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Grind `em All (Part I)

Teo Marcelo is art geek from Ukraine. He is a passionate rock- and movie-lover since childhood and has a profound knowledge in this topics.

XIII. Repulsion

Let's start with a classic example of American grindcore. This collective was not the first in the genre, and by no means an innovator. However, its advantage was that it was, in fact, the first truly notable American grindcore gang, while the classics of the genre were actively raging in Foggy Albion. The group released some demos and individual songs on all sorts of compilations of different artists. The central album in their work is Horrified, released in 1989. On the positive side of the album, I can note the moderately legible vocals, the absence of musical fillers and the dirty atmosphere of low-budget horror films, which is only emphasized by the nauseous graphic cover of the rotting head. The vocalist's intonations contain echoes of early Venom and Celtic Frost. In theory, Horrified is a good choice for getting to know what a pure, classic, so to speak, American grindcore is.

vocals and bassguitardrums

Scott Carlson

Matt Olivo, Aaron Freeman

Dave 'Grave' Hollingshead

Black Breath

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XII. Nails

I promised Powerviolence in the introduction, and here it is. Actually, this team was the first to mislead me. The general style of design and the image of the group, on the one hand, hinted at some kind of depressive-suicidal black metal with an abundance of exclusively black and white colors in the album design and upset discordant guitars. On the other hand, looking at the release year and the freshness of the main releases of this team, one got the impression that Nails is another Californian hipster modern metal, posing as harsh and frightening music "not for everyone". The second version was poured into the fire of the second version by merchandise with the symbols of the group from one now popular music blogger / critic with a bald head and a nasty manner of pronouncing the opening words in every tattered video. But all my prejudices associated with the new group Nails, fortunately, did not come true, and at the output we have an interesting gang with a recognizable style, a misanthropic atmosphere, albeit somewhat remotely reminiscent of the more hardcore Hatebreed, but nevertheless remains true to the grind roots Powerviolence. In the music of Nails, the impression is that all the hate and pain of the world has accumulated. A wall of sound and uncompromising aggression. A complete denial of the human principle, that's how I would characterize them. From the albums I can recommend, the first "Unsilent Death" (2010), by the way, it was reissued last year, and the last, more polished "You Will Never Be One Of Us" (2016), which was produced by the guitarist of another cult band Converge Kurt Ballow. The formation is ideal for those who want something more modern.

guitars, vocalsbassdrums

Todd Jones

John Gianelli

Taylor Young

Unsilent Death

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XI. Anal Cunt

But if you want something truly nasty, trashy and vulgar, then the guys from the formation with the absurd name of Anal Cunt will provide you with this in abundance. As for me, this is the least listenable band from the whole grind. That is, for real inveterate grindophages. It is not for nothing that in some publications the anal style is designated as Noisegrind or Noisecore. Want one anecdote: “Once upon a time, one farmer says to another farmer, his friend: “I taught the donkey to sing, do you want to see?”. He replies: "Yes, of course, show me". The men come up from behind to the animal, the first one takes a brick and hits donkey in the balls. And the donkey goes into such a heart-rending falsetto cry that all the men in the neighborhood have pinched between their legs. After the opera performance, the farmer says: "I told you I would teach him!" So, the vocals of Seth Putnam from Anal Cunt are akin to the cry of that unfortunate donkey from an anecdote. Moreover, the lyrics of the group's songs are about the same low quality as the anecdote itself. They are full of homophobia, racism, unfunny jokes, insults and black humor. Putnam, according to his acquaintances, was, in principle, a rather specific personality, akin to the legendary G.G. Allin, to whom he himself has repeatedly scattered in gratitude and tributes, or rather that nasty dumb classmate-badass from high school, with his greasy jokes going far beyond the limits. The lyrics of Anal Cunt are 100% post-irony and banter on everything that moves and does not move. While Phil Anselmo of Pantera liked Seth, in all fairness, he even invited him to sing backing vocals at “Great Southern Trendkill”. Looks like brothers in mind. From a musical point of view, Anal Cunt is a complete primitive and atavism from the times of the same Allin. Riffs are straight as a stick, flat as a board. No fancy or gimmicks. However, the sound of the guitars definitely has a sludge flavor. Most likely, Anal Cunt is attributed to girndcore solely to the atmosphere and scandalous provocativeness. Of the more digestible recordings, “40 More Reasons To Hate Us” (1996) and “It Just Gets Worse” (1999). Many people like to gloat over the death of Putnam, but as for me it is not worth assimilating the deceased.

vocalsguitardrums

Seth Putnam

Paul Kraynak, John Kozik

Tim Morse

I'm Sick Of You

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X. Old Lady Drives

Let's reduce the tension of the tin a little with an unobtrusive, but nevertheless black humor. As for me, OLD is the friendliest to listeners unfamiliar with Grind. For the reason that the group does not try very hard to delve into the problems of politics, inequality and anti-corporate agitation, and mainly their lyrics are parodic and humorous, which can be seen even in the title. If I had to find an analogy for OLD from more popular metal bands, it would be Faith No More or Mr. Bungle, the same Patton. Experimental, circus material with melodic performances atypical for Grind in the style of Sting`s The Police and a mockingly childish mood, where even the vocals do not sound as aggressive and uterine as other bands, reminiscent of children's counting rhymes. However, the hard guitar riffs and obnoxious blastbeats are in place. And, of course, this all applies only to the first album of the same name in 1988. After that, the band took a course of mixing Grind and Industrial, bringing out some kind of humorous alternative to Godflesh. In general, this is always the case with me, if you want to get into some style or genre, always start with more melodic works, gradually climbing step by step of gravity higher.

vocalsguitars, bass, vocalsdrums, vocals

Alan Dubin

James Plotkin

Ralph Pimentel

Total Hag

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IX. Nasum

I met this Polish-Swedish duet by chance. Looking through the long list of projects that my favorite Swedish messiah of experimental and versatile metal Dan Swanö has done, I noticed the name Nasum, some kind of grindcore band from Sweden. I was interested in this discovery, since Sweden has always been famous for its melody in its metal, but not for its pressure, speed and real punk. Although it should be given credit, there is a Swedish influence here, in the form of a significantly weighted sound. Nasum is almost, if not completely, a deathgrind collective. As it turned out, Dan acted as a studio engineer on Nasum's debut work "Inhale / Exhale", which is also, for my taste, the best recording of the band. The vocals and guitar grooves are very similar to my adored Edge of Sanity by Swanö. Add frenzied energy here, and you get a truly thermonuclear mixture. Thermonuclear also because the topic chosen by the team analyzes the problems of nuclear threat, environmental pollution and the worldwide apocalypse. Even the cover hints, as it were. In addition to the debut album, I advise you to check out the 2003 work "Helvete". Finally, R.I.P. Mieszko Talarczyk.

guitars, bass guitar, screaming vocalsdrums, death growls

Mieszko Talarczyk

Anders Jakobson

For What Cause

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© 2021 Bogdan Marchenko

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