#deathgrind — Public Fediverse posts

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BLOOD FREAK - Sleaze Merchants CD. 2003

Cool gory death grind/ from the past

#goregrind #deathgrind #deathmetal #nowplaying #metal

For #GrindayFriday, Finland's BLISTEROUS just announced a new demo promo tape, and this is one of the tracks: https://youtu.be/v1QbF4vcuic

#grind #deathgrind #grindcore #goregrind #metal #Finland #FinnishGrind #FinnishMetal #Blisterous @vanessawynn @wendigo @HailsandAles @guffo

As this #ThursDeath fizzles out I'd like to draw your attention to this here latest release by #DeathMetal / #DeathGrind crew DUNGAVENHOOTER from Maine in the US.

There are no zombies here, no demons, no spooky ghouls, no Beelzebub doing the nasty and pissing on crosses. No splatter, no occult incantations, no murky metaphors, no foggy (albeit fun) hocus pocus.

Dungavenhooter deal in raw, ugly and nasty reality, full of brutal, desperate, teeth-gritting anger and bodies/souls hitting concrete. And killer riffs. It's pretty great - but also quite harsh ->

Edit: hashtags

Bandcamp link to the 2026 promo EP by Dungavenhooter -> https://dungavenhooter.bandcamp.com/album/promo-2026

When in skilled hands, death and grind go together like all the finest combinations, whether it’s peanut butter and chocolate, beer and pretzels, or good old mac and cheese. The tasty combo applies to the musical inclinations of Illinois wrecking crew Melting Rot, as they unleash their second LP and follow-up to 2021’s Blood Delusions debut. Admittedly unfamiliar before dredging this one up from the promo sump, the trio feature combined underground experience with various lesser-known acts, forming way back in 2017. Citing the likes of Regurgitate and Excruciating Terror as comparisons, and featuring a guest spot from Exhumed legend Matt Harvey, can these unheralded deathgrind loonies make a sizable impact in the ever-crowded realms of the underground?

Following a short sample, right off the bat, Melting Rot lay their gnarled cards on the table, unleashing a rugged, relentless frenzy of old school grind values and groovy, gnashing brutal death, complete with incomprehensible, uber low vox and occasional deeper variations or grindy highs. It’s a tight, violent, take-no-prisoners approach, done and dusted in a mere eighteen minutes. Melting Rot flip between d-beaten bursts and blasts of crusty grind, to thuggish brutal death depravity with raucous energy and tight musical chops. Revelling in the relative uncomplicated nature of their sound, Melting Rot draw influence from the likes of Exhumed, Carcass, and a more straightforward Benighted.

Sporting a robust, extra beefy production job, Infatuation with Premeditation boasts a killer guitar tone, cutting a nasty swathe of distortion and welcome oomph to the ample supply of meaty riffs and piledriving grooves littering the album. At their most potent, Melting Rot dish out gnarly examples of their bruising deathgrind attack. Barnstorming cuts like the viciously grinding, punkish throes and infectious riffs of “Human Pavement Splatter,” crunching grooves and ripping powerplays of “The Surgeon was Comatose,” and thrashing melodicism cutting through the otherwise blunt force savagery of “Aiming for Construction Workers” highlight Infatuation with Premeditation’s stronger writing. Not to be discounted, “Open Casket Vomit Spew” injects Necroticism-esque flair and crunch, while “Morbid Infatuation” adds buzzsawing Swedeath riffs into its punky grind skirmishes. It’s nasty, unsanitized stuff, refreshingly free from modern polish, ensuring the material retains its dirty, rusty edge.

There are no glaring weak links, just a handful of moments where the writing bleeds together slightly, leading to fleeting moments of faceless brutality. Meanwhile, the vocals are a mixed bag. The multi-pronged attack largely defaults to the predominant gurgling lows, while serviceable, they lack variation and are fairly one-dimensional and monotonous in delivery. When occasionally cut with the shattering highs and other lower growl variations, the vocal impact is more effective. Shifting the balance would have worked wonders. Otherwise, Infatuation with Premeditation ticks all the boxes for a rollicking good time for deathgrind fiends. The brevity leaves you wanting more, and while long-term mileage is debatable, overall, Melting Rot swing hard and largely nail the impact. The subtle dynamic shifts between their higher gears are well executed, while the album is fueled by relentless energy and filthy, bludgeoning riffs, packing a mean, headbanging punch.

Melting Rot delivered a punchy, efficient blast of deathgrind goodness on Infatuation with Premeditation, featuring a short, sharp collection of nuggety brawlers falling in the solid to very good bracket and hinting at potential greatness to come if Melting Rot continue to sharpen and hone their songwriting skills. As it stands, Infatuation with Premeditation is a strong 3.0, an entertaining platter and recommended listen for deathgrind enthusiasts who like their deathgrind extra riffy and their grooves bloody and beaten.



Rating:3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Hells Headbangers Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 27th, 2026

#ThursDeath this week is this absolute BANGER of an EP Whittier, California deathgrind freaks CASKET MUSH just put out, 'Evocation of Paranoia'. This fucker grinds and churns and smashes at your skull in the best ways. HUGE contender for me this year. Gonna be listening to this one a lot.

https://casketmush.bandcamp.com/album/evocation-of-paranoia

#metal #DeathMetal #DeathGrind #California #CaliforniaBands #CaliBands #CasketMush #2026Albums #2026Records #Whittier #CaliforniaMetal #CaliforniaGrind @HailsandAles @wendigo @swampgas @rtw @guffo @c0m4 @AlfeeDee @Kitty @umrk @flockofnazguls @nnenov

DC deathgrind ensemble No/Más formed almost a decade ago, pumping out a split, two EPs, and a full-length between 2017 and 2022. Four years later, No/Más assails 2026 from the jump, touring with Exhumed and Oxygen Destroyer as well as crackin’ skulls with their sophomore effort, No Peace. Stylistically similar to their debut Consume/Deny/Repent, No Peace offers listeners twenty-two minutes of throat-punching, toe-stomping aural hooliganism that’s as charming as it is confrontational. Does No/Más’ boisterous, acerbic approach leave listeners with a tolerance for their hijinks, or will they leave No Peace thinking, ‘no thanks?’

