Posts by SeanO)))

Excellently fuzzy yet majestic black metal from Geheimnisvoll. So far, the project has been incredibly consistent with the quality of its releases, and this first demo from 2019 is of no exception. Expect 20 minutes of excellent lo fi black metal. Highly recommended, for what my fucking opinion is worth.

Compiles the 2019 demo and the tracks from the split with Borda’s Rope into one disk. Honestly, as good as this is, you’re better off just hunting down the originals because the split with Borda’s rope is fucking fantastic (including the other band too).

Beautiful split, if I could be so bold as to say so. Geheimnisvoll remind me a little of Satanic Warmaster, but the riffs are a bit more morose and with that trademark “2nd wave repetition”. Vocals are barely decipherable and sound like whispers from a deep and unfathomable tomb or cave. Borda’s Rope are very lo-fi but the guitar work on this thing is second to none. A bit more bare bones all in all…

One of the first records I ever owned, this triple LP set on Southern Lord (it was a really cool dark laquered brown colour) is awesome and I have a soft spot for it even to this day, even though I got rid of the record itself many years ago. Altar is a puzzling mix of crushing drones and odd soundscapes combined with gentler tracks, of which “Sinking Belle” is probably the best one, by…

This was my first CD purchase when it came to Swans, and I played this thing to death. It was a great introduction, I think, to the worlds of both Swans and World Of Skin (even though the Skin tracks are credited to Swans here, confusingly). I don’t like some of the Young God reissue covers, but the Children Of God one is pretty simplistic and effective, IMO.

When I saw this thing on the shelf at the local Woolworths, I mistook it for new Stones stuff and immediately bought it and took it to my dad at his place of work. He seemed very confused, even annoyed that I had shown up at his place of work to give him a CD, and he quickly ushered me the fuck outta there not giving a second look at the fucking CD, which hurt…

In a word: confused. Satarial have always been messy, but Blessed Bright lacks the charm which acts as the glue that holds all the disparate parts together. On Blessed Bright, unfortunately that magical charm seems to be in short supply. However, “Horned God”, for how awful it’s lyrics are, is a fun listen, but generally the better tracks are the “Pagan”-heavy instrumental synth/folk/tribal pieces, such as the closing title track.

This CD stayed in our family car for about a decade, and we listened the absolute death out of this thing. CD1 is essential Stones, IMO – as are a few of the classics at the start of CD2, but it starts to fall off after that as the later decades material is shoehorned in. I mean, I get it; they wanted this to be a retrospective of all the eras (but there’s plenty missing).

In isolation, this single is a confused mess of a song. The vocals and guitars are fantastic, everything else is just falling over itself in a competition to be heard.

Hooooooly fucksi this shit is absolutely deplorably bad. By far, easily, the worst Slipknot record to date. All hope is gone amirite?

Don’t you love it when your biting political (or societal) message is wrapped up in totally fuckin’ moshable hardcore punk? Here, the flavour is metallic d-beat; straight up 80s Discharge worship and variations on that admittedly narrow theme, but with an extra chunk of heaviness for good measure. Don’t expect to have the wheel reinvented, but do expect to jump around.

Production? Don’t make me laugh! Where does grindcore end and noisecore begin? Sete Star Sept are probably somewhere right on the cusp with their super prolific blasts of absurd grinding noise. The absence of guitar is felt not so much in the sonic force of the record (which is enough to blow you off your chair) but in the dynamic range of the sound: expect low end, and lots of it. She’s a noisy one,…

And with WANYK (ya friggin wanykah m8!) we are back to the muddy, middling, mediocre Slipknot that I thought I would find on on 5 – The Gray Chapter. There’s a few standouts here, but I find that they are usually the super fast “death metal” parts that are the intro to some of the songs, and then the rest just falls off into boringville. “My Pain” was the only song that genuinely held my…

Another album I got the day of release (well, the day after in this case; my friend Ross skipped school to catch the train into town to buy the album, and we gathered round to see it when he arrived back for the afternoon’s science lesson). Mezmerize, at the time, felt significantly different to me that the SOAD that had came before. The guitars seem to have a jangly thinness to them; the bass and…

Well then. I have been ignoring the “later” Slipknot records for what seems like forever. I didn’t expect to be rating this better than both the two previous albums, especially Vol. 3, which despite its lack of favour with me, is regarded as one of their better albums by the wider consensus of fans. I think the main that saves 5 from being just another Slipknot record is that they finally sorted out the production….

A compilation of the Bad Seed and Mutiny EPs, but worth your time for the inclusion of additional tracks from the Mutiny sessions. Some of these are incredible, like “Pleasure Avalanche”.

This shit goes harder than an erect goat penis attached to the mega sado Satan fuck goat incarnation, who has been beamed to earth realm to fuck you, via your stereo of course. Everything is dialled up to 666 out of 10 here.

