#napalmdeath — Public Fediverse posts

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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

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

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

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#MetalInjection
Here's A Jazz Cover Of NAPALM DEATH's "You Suffer"
YOU SUFFER!

https://metalinjection.net/video/heres-a-jazz-cover-of-napalm-deaths-you-suffer

#NapalmDeath #YouSuffer #JazzMetal #MetalMusic #Fusion #Cover #HeavyMetal

#ac1 #aachen1 #musikbunkeraachen #live1 #napalmdeath NAPALM DEATH https://events.aachen.social/events/2b7d4fc6-c027-4d1b-86b4-ef8a6ac15c0e

Some great discussions about #Grindcore last week (hi @evie! 💜​) brought this video back to my mind, & I thought I would share it. #NapalmDeath #YouSuffer

And for those of you who are saying "metal isn't my thing", if you give it a look it will be over before you know it. And I mean that literally. This song holds the record for shortest song ever recorded, clocking in at a whopping 1.3 seconds. They squeeze 4 words of lyrics into it, & released this video in 2007 for the 20th anniversary rerelease of the album (Yes, they released a video for a 1 second song. Who says #Metal isn't fun?)

https://www.youtube.com/watch?v=9Z1IGjr2cT0