While No Peace manifests many upgrades from their (admittedly good) debut, the biggest win might be that No/Más firmly institutes their identity. The change isn’t drastic, and No Peace is a natural progression from Consume/Deny/Repent, but the sophisticated onslaught supplied on this sophomore sweep oozes with sneering confidence. Following in the footsteps of Nails, No/Más balances grindcore, death metal, and hardcore/crust tendencies with playful intelligence, weaving together Full of Hell’s caustic bite, Napalm Death’s thuggish simplicity, and Jungle Rot’s warped melodicism into a densely packed third of an hour. And if those touchstones aren’t enough, No/Más unleashes Sepultura-informed grooves and a slow leak of Pro-Pain into their secret sauce. Not to fret, though, because despite all the influences, No Peace presents as a unified vision, and one that will rouse languid listeners into a frothing fancy.

No Peace by NO/MÁS

No/Más’ instrumentation on No Peace sets a high bar with energetic performances, snapping necks with whiplash-inducing riffs and a license to thrill. Joe Vasta’s bass bounces and chugs with in-your-face rumbles throughout No Peace (“Abolition,” “Cycle of Sacrifice”), wielding a thick, surly tone that’ll rabbit punch you into head-banging if you’re standing still. Drummer Henry Everitt wallops the skins hard enough to rattle your ear bones, battering with furious fills (“Abolition”) and dropping to half-time backbeats (“No Peace”) as songs demand. It’s not all about the beatdowns, though, as No/Más injects a welcome helping of melody into No Peace. John Letzkus’ guitar slices through the faff to drench the album in a satisfyingly saturated buzz (“Act of Killing,” “Spineless”), though he also takes the reins and dazzles with efficient, arpeggiated leads (“Leech”) that I wish appeared more. Vocalist Roger Rivadeneira rounds out the quartet, shouting, growling, and screeching in a varied attack that demonstrates a willingness to experiment that was largely absent from Consume/Deny/Repent. In total, No/Más fires on all cylinders throughout No Peace, and never gives you a moment to come up for air.

With only twenty-two minutes on tap, No/Más leaves no room for inessential slop. And besides the half-minute intro flush with wall-of-sound static and indistinct yelling, they wildly succeed. As you’d expect from any decent grindy endeavor, no song pushes past its distilled essence, staying just long enough to rip and bludgeon before getting the fuck out of the way for the next track to exact its toll. No song eclipses the three-minute mark, and each exudes a rabid savagery that seethes with conviction. Additionally, No Peace sounds great—sure, the dynamic range scores low, but it’s exactly how this brand of overstimulating ass-kicking should sound. It’s well-mixed, abrasive, and highlights the rhythm section without sacrificing the sparse six-string fortitude. I wish there were a few more songs like “Leech,” partly because No/Más excels with the tunefulness, but also because I think it would address the biggest opportunity with No Peace—the compact composition allows little room for songs to establish unique flavors, leaving them to sometimes blur together. In the end, though, this is only a minor quibble, and there are many great moments to appreciate.

No/Más hasn’t redefined the DNA of deathgrind with No Peace, but they have contributed a worthy addition to its annals. Corrosive, pummeling bangers streamlined with minimal frills sum up to a blistering platter I’ve quite enjoyed. While I haven’t had the pleasure of seeing No/Más live, this crew boasts the hallmarks of a band that whips a crowd into a frenzy and ends with a broken bone or missing tooth. With twelve tracks running so lean, No Peace is helplessly easy to spin again and again. If they keep pumping out tunes this good, I can’t wait for what comes next. No más? No. Más.

Rating: Very Good!
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Redefining Darkness Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 13th, 2026

Unfortunately, the mighty Relapse stable now floats down the shitty stream for promos. As such, we are slow on the uptake with the latest platter of splatter from legendary underground gorehounds, Exhumed. Always searching for fresh inspiration for their deathly brand of precision butchery, tenth album Red Asphalt channels inner road rage via good old carmageddon mayhem and vehicular violence as its overarching conceptual theme. Otherwise, it’s business as usual for Exhumed, returning with a tight, signature blast of groovy, thrashy, blasting deathgrind, led by seasoned underground warrior Matt Harvey (guitars/vocals). Joined by right-hand man Ross Sewage on uber low vox and bowel rumbling bass, alongside drummer Mike Hamilton (Deeds of Flesh) and guitarist Sebastian Phillips (Castle Freak, Mammoth Grinder, End Reign). Red Asphalt marks their first album since 2022’s solid and well-received To the Dead, a welcome return for these ever-reliably vicious brutes. With a high reliability factor baring well for a good arse kicking, how does Red Asphalt fare against a bulletproof modern run of albums since their second coming on 2011’s All Guts, No Glory?

Kicking off with the blistering “Unsafe at Any Speed,” Exhumed pull no punches in a typically exuberant, brutal yet wickedly infectious style. The riffs rip and burn with reckless abandon, drums set a scorching tempo, while the dueling vox, trade-off solos, and gut-punching grooves land vital blows of awesomeness. It feels familiar yet fresh and the right amount of pungent. Striking a balance between the sharp melodicism and grooving charms of modern classic Necrocracy, mutated with the blunt force savagery of Horror, and a dash of the more primitive goregrind stylings of their early days, Red Asphalt finds Exhumed subtly tweaking their formula to remain vibrantly dangerous deep into their career. Through modern refinement and sharp, technical execution, Exhumed maintain their gritty, no-frills edge and slick but organic sounding production, while the grindy, blast-riddled attack and sick dual vox ensure these old dogs still pack a brutal, unhinged punch.

