#gridlink — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #gridlink, aggregated by home.social.
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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
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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
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By Grin Reaper
Defigurement’s debut album Endbryo is classified as experimental deathgrind, and though that’s accurate, it doesn’t fully capture what’s on tap. Endbryo is an album in constant flux, never content to lock into one vibe for too long. While experimental, Defigurement still adheres to grindcore’s brutal core tenets: short songs and unfettered aggression. Their sound isn’t limited to just these things, though, as Defigurement adopts crackerjack technicality that contrasts with the blunt drubbing associated with much of the subgenre. Varied paces and some unconventional instrumentation further heighten Endbryo’s unorthodox approach. Dissonant bleats, melodic leads, blast beats, and key-heavy interludes create an engaging atmosphere. Yet it takes more than a wide-ranging assortment of sounds and ideas to fashion an album.
With so many ingredients to unite, you may wonder what Defigurement actually sounds like. Gridlink’s Coronet Juniper, Full of Hell’s Coagulated Bliss, and Beaten to Death’s Sunrise over Rigor Mortis provide apt reference points. These albums imbue deceptively melodic hooks into grindcore’s caustic backdrop, a convention perpetuated on Endbryo. Gridlink’s own Takafumi Matsubara even appears on “Wounded Landscape,” imparting gorgeously malicious riffs. In addition to grindcore influences, Defigurement pays homage to System of a Down via the “Suite Pee”-tinged intro of “Shogun of Sorrow” and the Slayer “Rain in Blood” gallop heard in “Wounded Landscape.” Rather than aping these acts, though, Defigurement forges a stank all their own. Chaos is the name of the game, but not all of it is funneled through uniform, full-tilt abuse. Endbryo’s half-hour pumps blood and rhythm through sixteen tracks, featuring constant shifts in tempos and moods that make the music feel alive and unpredictable. The album is jam-packed with so many morsels that even after dozens of listens, I’m still discovering new details.
Conceiving such a diverse and layered soundscape requires heaps of vitality and musicianship, and Defigurement steps up to answer the challenge. From Mike Heller’s (Changeling, Azure Emote, ex-Fear Factory) atom-blasting drums to Kevin Fetus’s snaking leads and D.M.T.’s gritty bass, Endbryo brims with relentless vigor. Heller’s drum performance in particular elevates Defigurement’s character. Juggling blast beats, disco hi-hat frills (“Open Veins, Visceral Tapestry”), and jazzy phrasing (“We Are the Worst”) shouldn’t be this seamless, yet Heller’s nimble work provides the engine for the album’s mélange of styles. Rounding out the rhythm section, D.M.T.’s meaty bass grumbles and grooves in support, and a couple of intros even throw the spotlight on his throaty purr (“Wounded Landscape,” “Godtopsy”). Guitars attack from every direction, utilizing trem-picked blitzes (“Burnt by the Truth”), plaintive wails (“We Are the Worst”), and glossy shredding (“Godtopsy”). Matthias Joyce’s vocals are capable and versatile, sitting far enough back in the mix that they mesh smoothly with the music rather than overpowering it. Besides Matsubara, several other guests pop in, including Brian Hopp (Cephalic Carnage) and Leon Del Muerte (Impaled, ex-Nails). Endbryo boasts a potpourri of talent, and this bouquet reeks of grind beef.
Endbryo sounds great, even though some moments don’t effortlessly converge. Subgenres like grindcore don’t need much auditory contrast to be effective, but Endbryo boasts a DR7 anyway, benefiting the complex structure of its tracks. The finely-tuned mix allows listeners to appreciate the nuances of the performances within, notably the drumming; a lesser production could have obfuscated Heller’s unhinged sticksmanship. My only complaint is that with such a dense album, Defigurement doesn’t quite achieve the cohesion needed to stitch all of Endbryo’s fragments together. Piano-only interlude “Eternal Dusk” is a beautiful instrumental featured about halfway through. It allows you to take a breath before re-entering the maelstrom, but foreshadowing the melody earlier or including piano elsewhere would have strengthened its inclusion. Similarly, “Left in a Cold Rain” contains slowly swirling synths played under a distorted voice-over. Once again, this skillfully navigates the album’s pacing, but without more tethers to other tracks, it feels isolated from its surroundings. Despite these small shortcomings, Endbryo scores a resounding success.
