change too many minds about the genre, either.

But Leviathan Carcass was not assembled while senselessly incensed, but instead incensed by senselessness, and that makes all the difference for Chairmaker’s success. Leviathan Carcass is a vicious record, and while specific details of its listening experience might not stick easily, the overall impact of it lasts well after its conclusion. At Leviathan Carcass’s worst, Chairmaker is still an entertaining and thoughtful entity. At its best, Leviathan Carcass is the kind of teeth-gritting, knuckle-whitening ragestorm everyone needs once in a while. I have no idea why he went with “Chairmaker,” though. It’s a bit befuddling.

Rating: Good
DR: 4 | Format Reviewed: ~260 kb/s VBR mp3
Label: Self-Released
Websites: chairmakerblast.bandcamp.com
Releases Worldwide: November 14th, 2025

#2025 #30 #brutalTruth #chairmaker #deathMetal #grind #leviathanCarcass #nov25 #review #reviews #selfReleased #ukMetal

Grindcore, el caos como consigna: 20 álbumes recomendados | vía #NaciónRock

https://www.nacionrock.com/grindcore-el-caos-como-consigna-20-albumes-recomendados/

#anaalnathrakh #assück #brutaltruth #carcass #cattledecapitation #cloudrat #discordanceaxis #escuelagrind #especiales #exhumed #fullofhell #genghistron #gridlink #grindcore #insectwarfare #magrudergrind #nails #napalmdeath #nasum #pigdestroyer #repulsion #terrorizer #wormrot

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#BraveWords
SULLY Feat. BRUTAL TRUTH, NUCLEAR ASSAULT Members To Release Debut Album In September; "DeadPan" Single Streaming

https://bravewords.com/news/sully-feat-brutal-truth-nuclear-assault-members-to-release-debut-album-in-september-deadpan-single-streaming

#Sully #BrutalTruth #NuclearAssault

#TheMetalDogArticleList
#BraveWords
SULLY Feat. BRUTAL TRUTH, NUCLEAR ASSAULT Members To Release Debut Album In September; "DeadPan" Single Streaming

https://bravewords.com/news/sully-feat-brutal-truth-nuclear-assault-members-to-release-debut-album-in-september-deadpan-single-streaming

#Sully #BrutalTruth #NuclearAssault

Back to the Grindstone: Insect Warfare – World Extermination

By Saunders

Back to the Grindstone is a love letter feature dedicated to the appreciation of all things grindcore. This most extreme of extreme niche genres has been kicking since the late ’80s, growing in underground stature as the years march on. The rule of thumb to this feature is simple; spotlight will be on grind albums old and new, though will not include releases from the past five years, or albums previously covered on this website. Genre classics, underappreciated gems, old school and nu school will be covered, highlighting albums aimed at established fans and curious listeners interested in diving into the cesspool of the grind scene.

For the long overdue second installment of the Back to the Grindstone feature, it is time to examine one of modern grind’s great treasures, a raw, uncompromising and gritty blast of unvarnished, tough-as-nails grind from Texan killing crew, Insect Warfare. A one-hit wonder, in the fact the now defunct outfit only ever released one full-length album amidst a series of shorter form nuggets, Insect Warfare made their major statement count big time. Regardless, the utterly relentless twenty-two minutes of elite grind comprising World Extermination is a must-listen for the uninitiated grind freak, or any hardened grind veteran yet to be acquainted with what the lads served up here.

Released in 2007, World Extermination slots into the modern realms of grind, yet eschews the polished or streamlined aspects of some modern grind, in favor of an incredibly intense and raw throwback to the old school values of legendary acts Brutal Truth, Phobia and Napalm Death. The trio make one hell of a ruckus, boasting one of the meanest, nastiest guitar tones in modern grind history, as crusty, serrated grind riffs collide with frenetic drumming, while the rabid grunts, growls and screams of band mouthpiece Rahi Geramifar rage over the top. It’s sharp, brutal stuff, not for the faint of heart. White knuckled intensity and shrieking extremity are key grindcore components, but without the song-smithing smarts it can devolve into a noisy mess with little substance. Insect Warfare cram tons of nasty riffs, rhythmic shifts, and rotten grooves to keep the listener clambering back for more.

