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#grind — Public Fediverse posts

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  1. RIPPING DEATHTERROR Vol. III

    Batiment 7, Friday, August 21 at 08:00 PM EDT

    Viridian Cult Productions presents:

    RIPPING DEATHTERROR Vol. III

    One night only of extreme ripping metal returns on Friday, August 21st, 2026, this time to Bâtiment 7!

    Headlining this year’s grotesquery is Quebec City goremongers Gorgerin!

    They will be joined with local support from progressive death-sludge conquerors Øbelisk and the otherworldly black metal soundscapes of Kathexis!

    Poster by @spooky.art_foraliving!

    Friday, August 21st, 2026
    @ Bâtiment 7
    1900 Rue Le Ber
    Doors @ 8:00 PM
    Show @ 9:00 PM
    $15 / PWYC

    Gorgerin:
    https://gorgerin-gurglinggore.bandcamp.com/album/gorgerin

    Øbelisk:
    https://obeliskmtl.bandcamp.com/album/call-to-oblivion

    montreal.askapunk.net/event/ri

  2. I need monster bone+ & large monster bones and LO & BEHOLD THE LAND SHARK GIVETH BOTH in the guild

    yea. nope. not happening. cephadrome sux. I'd rather grind kut ku & hermitaur for monster bone+ then find large monster bones elsewhere #MonsterHunter #MHFU #Grind

  3. Trying to dive in and understand the 19,000 line file of VB.net and I'm getting nothing at all because 1) it's 19000 lines of VB and 2) The plumber is here at the house and my brain can't let that go even for a second.

    #adhd #softwareDev #grind

  4. I have one for #GrindayFriday this week. This is one man deathgrind project NAILGUT from Kelowna, British Columbia, and their brief 4 song EP 'Distorted Perceptions of Reality' from 2024. It's nasty, grody, grindy, sludgy stuff with chainsaw guitars and bashing drums. I love it.

    nailgut.bandcamp.com/album/dis

    #grind #grindcore #deathgrind #metal #Canada #CanadianMetal @vanessawynn @HailsandAles @wendigo @rtw @guffo

  5. Wir haben die Restbestände von Ya Basta Records übernommen und spielen die ganzen Platten jetzt nach und nach in den Onlineshop ein. Es gibt also jetzt jede Menge neue Platten aus den Bereichen #crust #grind #hardcore #punk und artverwandtes bei uns, vieles von Anfang der 2000er, was sonst schon lange ausverkauft ist.
    Hier gehts zu unserem Online-Shop:
    scumculture.de/shop

  6. Kalasche & Moral Rot

    Innocent, Friday, July 3 at 07:00 PM GMT+2

    Kalasche - new flavour of Ruhrcrust

    Moral Rot - powerviolence/grind from Lingen

    calendar.askapunk.nl/event/jul

  7. Do you have a #Behringer #Grind synthesizer and can't / don't want to use their #SynthTribe app or want to change the settings of the synth using a mobile device?

    Then you may want to try my new #FLOSS web app "Grind Control":

    codeberg.org/SpotlightKid/grin

    Runs in any browser that supports #WebMIDI / #SysEx

    Also, if you have any other Behringer synth and want a similar app for it and you can help with testing, open an issue over at the codeberg project page and we'll take it from there.

  8. Apostle – A Splinter in the Infinite Noumenon Review By Spicie Forrest

    Some things are acquired tastes—coffee, vegetables, Mrs. Forrest,1 to name a few. While some of us instantly and innately connect with metal, its loud and aggressive nature can make it tough for the initiate to effortlessly enjoy. Even for lifelong fans like myself, some bands still push the envelope. One such band is Apostle, a three-piece from Atlanta, Georgia, founded in 2017. They’ve always been a nasty, noisy group—if 2019 debut Sufferer is any indication—but 2021 saw the band undergo a significant lineup change. Evan Price continued to man the kit, but their founding vocalist departed, Murice White assumed vocal and guitar duties, and Michael Thomas moved over to bass. This shift spurred Apostle in an even more abrasive and emotive direction.

    A Splinter in the Infinite Noumenon continues to explore what was first introduced on 2023 EP Liminal. Apostle maintains, from their early days, a harsh mix of grind and hardcore with occasional post-blackened flourishes, but 2026 sees them venture further into blackened territory, as well as explore ambient and post-rock elements. Opening salvo “Exiting the God Hologram” acts as a microcosm of all Apostle has to offer. A sample of a train gives way to full and vibrant percussion before atonal guitars grace your ears like a lead pipe graces a jaw. White’s deranged shrieks have a tenuous relationship with tempo, but always manage to link up with his bandmates on the downbeat. It’s a harrowing, unfettered style well-suited to Apostle’s sound. This cacophony eventually coalesces into an aching post-black fury in the last third, where Thomas’s throatier shouts augment the sound. “Exiting…” ends by unceremoniously silencing a gritty guitar solo flitting on broken wings—fitting for the rage and intentional inaccessibility on display here.

    Those willing to brave Apostle’s chaos will find gorgeous flourishes through A Splinter in the Infinite Noumenon. Bright, descending, posty licks weave through “Illusion of Loss,” mirroring murky ascending counterparts. Violent plucking in “Swine” evokes Gorrch’s pitch-black dissonance, and its spiraling crescendo feels like something out of Imperial Triumphant’s playbook. True to its name, “Oscillating Polarities” swings wildly between discordant, hammering heaps and aching, blackened melodies. That ache is particularly exceptional on album closer “At Ease,” which opens with the same soulful lick that closes “Exiting the God Hologram.” With all this said, it did take several spins for me to start parsing out the subtleties and delicate decorations beneath Apostle’s torrent of aural catharsis. If I were casually spinning Splinter, rather than formally reviewing it, I’m not sure I would have stuck around long enough to find them.

    Apostle’s claustrophobic, maximalist style is admittedly rad, but I do occasionally wish that the knobs weren’t all always snapped off at 11. Some of the moments above could have shone brighter, had the mix breathed a little easier and the spotlight been shared rather than functionally fought over. Even at an incredibly short 27 minutes, the sheer harshness and atonality of Splinter—especially on the front half—can be a lot to handle. There are some breaks, like the E.E. Cummings sample that opens “Distortions of Light” and the shoegazing that closes it, as well as the last few noir-shaded minutes of the album. I’m enough of a literature nerd to appreciate the poet’s cameo, even 70 seconds of it, but others may find it disruptive or unnecessary. Similarly, Thomas’s delightful bass riff anchors some beautifully moving swells in “At Ease,” but the same five notes for three minutes can get repetitive.

    While preparing for this review, I listened to Apostle’s back catalog, and I can definitively say A Splinter in the Infinite Noumenon is a step above their earlier material. This new direction, while certainly harsher and more abrasive, has been a risk well taken. White’s unrestrained screams, as well as the band’s commitment to post-black trappings and interpretation of softer styles, tap into a wellspring of raw passion. It’s not the easiest to engage with, but Apostle has a clear and exciting vision that rewards commitment and repeat visits. Could druthers be had, I’d like to see their indiscriminate cacophony tempered and honed, but whatever they do next, I’ll be listening.

    Rating: 3.0/5.0
    DR: 6 | Format Reviewed: 256 kbps mp3
    Label: Terminus Hate City
    Websites: Bandcamp | Facebook | Instagram
    Releases Worldwide: June 6th, 2026

    #2026 #30 #ASplinterInTheInfiniteNoumenon #Apostle #BlackMetal #Gorrch #Grind #Hardcore #ImperialTriumphant #Jun26 #PostRock #Review #Reviews #Shoegaze #TerminusHateCity