Defigurement pulls no punches on Endbryo, hewing a slab of great experimental deathgrind. Their ferocity is bruising and their vision unyielding, and it’s rare I encounter music that demands so many repeated spins. This platter is captivating, and each time I think I have Endbryo figured out, the next listen corrects that notion. So many ideas loaded into thirty minutes might seem daunting, but Defigurement expertly balances intrigue and digestibility. Assuming Endbryo is only the beginning, I’ll wait on the edge of my seat to hear how the band’s sound develops.
Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Nefarious Industries
Websites: Bandcamp | Facebook
Releases Worldwide: October 17th, 2025#2025 #40 #BeatenToDeath #DeathGrind #DeathMetal #Deathgrind #Defigurement #Endbryo #ExperimentalDeathMetal #ExperimentalDeathgrind #FullOfHell #Gridlink #Grind #NefariousIndustries #Oct25 #Review #Reviews #Slayer #SystemOfADown #USMetal
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By Grin Reaper
Defigurement’s debut album Endbryo is classified as experimental deathgrind, and though that’s accurate, it doesn’t fully capture what’s on tap. Endbryo is an album in constant flux, never content to lock into one vibe for too long. While experimental, Defigurement still adheres to grindcore’s brutal core tenets: short songs and unfettered aggression. Their sound isn’t limited to just these things, though, as Defigurement adopts crackerjack technicality that contrasts with the blunt drubbing associated with much of the subgenre. Varied paces and some unconventional instrumentation further heighten Endbryo’s unorthodox approach. Dissonant bleats, melodic leads, blast beats, and key-heavy interludes create an engaging atmosphere. Yet it takes more than a wide-ranging assortment of sounds and ideas to fashion an album.
With so many ingredients to unite, you may wonder what Defigurement actually sounds like. Gridlink’s Coronet Juniper, Full of Hell’s Coagulated Bliss, and Beaten to Death’s Sunrise over Rigor Mortis provide apt reference points. These albums imbue deceptively melodic hooks into grindcore’s caustic backdrop, a convention perpetuated on Endbryo. Gridlink’s own Takafumi Matsubara even appears on “Wounded Landscape,” imparting gorgeously malicious riffs. In addition to grindcore influences, Defigurement pays homage to System of a Down via the “Suite Pee”-tinged intro of “Shogun of Sorrow” and the Slayer “Rain in Blood” gallop heard in “Wounded Landscape.” Rather than aping these acts, though, Defigurement forges a stank all their own. Chaos is the name of the game, but not all of it is funneled through uniform, full-tilt abuse. Endbryo’s half-hour pumps blood and rhythm through sixteen tracks, featuring constant shifts in tempos and moods that make the music feel alive and unpredictable. The album is jam-packed with so many morsels that even after dozens of listens, I’m still discovering new details.
Conceiving such a diverse and layered soundscape requires heaps of vitality and musicianship, and Defigurement steps up to answer the challenge. From Mike Heller’s (Changeling, Azure Emote, ex-Fear Factory) atom-blasting drums to Kevin Fetus’s snaking leads and D.M.T.’s gritty bass, Endbryo brims with relentless vigor. Heller’s drum performance in particular elevates Defigurement’s character. Juggling blast beats, disco hi-hat frills (“Open Veins, Visceral Tapestry”), and jazzy phrasing (“We Are the Worst”) shouldn’t be this seamless, yet Heller’s nimble work provides the engine for the album’s mélange of styles. Rounding out the rhythm section, D.M.T.’s meaty bass grumbles and grooves in support, and a couple of intros even throw the spotlight on his throaty purr (“Wounded Landscape,” “Godtopsy”). Guitars attack from every direction, utilizing trem-picked blitzes (“Burnt by the Truth”), plaintive wails (“We Are the Worst”), and glossy shredding (“Godtopsy”). Matthias Joyce’s vocals are capable and versatile, sitting far enough back in the mix that they mesh smoothly with the music rather than overpowering it. Besides Matsubara, several other guests pop in, including Brian Hopp (Cephalic Carnage) and Leon Del Muerte (Impaled, ex-Nails). Endbryo boasts a potpourri of talent, and this bouquet reeks of grind beef.