The riffs are catchy in the purest grind sense, while the gritty, aggro percussion and organic, no-frills production lends the album its frantic, off-the-chain edge and vitality. And don’t be fooled by the short runtime and quantity of songs, even within compact time capsules, the songs offer plenty of bang for your buck. World Extermination tears by with such reckless abandon that it often demands instant replay, and as with many classic grind albums, it is best absorbed in one concentrated rush. Highlights are plentiful and tend to chop and change from listen to listen, however, there are a slew of noteworthy modern grind classics to explore. The musicianship is excellent, with one of the tightest performances you will hear on a grindcore album. Beau Beasley handles guitars and bass, and it’s his violently speedy, deceptively infectious riffs that propel the album and provide the hooks, working in perfect unison with Dobber Beverly’s imaginative, frenetic drumming performance.

“Self Termination” raises the bar early; a tightly wound ball of rage and relentless energy, featuring gnarly, hook-riddled riffs, insanely fast drumming and unhinged vocals. “Manipulator” features the requisite high-octane blasts of barely contained mayhem with an epic closing groove riff that is the ultimate payoff. Elsewhere, the awe-inspiring intensity and chaos of “Mass Communcation Mindfuck” is the ideal soundtrack to a violent rampage, “Hydraphobia” welds toughened grooves and headbanging riffage, with glass-shattering grind outbursts and manic drumming. Special mention must also go to drummer Beverly, who attacks his kit with finesse, lightning-limbed speed, and concussive battery. Closer “Evolved into Obliteration” shows some restraint, its ominous, seething tone and throat-shredding, Iron Monkey-esque higher-pitched vox forming a vicious climax to close proceedings.

Perhaps not the most suitable candidate for first-timers exploring the wonders of grindcore, World Extermination is nevertheless essential listening and one of the milestone grind albums released in the past twenty years. Sadly, it was the only proper LP released before Insect Warfare split up, but deserves to be considered a grindcore hall-of-famer and modern classic.

Bandcamp

#2009 #625Thashcore #AmericanMetal #BackToTheGrindstone #BrutalTruth #Grindcore #InsectWarfare #IronMonkey #NapalmDeath #Phobia #Review #Reviews #WorldExtermination

Back to the Grindstone: Insect Warfare – World Extermination

By Saunders

Back to the Grindstone is a love letter feature dedicated to the appreciation of all things grindcore. This most extreme of extreme niche genres has been kicking since the late ’80s, growing in underground stature as the years march on. The rule of thumb to this feature is simple; spotlight will be on grind albums old and new, though will not include releases from the past five years, or albums previously covered on this website. Genre classics, underappreciated gems, old school and nu school will be covered, highlighting albums aimed at established fans and curious listeners interested in diving into the cesspool of the grind scene.

For the long overdue second installment of the Back to the Grindstone feature, it is time to examine one of modern grind’s great treasures, a raw, uncompromising and gritty blast of unvarnished, tough-as-nails grind from Texan killing crew, Insect Warfare. A one-hit wonder, in the fact the now defunct outfit only ever released one full-length album amidst a series of shorter form nuggets, Insect Warfare made their major statement count big time. Regardless, the utterly relentless twenty-two minutes of elite grind comprising World Extermination is a must-listen for the uninitiated grind freak, or any hardened grind veteran yet to be acquainted with what the lads served up here.