Careening recklessly from one gnarly, adrenaline-fueled incident to the next, Exhumed mostly jam the gears high and slam the pedal to the floor, weaving twisted cables of melody through mangled wreckages of deathgrind mayhem and gore-soaked grooves. “Red Asphalt” unleashes thrashy uppercuts and Heartwork-inspired melodeath flair to killer effect. More measured cuts (“Shovelhead,” “Death on Four Wheels”) detonate slower, crushing devices, bloodied riffs, and dicing solos to slamming impact. When Exhumed are not grinding and pummeling with deathly intent, their thrashy tendencies take hold, offering a trademark punky, turbo-charged counterpoint on numerous high-octane scorchers (“Shock Trauma,” “The Iron Graveyard,” “Symphorophilia”). “Shock Trauma” deftly incorporates screaming, emergency siren solos into an explosive barrage of searing deathgrind battery, showing Exhumed can still blast and brutalize with the best of them.

Performances are uniformly tight and deranged, Harvey again proving an elite riff meister, sharpening his tools of the trade to whip up a frenzy with Philips, including a generous bounty of killer, infectious riffs and tasty, slashing solos. The shredding is top-grade stuff, adding a wild and reckless melodic edge to the album (check the ripping axe pyrotechnics on “Death on Four Wheels” and “Crawling from the Wreckage”). Vocally, Harvey and Sewage sound as savage as ever, forming one of the best dual vocal combos this side of Dying Fetus, albeit a gentle push forward in the mix would have been welcome. At a taut thirty-seven minutes, Red Asphalt blasts by in an efficient, addictive fashion, by the time “The Fumes” engulf your senses to close out the album. Aside from a couple of stock moments, Exhumed’s songwriting sounds energized and inspired, nearly thirty years since they dropped their debut.

Red Asphalt stands up to scrutiny as another high-quality modern platter to add to Exhumed’s ever-impressive repertoire. Exhumed rarely miss, testament to their dedication and skilled craftsmanship in remaining a bulldozing force in the modern death metal arena, carrying the Carcass-inspired torch, yet transcending the influence of their forebearers. Exhumed’s timelessly fun and feverish brand of old school brutality, filtered through a modern lens, and packed with sharp riffs, sharper hooks, is a thrashing, grooving, blasting good time. Red Asphalt arguably edges the past couple of Exhumed albums, resulting in a bloody crash course in deathgrind lunacy, grisly grooves, and melodic smarts.



Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stinking stream
Label: Relapse Records
Websites: exhumed.bandcamp.com | facebook.com/exhumedofficial
Releases Worldwide: February 20th, 2026

Morrn 🤘🏻

New week, new #MisanthropicMonday

One-man #DeathGrind assault from #Japan.

https://hpgd.bandcamp.com/album/moment-of-silence

#RandomMusickMayhem #Metal #Grindcore #DeathMetal #HosukeKashida #AlbumsOf2026

Wanted to make a list of my favorite EPs from 2025- narrowed it down to a top 10, from over 200 I'd liked and documented this year. The list contains multiple genres & I've written a brief blurb about each. Most of these I've talked about here this year. Might be something here for everyone!

Mood Bored - Too Much? (shoegaze/alt rock from the Netherlands with great female vocals - Breeders, Pixies, that dog, Throwing Muses vibes)
https://moodboredband.bandcamp.com/album/too-much

Top Dollar - Objects of Misfortune (well produced, tight hardcore punk from New York- Jerry's Kids meets Floorpunch, or MDC, even - killer drums)
https://11pmrecords.bandcamp.com/album/objects-of-misfortune

Sectarian Defacement - Chaotic Demiurge (tight, catchy brutal deathgrind from Kyiv, Ukraine)
https://sectariandefacement.bandcamp.com/album/chaotic-demiurge

Trompeta - Fastfood (bizarre, synthy, Krautrock-tinged, spacey, surreal, Throbbing Gristle-esque electronica with sparse vocals, from Benicarló, Spain)
https://trompetatrompeta.bandcamp.com/album/fastfood

Spy - Seen Enough (ripping, raw, rough, unforgettable California punk - loud, feedbacky, intense)
https://spyhc.bandcamp.com/album/seen-enough

Bullfinch - Louse (riffy, catchy, groovy unique sludge from Glasgow)
https://bullfinchsludge.bandcamp.com/album/louse

Putrid Requiem - Engulfed in Rot... You Lay (cavernous, crusty, grody debut from Saint Petersburg, Russia band- maybe my #1 favorite metal EP of 2025)
https://putridrequiem.bandcamp.com/album/engulfed-in-rot-you-lay

Dripped - Utopia of Euphoric Envisionment (brutal death from Perth, Australia- Dripped had one of my favorite LPs in 2023, and are one of my favorite metal bands - so consistent) https://dripped.bandcamp.com/album/utopia-of-euphoric-envisionment

Cytophagia - Spewed from Festering Sludge (3 brief songs of great riffy, dynamic goregrind from Slovakia)
https://calvos73records.bandcamp.com/album/spewed-from-festering-sludge

Brain Matter - Divine Opulence (dynamic, ripping, chugging death with some doom from Fort Worth, Texas, via Iron Corpse)
https://ironfortressrecords.bandcamp.com/album/divine-opulence

#punk #metal #electronica #shoegaze #DeathMetal #HardcorePunk #PunkRock #AltRock #sludge #goregrind #BrutalDeath #BrutalDeathMetal #2025Albums #2025Records #deathgrind @brian @HailsandAles @rtw @vanessawynn @swampgas @irafcummings @jeffrey @derthomas @hl @Kitty @umrk @poetaster

Popular this week:

#ambient #electronic #alternative #electronica #industrial #cinematic #shoegaze #dance #dub #dreampop #hiphop #melodic #grindcore #screamo #indierock #boombap #indiepop #deathgrind #drumandbass #crust

https://getmusic.fm/l/MDotbz

For #GrindayFriday this week, how about an older grind classic. CYNESS are from Potsdam, Germany, have been around since 2000, only have 2 LPs, and this is their most recent one, 'Our Funeral Oration for the Human Race' from 2006. Wow, next year is its 20 year anniversary. They've done two splits since, the last in 2016. Will we get a new Cyness album in 2026? Probably not, but we can always hope. 😂💥

https://cyness.bandcamp.com/album/our-funeral-oration-for-the-human-race

#grind #deathgrind #Germany #Potsdam #GermanMetal #GermanGrind #grindcore #metal #ClassicGrind @vanessawynn @HailsandAles @brian @guffo @rtw @c0m4

