#powerviolence — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #powerviolence, aggregated by home.social.
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Sublet, Trepanation Wound, Recess, Human Body, Adrenochrome
Kilbourn Reservoir Park, Saturday, September 26 at 06:00 PM CDT
$5
https://mkeshows.com/event/sublet-trepanation-wound-recess-human-body-adrenochrome
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HALF CROSS/CORRUPT WORLD/D.O.D./DISKRITIK/MERCIFIX
Cousin Dannys, Saturday, October 10 at 08:00 AM EDT
$10
Not wheelchair accessible
https://philly.askapunk.net/event/half-crosscorrupt-worlddoddiskritikmercifix
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HALF CROSS/CORRUPT WORLD/D.O.D./DISKRITIK/MERCIFIX
Cousin Dannys, Saturday, October 10 at 08:00 AM EDT
$10
Not wheelchair accessible
https://philly.askapunk.net/event/half-crosscorrupt-worlddoddiskritikmercifix
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Pathetic Day Night 1: Shroud (Meanjin), with Persecutor, Fracture & Zeitgeist
Spit Footscary, Friday, September 18 at 08:00 PM GMT+10
The first installment of Pathetic Day takes over Naarm for a weekend filled with hardcore, anarcho, grind and noise.
Night one kicks off with a headline set from Meanjin's blackened hardcore loyalists Shroud. The four-piece bring their uniquely gloom-laden brand of punk to the paint covered walls of Footscray's finest.
The night also features sets from colony-tormenting powerviolence heavy-hitters Persecutor, noise-punk maniacs Fracture, and Geelong's saviours of crust Zeitgeist.
Doors 8:30pm, R100+.
Tickets available from the link in bio. DM bands from venue address on the day.Shroud: https://shroudhc.bandcamp.com/album/shroud
Persecutor: https://persecutorpunx.bandcamp.com/album/lateral-violence
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Nuclear Dudes – Truth Paste Review
By Thus Spoke
Nuclear Dudes is one step closer to living up to their moniker as they are now officially more than one person.1 Joined by Brandon Nakamura (Doomsday 1999, ex-Teen Cthulu) on vocals, Sandrider’s Jon Weisnewski bounces back from the synthwave moment of Compression Crimes 1 to resume the usual trajectory of insanity. 2023’s Boss Blades—my personal introduction to this madness—was a disarmingly likeable collection of silly and serious sounds heavy and light. It was also surprisingly good. Though I’d partly forgotten this due to its brevity and my sieve-like brain, the band has such character, in name, in vibe, and artwork theme—that a commenter very sensibly pointed out is likely courtesy of Weisnewski’s small child and not his brother as I hilariously assumed—that I was instantly back in the room with Nuclear Dudes, ready for the next trip.
With a permanent2 vocalist alongside Weisnewski’s own contributions, Truth Paste is closer to powerviolence or grind than previous outings. But a vague resemblance to these genres is as close as it gets. The record is a breezy 23 minutes across 11 tracks (check one: very short runtimes), and there are more passages of outright beatdown, screaming, chaotic metallic insanity (check 2: silly heavy and intense). But it’s what’s going on within that runtime, and both during and between those especially heavy moments that matters. Nuclear Dudes don’t waste a second. Opening on a bizarre tribute to Guns ‘n Roses’ “Welcome to the Jungle”—which includes using that song’s literal intro as their own—the duo switch in a flash to an electro-grind(core), erratically accented by an array of eclectic sound effects, which is a recurrent style on the album. Approximately four and a half minutes in, it becomes clear that the preceding two tracks (“Napalm Life,” “Holiday Warfare”) functioned as a violent induction to themes that are to follow, as the title track ramps up to a pure hardcore breakdown to a woman crying “ohhhh myy gawwd it’s—”, and the ensuing chuggery forms the first ‘breather’ for the listener. That concludes the most normal segment on the record.
Truth Paste is weird, but it’s not incoherent. Despite the apparently revolving door of blooping, whirring keys and sound effects, and tempo changes that would give an F1 driver whiplash (“Napalm Life,” “Dirty 20,” “Death at Burning Man”), the whole thing flows remarkably well. Pretty much all songs transition seamlessly from the previous with overlapping samples, humming melodies, basslines, or keyboard something-or-other. Nuclear Dudes hit their peak at moments when the electronica-mixed-with-guitar transforms into synthwave by way of grind, making for ridiculously fun grooves (“Concussion Protocol,” “Space Juice,” “Pelvis Presley”) if not some very entertaining melodic excursions. Or perhaps the best parts are during those rapid-fire switches, where goofy meets brutal and jaw-smashing breakdowns are followed or preceded by floaty ethereality (“Truth Paste,” “Juggalos for Congress”).