Released in 2007, World Extermination slots into the modern realms of grind, yet eschews the polished or streamlined aspects of some modern grind, in favor of an incredibly intense and raw throwback to the old school values of legendary acts Brutal Truth, Phobia and Napalm Death. The trio make one hell of a ruckus, boasting one of the meanest, nastiest guitar tones in modern grind history, as crusty, serrated grind riffs collide with frenetic drumming, while the rabid grunts, growls and screams of band mouthpiece Rahi Geramifar rage over the top. It’s sharp, brutal stuff, not for the faint of heart. White knuckled intensity and shrieking extremity are key grindcore components, but without the song-smithing smarts it can devolve into a noisy mess with little substance. Insect Warfare cram tons of nasty riffs, rhythmic shifts, and rotten grooves to keep the listener clambering back for more.

The riffs are catchy in the purest grind sense, while the gritty, aggro percussion and organic, no-frills production lends the album its frantic, off-the-chain edge and vitality. And don’t be fooled by the short runtime and quantity of songs, even within compact time capsules, the songs offer plenty of bang for your buck. World Extermination tears by with such reckless abandon that it often demands instant replay, and as with many classic grind albums, it is best absorbed in one concentrated rush. Highlights are plentiful and tend to chop and change from listen to listen, however, there are a slew of noteworthy modern grind classics to explore. The musicianship is excellent, with one of the tightest performances you will hear on a grindcore album. Beau Beasley handles guitars and bass, and it’s his violently speedy, deceptively infectious riffs that propel the album and provide the hooks, working in perfect unison with Dobber Beverly’s imaginative, frenetic drumming performance.

“Self Termination” raises the bar early; a tightly wound ball of rage and relentless energy, featuring gnarly, hook-riddled riffs, insanely fast drumming and unhinged vocals. “Manipulator” features the requisite high-octane blasts of barely contained mayhem with an epic closing groove riff that is the ultimate payoff. Elsewhere, the awe-inspiring intensity and chaos of “Mass Communcation Mindfuck” is the ideal soundtrack to a violent rampage, “Hydraphobia” welds toughened grooves and headbanging riffage, with glass-shattering grind outbursts and manic drumming. Special mention must also go to drummer Beverly, who attacks his kit with finesse, lightning-limbed speed, and concussive battery. Closer “Evolved into Obliteration” shows some restraint, its ominous, seething tone and throat-shredding, Iron Monkey-esque higher-pitched vox forming a vicious climax to close proceedings.

Perhaps not the most suitable candidate for first-timers exploring the wonders of grindcore, World Extermination is nevertheless essential listening and one of the milestone grind albums released in the past twenty years. Sadly, it was the only proper LP released before Insect Warfare split up, but deserves to be considered a grindcore hall-of-famer and modern classic.

Bandcamp

#2009 #625Thashcore #AmericanMetal #BackToTheGrindstone #BrutalTruth #Grindcore #InsectWarfare #IronMonkey #NapalmDeath #Phobia #Review #Reviews #WorldExtermination

Back to the Grindstone: Insect Warfare – World Extermination

By Saunders

Back to the Grindstone is a love letter feature dedicated to the appreciation of all things grindcore. This most extreme of extreme niche genres has been kicking since the late ’80s, growing in underground stature as the years march on. The rule of thumb to this feature is simple; spotlight will be on grind albums old and new, though will not include releases from the past five years, or albums previously covered on this website. Genre classics, underappreciated gems, old school and nu school will be covered, highlighting albums aimed at established fans and curious listeners interested in diving into the cesspool of the grind scene.

For the long overdue second installment of the Back to the Grindstone feature, it is time to examine one of modern grind’s great treasures, a raw, uncompromising and gritty blast of unvarnished, tough-as-nails grind from Texan killing crew, Insect Warfare. A one-hit wonder, in the fact the now defunct outfit only ever released one full-length album amidst a series of shorter form nuggets, Insect Warfare made their major statement count big time. Regardless, the utterly relentless twenty-two minutes of elite grind comprising World Extermination is a must-listen for the uninitiated grind freak, or any hardened grind veteran yet to be acquainted with what the lads served up here.