For this week's #GrindayFriday, a gross one because I feel gross and it's hitting. New Syphilitic Brain Rot split with Nerve Shredder. 🤮🔥

https://syphiliticbrainrot.bandcamp.com/album/gastrointestinal-removal-of-purulent-digestive-substrate-split-w-nerve-shredder

#grind #deathgrind #grindcore #goregrind @vanessawynn @guffo @brian @HailsandAles

Terror Corpse – Ash Eclipses Flesh Review

By Saunders

Already boasting a killer debut EP to their name in 2025, courtesy of the sick, old school deathgrind mayhem comprising Systems of Apocalypse, Texan wrecking crew Terror Corpse hit the ground running in their short time together. The newly minted outfit come seasoned with underground cred, featuring members that have logged time in the likes of Malignant Altar, Oceans of Slumber, Necrofier and Insect Warfare. Recording the EP as a five-piece, debut full-length Ash Eclipses Flesh finds Terror Corpse stripping back to a trio and shifting tact musically. While remnants of the heavily grind-influenced charge of Systems of Apocalypse remains intact, Terror Corpse mine the fetid soil of vintage death metal, citing the likes of Celtic Frost, Incantation and pre-2000s Morbid Angel as key influences. Throw in shades of Immolation, Terrorizer, early Carcass and Exhumed, and you have a recipe for a good old-fashioned beatdown. However, don’t be fooled into thinking Terror Corpse is a run-of-the-mill act riding the decaying coattails of legacy acts of the past. Ash Eclipses Flesh respects the past, while paving its own twisted path through grisly killing fields and dank caverns of grotesqueries.

Terror Corpse merge old timey underground aesthetics with a vital injection of their own character and modern appeal. Presenting a grimy and wickedly brutal collection of grind-encrusted old-school death, Terror Corpse both encompasses and deviates from the deathgrind formula of the EP, pivoting into deathlier, guttural realms. Any disappointment of the sound shift is swiftly bludgeoned on opening track “Pyre of Ash and Bone.” The song makes a hellish statement, hammering down violent, riffy death marches through menacing atmospheres, as uber low guttural vox, squealing leads, and livewire drumming seal the deal. Dobber Beverly again cements his status as a cult legend in extreme metal drumming. Also handling guitar duties with main vocalist Mat V, the duo reinforces the album’s retro, brutish charms, primitive clubbings, and ominous atmosphere with a vital collection of top-shelf riffs, mangled leads, and headbangable delights.

Ash Eclipses Flesh revels in shifting gears from dense, noisy chaos and relentless blasts to knuckle-dragging grooves, and monstrous, caverncore-esque swarms, Terror Corpse also incorporate infectious bursts of thrashy death and gnarled, punkish grind into the fray. After a solid, respectable beginning, Ash Eclipses Flesh really hits stride on third cut “Womb of the Hollow Earth,” and it’s a ripping, high-potency ride from here on in. Elsewhere, they delve into death-doom slogs, inflicted upon the devastating “Fallout Obliteration,” and punishing mid-section on the lurching, vicious stomp of “Sons of Perdition.” Refusing to neglect their classic grindcore and splattery deathgrind roots, Terror Corpse bring the filth and dual vox, including shrieky highs, to the thrashing intensity of “Nuclear Winter.” Meanwhile, the tremendous “The Hollow That Devours” intersperses cavernous double bass rumbles and thrashy bursts with immense mid-paced chuggery and thick, insidious grooves.

Versatile tinkering of their songwriting formula ensures the songs chart diverse territories, while remaining uncompromisingly brutal and wickedly infectious. Even the closing cover of Celtic Frost’s “Into the Crypts of Rays” doesn’t feel wasteful or tacked on. Terror Corpse inject the song’s anthemic, punky edge with their own beefed-up deathgrind spark. Beverly’s energetic, nuanced drumming proves essential as the album’s beating heart, driving the fluctuating pulse rate and need for speed, slick tempo shifts, and rambunctious, sewage-coated grooves. The power of the riff compels, not through technical wizardry, but courtesy of a firm understanding of the genre’s classic origins and grimy, atmospheric underpinnings. Infectious and rancidly beefy riffs, wildly unhinged leads, and sinister melodic currents define the excellent axework. There are no glaring flaws or major drawbacks preventing a strong recommendation. Perhaps you could argue Terror Corpse aren’t doing anything especially new or innovative, while the dominant, incomprehensible gutturals might be a tough sell for some listeners.

Twenty-twenty-five has delivered diverse treats across the metalverse, including top-notch death metal releases of varied persuasions within the genre. Ash Eclipses Flesh is another not to be missed. What they lack in bells, whistles, techy flair or innovation, Terror Corpse more than compensate through their authentic and fresh spin on a vintage sound. A tightly performed, superbly produced, and invigorating slab of riffy old school death, armed with gnarled deathgrind and grisly brutal death ammunition, Ash Eclipses Flesh is a surefire corker and end-of-year list disruptor.

Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Dark Descent Records
Websites: Facebook | Bandcamp
Releases Worldwide: November 21st, 2025

#2025 #40 #americanMetal #ashEclipsesFlesh #carcass #celticFrost #darkDescentRecords #deathMetal #deathgrind #exhumed #incantation #insectWarfare #malignantAltar #morbidAngel #necrofier #oceansOfSlumber #oldSchoolDeathMetal #review #reviews #terrorCorpse #terrorizer

Been waiting for this one -- 'Blood Fire Deathgrind', the new Cadaveric Incubator/Depression split where they each do a Bathory cover. It's sick. Yet more Iron Corpse goodness 🔥

https://ironcorpse.bandcamp.com/album/blood-fire-deathgrind

#NowPlaying #metal #deathgrind #DeathMetal #Bathory #IronCorpse #grind @brian @HailsandAles @nnenov @guffo @rtw @swampgas @umrk @c0m4 @Kitty

This week's #GrindayFriday is Serbian deathgrinders GNOJ. They just put out EP 'Anujka' and I love it. Five intense songs, about a minute each, listen to the whole thing in around five minutes. But there's some GROOVES on this, too. No idea what they're saying, but DAMN, it rips. Grindy, deathy, a powerviolence shout here or there, hell yeah.

https://gnoj1.bandcamp.com/album/anujka

#grind #grindcore #Serbia #SerbianMetal #SerbianGrind #deathgrind @vanessawynn @HailsandAles @brian @guffo @c0m4 @flockofnazguls

Barren Path – Grieving Review

By Saunders

Forged from the ashes of the mighty Gridlink, Barren Path emerge from the blistered earth, hellbent on blazing a pathway of grinding destruction amid charred bursts of white-hot extremity. Legendary grind axeman Takafumi Matsubara overcame a career-threatening injury to shred once more, leading the way with fellow Gridlinker Bryan Fajardo (drums), along with bassist Mauro Cordoba and guitarist Rory Kobzina, who both featured on Gridlink’s swansong, Coronet Juniper (2023). Adding to Barren Path’s gold-plated grind pedigree is the addition of vocalist Mitchell Luna (Maruta, Shock Withdrawal). In classic grind fashion, Barren Path’s anticipated debut Grieving doesn’t simply blur the lines between what constitutes an EP or LP, but fucking obliterates them across a scant but deadly thirteen minutes of calculated brutality. Like any quality grind, you can bank on the brief runtime carrying over triple the intensity of your average metal album, making repeat listens an adrenaline-charged breeze.

Gridlink always carried an air of grace about them. Yes, grace and grind may seem disparate entities; however, through their gnarly, yet pristinely performed, razor-sharp precision, melodicism and technical edge, Gridlink stood out from the pack. The heavy Gridlink representation thankfully doesn’t come off as a simple continuation of their legacy in a different guise. Sure, the melodic sensibilities, technicality, whiplashing speed, and machine-gun blasts may share similarities with the Gridlink name, including the distinctive guitar work of Matsubara. Yet make no mistake, Grieving is its own unhinged beast and vital new dimension for its architects to expand from.

Barren Path tenderizes the predominant grind attack with a deathly thump, complemented by an altogether beefier production and sonic profile. The guttural vocal eruptions add a brutal, bulldozing death metal edge, offsetting the predominant piercing screams and higher-pitched variations. From the pummeling abuse, deadly drumwork, and full throttle urgency of opener “Whimpering Echo,” through to the climaxing barrage of assaulting, belligerent deathgrind on “In the End… The Gift is Death,” Barren Path leaves nothing in the tank, upholding an incredible level of precision savagery across the album’s brief yet gripping runtime. Operating with ruthless efficiency into its sub-minute framework, “Primordial Black” brims with uncontrollable energy, as rabid dual vox, breakneck thrashy tidbits, and frayed blackened edges shade the song’s brutal deathgrind delivery. Comparably longer cuts (“The Insufferable Weight,” “Relinquish,” “Horizonless”) allow extra time for Barren Path to unleash their action-packed battery of creative songwriting and infectious songcraft.

Occasional melodic motif or techy passage aside (such as the playful mid-section and spoken word incantations of “Isolation Wound”), little room is reserved for palette cleansing moments, or an Nasum-esque circuit breaker groove. This is not suggestive that Grieving is one-dimensional or lacking in structural variety. Barren Path’s clever knack for drop on a dime tempo and riff changes, and deceptively catchy writing keeps the listener firmly dialed in. Matsubara and Kobzina’s deadly axework and visceral array of sharp, dissonant, and often infectious deathgrind riffage powers Barren Path’s blistering attack. Meanwhile, Fajardo delivers a beastly, expert display of primo deathgrind drumming, a controlled collision of lightspeed rhythms, crafty finesse, and full-throttle aggression. Grieving is also blessed with a killer production job and dynamic master, avoiding the pitfalls that can hamper modern grind affairs when saddled with compressed, overly loud profiles. Abrasive and relentless in execution, the sound is a burly, organic delight, keeping ear fatigue at bay and maintaining an air of clarity and sharpness without diluting Barren Path’s brutish traits.

Drawbacks are few and far between. As touched on, the short runtime leaves you hankering for more, and I’m curious to see how Barren Path develop their sound and perhaps expand upon the prominent death influence and hyperspeed thrash elements on future endeavors. Barren Path emerges from Gridlink’s formidable shadow to unleash a teeth-gnashing, refreshing debut, using their death-plated grind as a catalyst for carving through exciting fresh pastures. Though guilty of leaving the listener wanting more, the addictive replay value and quality songcraft largely fill the void of feeling marginally shortchanged. Barren Path’s violent attack, colorful chemistry, and precision, technical musicianship leave displaced jaws on the floor with the sheer intensity and locked-in tightness. Grieving is top-tier grind to batter the senses and soothe the mind.

Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kbps MP3
Label: Willowtip Records
Websites: Bandcamp | Facebook
Releases Worldwide: October 21st, 2025

#40 #BarrenPath #Deathgrind #Gridlink #Grieving #Grindcore #JapaneseMetal #Maruta #Nasum #Review #Reviews #ShockWithdrawal #WillowtipRecords

#GrindayFriday this week is deathgrind- more on the death side, probably. Fans of Phoenix, Arizona's THORN will want to get in on this, as Thorn is over, but now SLIGM are in their place, and in my opinion, are better. As a 2 piece now instead of just a solo project, the drums are super dynamic and badass. 'Untethered Dimensions' is a killer EP with lots of great riffs and textures.

https://sligm.bandcamp.com/album/untethered-dimensions

#grind #DeathGrind #grindcore #ArizonaGrind #ArizonaMetal #PhoenixMetal #PhoenixGrind #Sligm @vanessawynn @HailsandAles @brian @swampgas @guffo @rtw

This week's #GrindayFriday is new 7" EP 'Flayed and Ready' by Boston, Massachusetts' ROTBUS. This is a really deathgrindy bunch of songs, with some great drums, actual riffs, and growly vocals. Oh, and brief, acceptable Spaceballs and Simpsons clips - one of each. This is a fun, weird, brutal, gross ride of an EP. No Time Records is really killing it lately.

https://notimeforfun.bandcamp.com/album/flayed-and-ready-ntr-479

#grind #grindcore #DeathGrind #RotBus #BostonBands #BostonGrind #mince #BostonMince #MassachusettsGrind #MassachusettsBands @vanessawynn @HailsandAles @brian @guffo @c0m4 @flockofnazguls

Stuck in the Filter: July 2025’s Angry Misses

By Kenstrosity

If you thought June was hot, you aren’t ready for what July has in store. The thin metallic walls of these flimsy ducts warp and soften as the sweltering environs continue to challenge the definition of “habitable.” But I must force my minions to continue their work, as this duty is sacred. Our ravenous appetites cannot be slaked without the supplementary sustenance the Filter brings!

Thankfully, we rescued just enough scraps to put together a meager spread. Enjoy in moderation!

Kenstrosity’s Blackened Buds

Echoes of Gloom // The Mind’s Eternal Storm [July 12th, 2025 – Self-Release]

Queensland isn’t my first thought when considering locales for atmospheric black metal. A genre so often built upon frigid tones and icy melodies feels incongruous to the heat and beastliness of the Australian landscape. Yet, one-man atmoblack act Echoes of Gloom persists. Masterminded by one Dan Elkin, Echoes of Gloom evokes a warm, muggy, and morose spirit with debut record The Mind’s Eternal Storm. But unlike many of the atmospheric persuasion, Echoes of Gloom also injects a classic heavy metal attack and a vaguely punky/folky twist into their formula to keep interest high (“Immortality Manifest,” “Throes of Bereavement I”). Furthermore, Echoes of Gloom weaponizes their energetic take on depressing atmoblack such that even as my head bounces to the riffy groove of surprisingly propulsive numbers like “The Wandering Moon” and “Great Malignant Towers of Delirium,” a palpable pall looms ever present, sapping all color from life as I witness this work. This in turn translates well to the long form, as demonstrated by the epic two-part “Throes of Bereavement” suite and ripping ten-minute closer “Wanderer of the Mind’s Eternal Storm,” boasting dynamics uncommon in the atmospheric field. In sum, if you’re the kind of metal fan that struggles with the airier side of the spectrum, The Mind’s Eternal Storm might be a good place to start.

Witchyre // Witchy Forest Dance Contest [July 14th, 2025 – Self-Release]

Germany’s Witchyre answer a question nobody asked but everyone should: what would happen if black metal and dance music joined forces? With debut LP Witchy Forest Dance Contest, we get to experience this mad alchemy firsthand, and it is an absolute joy! The staunchly anti-fascist Witchyre take the raw sound everyone knows and pumps it full of groove, bounce, and uninhibited fun for a raucous 46 minutes. Evoking equal parts Darude and Darkthrone, bangers like “Let There be Light…,” “Witchy Forest Dance Party,” and “Lost in a Dream” burst with infectious energy that feels demonic and exuberant at the same time. The raw production of the metallic elements shouldn’t work with the glossy sheen of electronic doots, but Witchyre’s often pop-punky song structure that develops as these divergent aesthetics collide adeptly bridges the gap (“Spirits Twirling,” “The Vampire Witch,” “Dragon’s Breath”). My main gripe is that even at a reasonable 46 minutes, each song feels a bit bloated, and some dance elements feel recycled in multiple places (“The Spirits Robbed My Mind”). But don’t let that scare you away. Witchyre is a delightful little deviation from convention fit for fans of Curta’n Wall and Old Nick, and everyone should give it a whirl just for fun!

Owlswald’s Hidden Hoots

Sheev // Ate’s Alchemist [July 11th, 2025 – Ripple Music]

While stoner can be hit-or-miss, Ripple Music often delivers the goods. And with Berlin’s Sheev, they can add another notch to their sativa-flavored belt. Since 2017, the four-piece has been brewing their unique, progressive-infused stoner rock sound. On their second full-length, Ate’s Alchemist, Sheev doubles down on their sonic elixir, with a throwback prog-rock vibe that evokes the likes of Yes and Jethro Tull, but with heavy doses of grunge, jam and modern rock. Vocalist Nitzan Sheps’ provides a stripped-down and authentic performance, sounding like a cross between Muse’s Matt Bellamy and Alice in Chains’ Layne Staley. The rhythm section is particularly great here. Drummer Philipp Vogt’s kit work is exceptionally musical, with intricate cymbal patterns on tracks like “Elephant Trunk,” “Cul De Sac,” and “King Mustard II” that fuel deep-pocket grooves. He also provides Tool-like syncopated rhythms on tracks like “Tüdelüt” and “Henry” that lock with bassist Joshan Chaudhary. Chaudhary’s bass playing is rare in its prominence and clarity in the mix. He maintains a tight pocket while also venturing out regularly with nimbler, adventurous flurries that highlight his technical skill. Yeah, a couple of the longer songs get a little lost, but the album is packed with killer musicianship and vocal hooks that stick with you, so it barely matters. Overall, Sheev has delivered a solid record that I’ll be spinning a lot—and you should too.