As a novelty band that takes not taking itself seriously quite seriously, Nuclear Dudes are doing everything right. Track titles are dumb, the movie samples cheesy, and the harsh vox mix is a wry recollection of a bygone bedroom death/grind era. Nuclear Dudes own every last second of it, from the roboticised vocals (“Napalm Life,” “Concussion Protocol,” “Cyrus the Virus”) to the videogame battle sequence vibes of the keyboard gymnastics (“Dirty 20,” “Space Juice”). It’s almost annoying how un-annoying it is. And since you effectively experience it as one extended track, given those instant transitions, it becomes very easy to just vibe with it and not worry about which song you’re actually hearing at any moment, or whether what you just heard was genius or just silly. But in having superior flow to its predecessors, Truth Paste also possesses fewer true standout moments. There are no lows, it’s true, but there are also no epic peaks—no “Many Knifes,” for instance. Then again, this record is committing more strongly to the meth-head electro-grind genre than Boss Blades, and in that respect, kind of smashes it.
If you want to have a very entertaining 23 minutes and six seconds, Truth Paste should be your go-to. Nuclear Dudes has taken recruiting a vocalist, and evolving into their full hybrid mad-subgenre form in their stride, as they continue to half-sprint, half-dance ahead. This record is so tight, fun, and irritatingly self-aware that personal taste is practically irrelevant. I’m no longer going to express surprise that anything Nuclear Dudes creates will be fucking great.
Rating: Great
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Website: Bandcamp
Releases Worldwide: September 5th, 2025#2025 #40 #DeathMetal #EDM #ElectronicMetal #ExperimentalMetal #Grind #Grindcore #NuclearDudes #Powerviolence #Review #Reviews #Sandrider #SelfReleases #Sep25 #Synthwave #TeenCthulhu #TruthPaste #USMetal
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By Dear Hollow
If you don’t know ACxDC, then what are you doing with your life? Like listening to actually good metal? Too bad for your sorry ass. The LA natives are back in black for their own highway to hell, and it’s too good to be true. For the woefully uninformed and uncultured, don’t even think alternate or direct current and Brian Johnson, you swine. It’s Antichrist Demoncore, and the peanut butter cup moniker of divine apathy is so sweet and gummy. ACxDC’s EP The Second Coming was introduced when I first got to college, and if I’d had my way, debut full-length Antichrist Demoncore would have been blaring when I graduated. Well, maybe not, because they’re really fuckin’ obnoxious.
Now, I know I’m supposed to be the knower of all things and genres, but ACxDC was my first powerviolence experience, and only later did I delve into the grind-adjacent beatdowns of Weekend Nachos, Nails, or Mammoth Grinder.1 Only when the inimitable Dolphin Whisperer crooned sweetly, explaining that powerviolence is actually grindcore’s degenerate and inbred little cousin did I understand that powerviolence is actually fundamentally better. Just as its two full-lengths, bevy of splits and EPs since 2003 suggest, ACxDC is about as meatheaded and tempo-abusing as they come, with hints of thrash, groove, and crust, with a forked tongue implanted heavily in cheek. It’s fun. It’s obnoxious.
Oh look, you’re still here. ACxDC tears you a new one across twenty-four minutes and seventeen tracks of insanity hastily garbed in Satanic gym clothes for the second coming of the hot new PE teacher.2 The riffs get hot and heavy fast, with tracks like “Boxed In,” “Greatest of All Time,” “Definition of Insanity,” and “Thot Police” dragging their crusty balls across unassuming listeners’ ears, while the relentless blastbeats and grindy sanders of “Wanna See a Dead Body?,” “Flying Pigs,” and “Vested Interest” are sure to warrant some facial reconstructions. Vocals are all over the place, shrieks and growls taking the piss, as tracks like “Fairweather,” “Clout Chaser,” and “Goatcore” take a bite straight outta that death metal buttcheek. The abilities of the guitars to shift from crusty hardcore a la Amebix to the thick slogs of Entombed A.D., and the manic attack of the drums and its formidable tone? Boy howdy.