Released in 2007, World Extermination slots into the modern realms of grind, yet eschews the polished or streamlined aspects of some modern grind, in favor of an incredibly intense and raw throwback to the old school values of legendary acts Brutal Truth, Phobia and Napalm Death. The trio make one hell of a ruckus, boasting one of the meanest, nastiest guitar tones in modern grind history, as crusty, serrated grind riffs collide with frenetic drumming, while the rabid grunts, growls and screams of band mouthpiece Rahi Geramifar rage over the top. It’s sharp, brutal stuff, not for the faint of heart. White knuckled intensity and shrieking extremity are key grindcore components, but without the song-smithing smarts it can devolve into a noisy mess with little substance. Insect Warfare cram tons of nasty riffs, rhythmic shifts, and rotten grooves to keep the listener clambering back for more.

The riffs are catchy in the purest grind sense, while the gritty, aggro percussion and organic, no-frills production lends the album its frantic, off-the-chain edge and vitality. And don’t be fooled by the short runtime and quantity of songs, even within compact time capsules, the songs offer plenty of bang for your buck. World Extermination tears by with such reckless abandon that it often demands instant replay, and as with many classic grind albums, it is best absorbed in one concentrated rush. Highlights are plentiful and tend to chop and change from listen to listen, however, there are a slew of noteworthy modern grind classics to explore. The musicianship is excellent, with one of the tightest performances you will hear on a grindcore album. Beau Beasley handles guitars and bass, and it’s his violently speedy, deceptively infectious riffs that propel the album and provide the hooks, working in perfect unison with Dobber Beverly’s imaginative, frenetic drumming performance.

“Self Termination” raises the bar early; a tightly wound ball of rage and relentless energy, featuring gnarly, hook-riddled riffs, insanely fast drumming and unhinged vocals. “Manipulator” features the requisite high-octane blasts of barely contained mayhem with an epic closing groove riff that is the ultimate payoff. Elsewhere, the awe-inspiring intensity and chaos of “Mass Communcation Mindfuck” is the ideal soundtrack to a violent rampage, “Hydraphobia” welds toughened grooves and headbanging riffage, with glass-shattering grind outbursts and manic drumming. Special mention must also go to drummer Beverly, who attacks his kit with finesse, lightning-limbed speed, and concussive battery. Closer “Evolved into Obliteration” shows some restraint, its ominous, seething tone and throat-shredding, Iron Monkey-esque higher-pitched vox forming a vicious climax to close proceedings.

Perhaps not the most suitable candidate for first-timers exploring the wonders of grindcore, World Extermination is nevertheless essential listening and one of the milestone grind albums released in the past twenty years. Sadly, it was the only proper LP released before Insect Warfare split up, but deserves to be considered a grindcore hall-of-famer and modern classic.

Bandcamp

#2009 #625Thashcore #AmericanMetal #BackToTheGrindstone #BrutalTruth #Grindcore #InsectWarfare #IronMonkey #NapalmDeath #Phobia #Review #Reviews #WorldExtermination

Walking Corpse – Our Hands, Your Throat Review

By Saunders

Heavyweights Gridlink and Rotten Sound have led the grindcore charge in 2023, but to discount less heralded acts carving a presence in the modern grind scene runs the risk of overlooking the next big thing. Hailing from Gothenburg, Sweden, Walking Corpse independently released an EP and debut full-length, 2020’s The Fear Takes Hold, before inking a deal with one of heavy music’s more impressive modern labels, Transcending Obscurity. Presumably named after the legendary Brutal Truth song, Walking Corpse take the essence of traditional, old school grind, including such raw, precision attributes and glass-shattering intensity of classic Brutal Truth, yet throw down other intriguing elements and influences. They craft an uncompromising, eleven-track shitstorm of teeth-gnashing, jaw-shattering grind. Can the upstart power trio harness this unhinged cacophony into a cohesive and memorable batch of songs?