Dephosphorus // Planetoktonos [July 18th, 2025 – Selfmadegod Records/7 Degrees Records/Nerve Altar]

Space…the final grind-tier. On their fifth album, Planetoktonos (“Planetkiller”), Greek astro-grind quartet Dephosphorus rejects normal grind classifications and instead annihilates worlds with a brutal, interstellar collision of grind, blackened death, and hardcore. Taking inspiration from the harsh sci-fi of James S.A. Corey’s The Expanse, Planetoktonos is a relentless twenty-eight-minute assault—a sonic asteroid belt of thick, menacing distortion and time-warped drumming that channels Dephosphorus’ raw, furious energy. “The Triumph of Science and Reason” and “After the Holocaust” attack with the ruthless speed of Nasum while others, such as “The Kinetics of a Superintelligence Explosion,” “Hunting for Dyson Spheres,” and “Calculating Infinity,” punctuate sludgy aggression with razor-sharp, shredding passages reminiscent of early Mastodon that offer contrasting technical and rhythmic hostility. Vocalist Panos Agoros’ despairing howls are a particular highlight, full of a gravelly, blackened urgency that sounds the alarm for an interplanetary attack. Gang vocals on tracks like “Living in a Metastable Universe” and “The Kinetics of a Superintelligence Explosion” add extra weight to his frantic performance, proving Dephosphorus can incinerate worlds and still have a blast doing it. Raw, intense, and violent, Planetokonos is a must-listen for fans seeking Remission-era energy.

Tyme’s Tattered Treats

Mortual // Altars of Brutality [July 4th, 2025 – Nuclear Winter Records]

From the fetid rainforests of Costa Rica, San Jose’s Mortual dropped their sneaky good death metal debut, Altar of Brutality, on Independence Day this year. Free of frills and fuckery, Justin Corpse and Master Killer—both have guitar, bass, and vocal credits here—go for the jugular, providing swarms of riffs entrenched in filthy, Floridian swamp waters and powdered with Jersey grit. Solo work comes fast, squealy, and furious as if graduated from the Azagthothian school of shred (“Dominion of Eternal Blasphemy,” “Skeletal Vortex”), as hints of early Deicide lurk within the chugging chunks of “Altar of Brutality” and whiffs of early Monstrosity float amongst the speedier nooks and crannies of “Divine Monstrosity.”1 Incantationally cavernous, the vocals fit the OSDM mold to a tee, sitting spaciously fat and happy within Dan Lowndes’ great mix and master, which consequently draws out a bestial bass sound that permeates the entirety of Altar of Brutality with low-end menace. Chalo’s (Chemicide) drum performance warrants particular note, as, from the opening tom roll of “Mortuary Rites,” he proceeds to bash skulls throughout Altar of Brutality’s swift thirty-five-minute runtime with a brutal blitz of double-kicking and blast-beating kit abuse. Embodying a DIY work ethic that imbues these tracks with youthful energy and a wealth of death metal character, Mortual aren’t looking to reinvent the wheel as much as they’d like to crush you under its meaty treads, over and over again.

Stomach // Low Demon [July 18th, 2025 – Self-Release]

Droney, doomy, sweaty, and sludgy as fuck, Stomach’s blast furnace second album, Low Demon, is the antithesis of summer-fun metal. Hailing from Geneva, Illinois, Stomach is drummer/vocalist John Hoffman (Weekend Nachos) and guitarist Adam Tomlinson (Sick/Tired, Sea of Shit), who capably carry out their cacophonous work in such a way as to defy the fact that they’re only a duo.2 At volume, and believe me, you’ll want to crank this fucker to eleven, Low Demon will have you retching up all that light beer you drank by the pool and crying for yer mom, as “Dredged” oozes, rib-rattling from the speakers, a continuous, four-and-a-half-minute chord-layered exercise in exponentially applied tonal pressure. With five tracks spanning just over forty-three minutes, there’s not a lot on Low Demon that’s in a hurry, and aside from sections of up-tempo doom riffs (“Get Through Winter”) and some downright grindery (“Oscillate”) offering respite from the otherwise crushing wall of sound, listening to Stomach is akin to being waterboarded with molasses. Heavy influences from Earth, Sunn O))), Crossed Out, and Grief—whose Come to Grief stands as a sludge staple—form the basis for much of Stomach’s sound, and while Primitive Man and Hell draw apt comparisons as well, I’m guessing you know what you’re getting into by now. Maniacally cinematic and far from light-hearted, Stomach’s Low Demon was everything I didn’t think I needed during this hot and humid-as-an-armpit-in-hell summer.

Killjoy’s Flutes of Fancy

Braia // Vertentes de lá e cá [July 10th, 2025 – Self-Release]

Bruno Maia is one of the most inventive and hardworking musicians that I know of. Best known for the whimsical Celtic folk metal of Tuatha de Danann, he also has his own folk rock side project, Braia. Vertentes de lá e cá explores the rich history and culture of the Minas Gerais state in his native country, Brazil.3 Bursting with more sweetness than a ripe mango, Vertentes de lá e cá sports a huge diversity of musical styles and instruments. A combination of flute, viola, and acoustic guitar forms the backbone of most of the songs, like the Irish jigs in “Vertentes” or the flitting melodies of “Princesa do Sul.” My ears also detect accordion (“O Cururu do Ingaí”), saxophone (“Serra das Letras”), harmonica (“Hipólita”), banjo (“Carrancas”), and spacey synth effects (“Pagode Mouro”). That last one might sound out of place, but it makes more sense after learning of the local tales of extraterrestrial encounters. Maia sings in only two of the twelve tracks (“Emboabas” and “Rei do Campo Grande”), but all 41 minutes should be engaging enough for listeners who are typically unmoved by instrumental music. Though thematically focused on one specific location, Vertentes de lá e cá deserves to be heard by the entire world.

Storchi // By Far Away [July 25th, 2025 – Self-Release]

I would guess that the “experimental” tag causes some degree of trepidation within most listeners. However, occasionally an artist executes a fresh new vision so confidently that I can’t help but wonder if it’s secretly been around for a long time. Storchi, an instrumental prog group from Kabri, Israel, utilizes a flute in creative ways. Its bright, jazzy demeanor almost functions as a substitute for a vocalist in terms of expressiveness and personality. The Middle Eastern flair combined with modest electronic elements reminds me of Hugo Kant’s flute-heavy multicultural trip-hop. The chunky palm-muted guitar and bass borrow the best aspects of djent alongside eccentrically dynamic drum tempos. There is premeditation amidst the chaos, though. The triplet tracks “Far,” “Further,” and “Furthest” scattered throughout By Far Away each offer a unique rendition of the same core flute tune. “Lagoona” and “Smoky” make good use of melodic reprisals at the very end to neatly close the loop on what might have otherwise felt like more disjointed songs. Despite frequent and abrupt stylistic shifts, Storchi manages to make the 31-minute runtime of By Far Away feel more enjoyable than jolting. Flute fanatics should take note.