Now, the chugs are a different story. And by a different story, I mean we go from Eclipse to Breaking Dawn, okay? I guess the chugs and stank make powerviolence not grindcore but I ain’t a gatekeeper – hell, I don’t even know anyone who keeps gates (what is that, for pets?). If you’re like, “oh Dear Hollow talks about the shit he doesn’t like in this section,” think again, bitch. The chugs of ACxDC are trying to be your friend, with tracks like “Karoshi,” “At Midnight” and “Cloud Chaser” clawing their way into your pants once and for all. Cuts like “Fairweather,” “Thot Police,” and “Expired” are necessary listening if you like music, but otherwise the rest of G.O.A.T. is the most obnoxious din ever, guaranteed to get your parents calling the pastor while clutching pearls and a copy of the ESV New Testament. Because that’s how ACxDC do.
I have a method (for once) for grading ACxDC. I take how many stank faces have I made through the course of this album, then take that number and divide it by, like, twelve or maybe eight. Whatever. Then I add a solid sixty-nine, then take the integral of that shit.3 My point is that I made a lotta stank faces with G.O.A.T. and I perturbed a lot of student work by blasting this in class. It’s ACxDC for the true G.O.A.T., IYKYK.
Rating: 3.0/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Prosthetic Records
Websites: acxdc.bandcamp.com | facebook.com/ACxDC
Releases Worldwide: April 26th, 2024#2024 #30 #ACxDC #AmericanMetal #Apr24 #CrustPunk #DeathMetal #GOAT_ #Grindcore #MammothGrinder #Nails #Powerviolence #ProstheticRecords #Review #Reviews #WeekendNachos
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By Dear Hollow
If you don’t know ACxDC, then what are you doing with your life? Like listening to actually good metal? Too bad for your sorry ass. The LA natives are back in black for their own highway to hell, and it’s too good to be true. For the woefully uninformed and uncultured, don’t even think alternate or direct current and Brian Johnson, you swine. It’s Antichrist Demoncore, and the peanut butter cup moniker of divine apathy is so sweet and gummy. ACxDC’s EP The Second Coming was introduced when I first got to college, and if I’d had my way, debut full-length Antichrist Demoncore would have been blaring when I graduated. Well, maybe not, because they’re really fuckin’ obnoxious.
Now, I know I’m supposed to be the knower of all things and genres, but ACxDC was my first powerviolence experience, and only later did I delve into the grind-adjacent beatdowns of Weekend Nachos, Nails, or Mammoth Grinder.1 Only when the inimitable Dolphin Whisperer crooned sweetly, explaining that powerviolence is actually grindcore’s degenerate and inbred little cousin did I understand that powerviolence is actually fundamentally better. Just as its two full-lengths, bevy of splits and EPs since 2003 suggest, ACxDC is about as meatheaded and tempo-abusing as they come, with hints of thrash, groove, and crust, with a forked tongue implanted heavily in cheek. It’s fun. It’s obnoxious.
Oh look, you’re still here. ACxDC tears you a new one across twenty-four minutes and seventeen tracks of insanity hastily garbed in Satanic gym clothes for the second coming of the hot new PE teacher.2 The riffs get hot and heavy fast, with tracks like “Boxed In,” “Greatest of All Time,” “Definition of Insanity,” and “Thot Police” dragging their crusty balls across unassuming listeners’ ears, while the relentless blastbeats and grindy sanders of “Wanna See a Dead Body?,” “Flying Pigs,” and “Vested Interest” are sure to warrant some facial reconstructions. Vocals are all over the place, shrieks and growls taking the piss, as tracks like “Fairweather,” “Clout Chaser,” and “Goatcore” take a bite straight outta that death metal buttcheek. The abilities of the guitars to shift from crusty hardcore a la Amebix to the thick slogs of Entombed A.D., and the manic attack of the drums and its formidable tone? Boy howdy.
Now, the chugs are a different story. And by a different story, I mean we go from Eclipse to Breaking Dawn, okay? I guess the chugs and stank make powerviolence not grindcore but I ain’t a gatekeeper – hell, I don’t even know anyone who keeps gates (what is that, for pets?). If you’re like, “oh Dear Hollow talks about the shit he doesn’t like in this section,” think again, bitch. The chugs of ACxDC are trying to be your friend, with tracks like “Karoshi,” “At Midnight” and “Cloud Chaser” clawing their way into your pants once and for all. Cuts like “Fairweather,” “Thot Police,” and “Expired” are necessary listening if you like music, but otherwise the rest of G.O.A.T. is the most obnoxious din ever, guaranteed to get your parents calling the pastor while clutching pearls and a copy of the ESV New Testament. Because that’s how ACxDC do.