Endbryo sounds great, even though some moments don’t effortlessly converge. Subgenres like grindcore don’t need much auditory contrast to be effective, but Endbryo boasts a DR7 anyway, benefiting the complex structure of its tracks. The finely-tuned mix allows listeners to appreciate the nuances of the performances within, notably the drumming; a lesser production could have obfuscated Heller’s unhinged sticksmanship. My only complaint is that with such a dense album, Defigurement doesn’t quite achieve the cohesion needed to stitch all of Endbryo’s fragments together. Piano-only interlude “Eternal Dusk” is a beautiful instrumental featured about halfway through. It allows you to take a breath before re-entering the maelstrom, but foreshadowing the melody earlier or including piano elsewhere would have strengthened its inclusion. Similarly, “Left in a Cold Rain” contains slowly swirling synths played under a distorted voice-over. Once again, this skillfully navigates the album’s pacing, but without more tethers to other tracks, it feels isolated from its surroundings. Despite these small shortcomings, Endbryo scores a resounding success.
Defigurement pulls no punches on Endbryo, hewing a slab of great experimental deathgrind. Their ferocity is bruising and their vision unyielding, and it’s rare I encounter music that demands so many repeated spins. This platter is captivating, and each time I think I have Endbryo figured out, the next listen corrects that notion. So many ideas loaded into thirty minutes might seem daunting, but Defigurement expertly balances intrigue and digestibility. Assuming Endbryo is only the beginning, I’ll wait on the edge of my seat to hear how the band’s sound develops.
Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Nefarious Industries
Websites: Bandcamp | Facebook
Releases Worldwide: October 17th, 2025#2025 #40 #BeatenToDeath #DeathGrind #DeathMetal #Deathgrind #Defigurement #Endbryo #ExperimentalDeathMetal #ExperimentalDeathgrind #FullOfHell #Gridlink #Grind #NefariousIndustries #Oct25 #Review #Reviews #Slayer #SystemOfADown #USMetal
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GRIDLINK (Estats Units) presenta nou àlbum: "Perfect Amber" #Gridlink #TechnicalGrindcore #Agost2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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BravePicks 2023 - GRIDLINK Coronet Jupiter #14https://bravewords.com/news/bravepicks-2023-gridlink-coronet-jupiter-14
#BravePicks2023
#Gridlink
#CoronetJupiter
#1429GreenBeret
#HoneyCreeper -
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BravePicks 2023 - GRIDLINK Coronet Jupiter #14https://bravewords.com/news/bravepicks-2023-gridlink-coronet-jupiter-14
#BravePicks2023
#Gridlink
#CoronetJupiter
#1429GreenBeret
#HoneyCreeper -
Back home and settling in! Work music is soundtracks like #deadlypremonition and #sludgelife, play music is grindcore like old #brob and new #gridlink (kinda fake grind but whatever), woo!
To generate your own: https://listenbrainz.org/explore/art-creator/
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Back home and settling in! Work music is soundtracks like #deadlypremonition and #sludgelife, play music is grindcore like old #brob and new #gridlink (kinda fake grind but whatever), woo!
To generate your own: https://listenbrainz.org/explore/art-creator/
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#MetalInjection
GRIDLINK Returns With Grinding New Single "Coronet Jupiter"
Jon Chang is as furious as ever.https://metalinjection.net/new-music/gridlink-returns-with-grinding-new-single-coronet-jupiter
#Gridlink #NewMusic #CoronetJupiter #Grindcore #OllieHarvey #HumanPitch #VitriolRecords #YourEndAreMostGlorious #Longhena #JoshFriedman
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#TheMetalDogArticleList
#MetalInjection
GRIDLINK Returns With Grinding New Single "Coronet Jupiter"
Jon Chang is as furious as ever.https://metalinjection.net/new-music/gridlink-returns-with-grinding-new-single-coronet-jupiter
#Gridlink #NewMusic #CoronetJupiter #Grindcore #OllieHarvey #HumanPitch #VitriolRecords #YourEndAreMostGlorious #Longhena #JoshFriedman
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#MetalSucks
Gridlink Released Their New Single “Coronet Juniper,” Album Due Out This September
They're back with a new album coming September 15. The post Gridlink Released Their New Single “Coronet Juniper,” Album Due Out This September#Gridlink #NewSingle #CoronetJuniper #AlbumRelease #September2023 #MetalSucks #StayTuned
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#TheMetalDogArticleList
#MetalSucks
Gridlink Released Their New Single “Coronet Juniper,” Album Due Out This September
They're back with a new album coming September 15. The post Gridlink Released Their New Single “Coronet Juniper,” Album Due Out This September#Gridlink #NewSingle #CoronetJuniper #AlbumRelease #September2023 #MetalSucks #StayTuned