ClarkKent’s Addictive Addition

Daron Malakian and Scars on Broadway // Addicted to the Violence [July 19th, 2025 – Scarred for Life]

Since System of a Down disbanded, guitarist Daron Malakian has gone on to release 3 full-length albums under the moniker Scars on Broadway between 2008 and 2025. This spinoff project has proven Malakian to be the oddball of the group, and this goofiness hasn’t mellowed since SOAD’s debut released 27 years ago. The energetic set of tunes on Addicted to the Violence mixes nu-metal, groove rock, and pop with plenty of synths to create some fun and catchy beats. Sure, you have to delve through some baffling lyrics,4 such as when Malakian sings that there’s “a tiger that’s riding on your back / And it’s singing out ‘Rawr! Rawr!'” (“Killing Spree”). Malakian also turns to the familiar theme of drug addiction that he and Serj have explored from “Sugar” to “Heroine” to “Chemicals.”5 This time around, it’s “Satan Hussein,” where he mixes Quaaludes and Vicodin with Jesus Christ. To offset the repetition within songs, Malakian has the sense to mix things up. There’s the nu-metal cuts of “Satan Hussein” and “Destroy the Power,” featuring energetic vocalizations and grooves, but there’s also a lot of pop (“You Destroy You”). The riffs may not be as wild or creative as times past, but Addicted to the Violence makes use of a variety of instruments that keep things fresh, from an organ (“Done Me Wrong”) to a mandolin (“You Destroy You”) to some sweet synth solos. There’s even a brief saxophone appearance to conclude the album. Yes, I know exactly what you’re thinking: “This sounds awesome!”

#2025 #7DegreesRecords #AddictedToTheViolence #AliceInChains #AltarsOfBrutality #AmericanMetal #AteSAlchemist #AtmosphericBlackMetal #AustralianMetal #BlackMetal #BlackenedDeathMetal #Braia #BrazilianMetal #ByFarAway #Chemicide #CostaRicanMetal #CrossedOut #CurtaNWall #Dance #Darkthrone #DaronMalakianAndScarsOnBroadway #Darude #DeathMetal #Deathgrind #Deicide #Dephosphorus #Doom #DoomMetal #Drone #Earth #EchoesOfGloom #EDM #ExperimentalMetal #FolkMetal #FolkRock #GermanMetal #Gindcore #GreekMetal #Grief #GrooveMetal #Hardcore #Hell #HugoKant #InstrumentalMetal #IsraeliMetal #JethroTull #Jul25 #LowDemon #Mastodon #MelodicBlackMetal #Monstrosity #Mortual #Muse #Nasum #NerveAltar #NuMetal #NuclearWinterRecords #OldNick #Planetoktonos #PopMetal #PrimitiveMan #ProgressiveMetal #RawBlackMetal #Review #Reviews #RippleMusic #ScarredForLife #SeaOfShit #SelfRelease #SelfmadegodRecords #Sheev #SickTired #Sludge #SludgeMetal #Stomach #StonerDoom #StonerMetal #Storchi #StuckInTheFilter #StuckInTheFilter2025 #SunnO_ #SystemOfADown #TheMindSEternalStorm #Tool #TuathaDeDanann #VertentesDeLáECá #WeekendNachos #WitchyForestDanceContest #Witchyre #Yes

Popular this week:

#music #newage #kosmiche #eastern #dungeonsynth #deathgrind #rocksteady #dubwise #tape #rockers #roots #groove #ska #postpunk #reggae #grindcore #soul #world #krautrock #dub

https://getmusic.fm/l/t5sldZ

I mentioned grabbing the Goatblood CD today for #BandcampFriday, but here's one final post with links to the rest of my purchases today - as usual, the genres are a wild mix. Some singles, some EPs, some new releases, some from a couple years back, and genres ranging from electronica to rap to grind to punk/post-punk. And mind you, I don't buy ANYTHING (or recommend anything here) lightly. I make sure I love it, and I will actually listen to it.

Here's they are alphabetically, if you wanna check em out.

Dreambutter - Mothstalgy
https://heavenhound.bandcamp.com/album/mothstalgy

Lord Ra - Good View
https://lordramusic.bandcamp.com/track/good-view

Lord Ra - Hips
https://lordramusic.bandcamp.com/track/hips

Lord Ra - Razor Bumps
https://lordramusic.bandcamp.com/track/razor-bumps

Morbier Danger - Faux Mage d'Italie
https://morbierdanger.bandcamp.com/album/faux-mage-ditalie

Oral Habit - Sauerkraut
https://oralhabit.bandcamp.com/track/sauerkraut-2

Proudhon - K.U.N.S.T
https://proudhonbc.bandcamp.com/album/k-u-n-s-t

#metal #grind #grindcore #deathgrind #rap #hiphop #LordRa #Proudhon #OralHabit #MorbierDanger #FrenchBands #UKBands #SwissBands #PhoenixRap #ArizonaRap #electronica #punk #PostPunk #Bandcamp #indie #IndieArtists #IndieMusic

For #ThursDeath:
@fitforanautopsy: Hostage

https://song.link/tzrmbrzmvwvwq

#BrutalDeathcore #DeathGrind

FFO #Archspire #ThyArtIsMurder #Whitechapel

Japanische Kampfhörspiele - Verbrennt Euer Geld (live)
#GrindPunk #Deathgrind #Geböller #Krach #JaKa 😜😎

https://youtu.be/DS-hO-jB4ow?si=Fj8pNIqLffO9B69Z