I have a method (for once) for grading ACxDC. I take how many stank faces have I made through the course of this album, then take that number and divide it by, like, twelve or maybe eight. Whatever. Then I add a solid sixty-nine, then take the integral of that shit.3 My point is that I made a lotta stank faces with G.O.A.T. and I perturbed a lot of student work by blasting this in class. It’s ACxDC for the true G.O.A.T., IYKYK.
Rating: 3.0/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Prosthetic Records
Websites: acxdc.bandcamp.com | facebook.com/ACxDC
Releases Worldwide: April 26th, 2024#2024 #30 #ACxDC #AmericanMetal #Apr24 #CrustPunk #DeathMetal #GOAT_ #Grindcore #MammothGrinder #Nails #Powerviolence #ProstheticRecords #Review #Reviews #WeekendNachos
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By Dear Hollow
If you don’t know ACxDC, then what are you doing with your life? Like listening to actually good metal? Too bad for your sorry ass. The LA natives are back in black for their own highway to hell, and it’s too good to be true. For the woefully uninformed and uncultured, don’t even think alternate or direct current and Brian Johnson, you swine. It’s Antichrist Demoncore, and the peanut butter cup moniker of divine apathy is so sweet and gummy. ACxDC’s EP The Second Coming was introduced when I first got to college, and if I’d had my way, debut full-length Antichrist Demoncore would have been blaring when I graduated. Well, maybe not, because they’re really fuckin’ obnoxious.
Now, I know I’m supposed to be the knower of all things and genres, but ACxDC was my first powerviolence experience, and only later did I delve into the grind-adjacent beatdowns of Weekend Nachos, Nails, or Mammoth Grinder.1 Only when the inimitable Dolphin Whisperer crooned sweetly, explaining that powerviolence is actually grindcore’s degenerate and inbred little cousin did I understand that powerviolence is actually fundamentally better. Just as its two full-lengths, bevy of splits and EPs since 2003 suggest, ACxDC is about as meatheaded and tempo-abusing as they come, with hints of thrash, groove, and crust, with a forked tongue implanted heavily in cheek. It’s fun. It’s obnoxious.
Oh look, you’re still here. ACxDC tears you a new one across twenty-four minutes and seventeen tracks of insanity hastily garbed in Satanic gym clothes for the second coming of the hot new PE teacher.2 The riffs get hot and heavy fast, with tracks like “Boxed In,” “Greatest of All Time,” “Definition of Insanity,” and “Thot Police” dragging their crusty balls across unassuming listeners’ ears, while the relentless blastbeats and grindy sanders of “Wanna See a Dead Body?,” “Flying Pigs,” and “Vested Interest” are sure to warrant some facial reconstructions. Vocals are all over the place, shrieks and growls taking the piss, as tracks like “Fairweather,” “Clout Chaser,” and “Goatcore” take a bite straight outta that death metal buttcheek. The abilities of the guitars to shift from crusty hardcore a la Amebix to the thick slogs of Entombed A.D., and the manic attack of the drums and its formidable tone? Boy howdy.
Now, the chugs are a different story. And by a different story, I mean we go from Eclipse to Breaking Dawn, okay? I guess the chugs and stank make powerviolence not grindcore but I ain’t a gatekeeper – hell, I don’t even know anyone who keeps gates (what is that, for pets?). If you’re like, “oh Dear Hollow talks about the shit he doesn’t like in this section,” think again, bitch. The chugs of ACxDC are trying to be your friend, with tracks like “Karoshi,” “At Midnight” and “Cloud Chaser” clawing their way into your pants once and for all. Cuts like “Fairweather,” “Thot Police,” and “Expired” are necessary listening if you like music, but otherwise the rest of G.O.A.T. is the most obnoxious din ever, guaranteed to get your parents calling the pastor while clutching pearls and a copy of the ESV New Testament. Because that’s how ACxDC do.
I have a method (for once) for grading ACxDC. I take how many stank faces have I made through the course of this album, then take that number and divide it by, like, twelve or maybe eight. Whatever. Then I add a solid sixty-nine, then take the integral of that shit.3 My point is that I made a lotta stank faces with G.O.A.T. and I perturbed a lot of student work by blasting this in class. It’s ACxDC for the true G.O.A.T., IYKYK.
Rating: 3.0/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Prosthetic Records
Websites: acxdc.bandcamp.com | facebook.com/ACxDC
Releases Worldwide: April 26th, 2024#2024 #30 #ACxDC #AmericanMetal #Apr24 #CrustPunk #DeathMetal #GOAT_ #Grindcore #MammothGrinder #Nails #Powerviolence #ProstheticRecords #Review #Reviews #WeekendNachos