Walking Corpse impress with a tight batch of songs, mostly eschewing sub one-to-two-minute jams, for more fully fleshed, yet still compact timeframes. Our Hands, Your Throat will have your head spinning once Walking Corpse are finished putting the boot into your battered body after the 34-minute explosion has expired. The sleeker sonic profile, shreds of melody and white-knuckle tension recalls fellow Swedes Nasum and Gadget, amidst shades of Nails and Antigama for good measure. Gritty undertones of sludgy hardcore, noise, and death are leveraged into the curb-stomping assault. It’s intense, unrelenting stuff, with the noisy chaotic grinding enough to scare off the less seasoned listener, though will no doubt please grind aficionados up for the challenge.

“Dreamflesh Navigator” hits like a hammer blow to the back of the head, setting a rabidly aggressive tone of face-melting grind. The frenetic attack and noisy dissonance offering a blood-pumping good time. After the blistering beginning across the first couple of tracks, the punky, d-beaten charge and groovier stomp of “Our Hands, Your Throat” offers a modicum of respite and accessibility to latch onto, showcasing Walking Corpse’s ability to shift between varied modes of destruction. Similarly, “The Wheel” stretches across nearly five minutes, deftly shifting tempos between speed-riddled blasts, crunchy slower moments, and swaggering, sludge-infected passages of grimy dread. It’s a killer, ambitious slab of forward-thinking grind. There is much to enjoy on the longer songs, allowing Walking Corpse to flex their creative muscles. However, shorter throat-stabbing grind cuts will keep the traditionalists happy (“Brainworm,” Malediction,” ‘Forever Sleep”). Walking Corpse are perhaps at their most intriguing when they wrap their razor-sharp, abrasive grind with other genre elements. “Nothing Grows Here” deftly ping pongs from savage grind blasts to violent bursts of sludge, hardcore, and technical, unhinged grooves to unsettle the nerves.

Closer “Eye of an Angry God” possesses a bonkers edge, its measured opening giving way to zippy riffs and skronky axe battery, wrapping the album in an intense, brain-scrambling manner. Our Hands, Your Throat backs its nasty, serrated riffs and tornado-like percussive battery with a tight technical bent, meshing nicely with the band’s varied execution and slight experimental inclinations. Fredrik Rojas (guitars, bass) covers impressive ground, his fleet-fingered fretboard abuse and warped dissonance encompassing elements of grind, sludge, noise and death with aplomb, firing off catchy riff-driven nuggets amidst the technically proficient chaos. Magnus Dahlin (drums, bass) smashes his kit with manic energy and finesse, while vocalist Henrik Blomqvist ties together the trio’s tight package with a solid array of hardcore-tinged barks, growls and higher-pitched screams.

There are no major faults, only nitpicks to level at Our Hands, Your Throat. It is perhaps not the most instantly gratifying grind album, taking a few listens to fully appreciate the band’s unique quirks and make sense of the more subtle hooks. The whole album can seem impenetrable on occasion, but it is worth sticking with. Sleek, though gritty production features jagged, impactful instrumental tones. However, despite a reasonably dynamic master, the solid length and noisy, relentless nature can bring on some ear fatigue. Our Hands, Your Throat catapults Walking Corpse towards the upper tier of the grind pack in 2023. Though perhaps not the best place to start for entry-level listeners testing the grind waters, Walking Corpse smashed out a varied, in-your-face slice of top-shelf grind, scalpel-sharp yet delivered with the burly force of a ten-ton hammer.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Transcending Obscurity Records
Websites: walkingcorpse.bandcamp.com | facebook.com/Walkingcorpse/Gbg
Releases Worldwide: December 1st, 2023

#40 #Antigama #BrutalTruth #Gadget #Gridlink #Grind #Grindcore #Hardcore #Nails #Nasum #Noise #OurHandsYourThroat #Review #Reviews #RottenSound #Sludge #SwedishMetal #TranscendingObscurityRecords #WalkingCorpse

Just caught myself typing “need to control” as part of a comment and couldn’t resist posting something from the album😂
Lucky for me, it’s the goof-off hours🤪

https://youtu.be/I-dEEfTiVqc

#metal #music #grindcore #BrutalTruth #earache