Solid third album from legendary Finnish “black metal” outfit Impaled Nazarene. It shows more… dare I say, progression than the first two albums, but still retains all of the core ingredients that make IN so fucking entertaining. The production is surprisingly good; the bass sounds fucking incredible and the drumming here is really impressive. A really great album all round.

Mutiny leaves off where The Bad Seed EP finished. Descending further into madness, there aren’t as many stand out songs IMO (“Sonny’s Burning” and “Wildworld” are timeless but the sheer carnage here leaves most “post” punk bands in the dust.

I remember when this came out. After the seemingly massive event that was Disasterpieces, this seemed utterly and completely fucking pointless. I guess it was a slightly different era of the band, but still, it stood in the shadow of that slightly earlier live album / DVD and still does to this day.

It’s hard to convey how I felt as a 13 year old, upon first hearing this on release. I’d been in love with Slipknot since Iowa, and had worked backwards through the self titled and MFKR, and through all the various online lore, demos etc. – my disappointment upon hearing Vol 3 wasn’t immediate, though. I knew something wasn’t the same… I just didn’t really have the capacity to explain what. At that age, I…

Undeath are on their third album already. That’s crazy. Well, I guess what’s crazy is how fast time has gone, rather than anything else. Anyway, on to the album. The unfortunate first reaction is that More Insane is actually just More Of The Same but on repeat listens I’ve come to realise that this feels much more polished that the earlier efforts. On top of that, the drumming on this one is particularly of note….

Heralded as one of the best war metal / grindcore crossovers in existence, and for good reason, I guess. I tell you what though, it’s weird having spent a life time listening to shit like this to just find some random project one day that is praised to all manner of high fuck for doing exactly what a bazillion goregrind/noise/digigrind bands already do, but hey, it doesn’t matter really, Konflikt is fucking great. Proper hard…

The best thing about X Ray Spex is super cool frontwoman Poly Styrene. There is nothing wrong with XRS musically – the brass is actually a refreshing touch on the regular early punk template – but her voice is what keeps me coming back to this record. I love the way it like, I dunno, breaks (I’m shit at describing vocals, sorry). I first heard this group when Casey Chaos from Amen put them on…

What a strange release. Personally, if I’d known it was all covers before I’d pressed play (go me for researching!) I probably wouldn’t have bothered, but sunk cost fallacy and all that… Musically, things are a mixed bag here. The sessions seem all over the place, especially on the Nachtmystium front, but the fact that this is a compilation of different sessions explains all that. The quality of each cover song varies wildly. Oddly, the…

Quite possibly a contender for my favourite St. Vincent album, even though Daddy’s Home is really good too. The acoustic versions of songs like “Savior”, “Smoking Section”, “Fear The Future” and “Young Lover” are absolutely stellar. The piano truly brings out the emotion in these songs and also allows St Vincent’s vocals to really, truly shine. Brilliant stuff!

I am one of those people who heard MassEducation before this original album, so I can’t confirm whether or not that gives me some sort of bias when it comes to this decision, but after multiple listens and relistens I genuinely believe that these songs are much better in their stripped down forms. Here, if anything, I feel like the nuances of St. Vincent’s incredible voice are lost somewhat in all that electro-pop madness.

I’ve developed quite a taste for NV’s grinding bass attack over the last decade or so. Their material here is some of their good shit; decent groove and progression in the underlying bass melodies (not sure if melody is the best way of putting it! Ha!) ensures that the songs are more memorable than the usual noisecore fare. Speaking of which, Sloth are an incredibly unique band for one that peddle such utter nonsense as…

Some of the best d-beat I’ve heard in ages. Fast as fuck, furious as fuck. 9 tracks of blood pumping hardcore carnage. Love it!

LDOH stuff is a treatise on how to perform blasting, stomach churning goregrind in the live environment. Featuring the lineup from the Putrefaction In Progress era (I believe), some LDOH classics are here turned to an indecipherable smear of gory grinding goodness. Lovely! Warscars have less of the gore and more of the grind, if one could be so bold as to break it down in such simple terms. Sometimes though, life really is that…

How fantastic is that cover photo? Simple, yet extremely effective. It’s what drew me in. Unfortunately, I found this album, which is in the “atmospheric black metal” vein to be something a little too one-note for me. Production is very polished, all things considered, and I don’t think that helps in this regard. But hey, if you’re massively into the atmospheric side of things, this could be for you.

Great dark and interesting folk music with intense tribal rythyms and deep, ritualistic vocals. Really interesting, fluid and dynamic songwriting that successfully presents a series of variation on this theme, helped along by a clear yet organic sounding production. Really cool!

I never really gelled as well with the second Iron Monkey album as I did the first, but time has proven if nothing else that this is a proper fucking solid – not to mention legendary – sludge metal release. Not sure what I make of that art work though, I won’t lie to you.

People seem to absolutely fucking love this thing and I can see why, it has a lot of endearing qualities for what is essentially the most cheesy form of metal. Some of the tracks are very strong, “Rats in the Attic”, “Jonathan’s Diary” and “Stronger Than Heaven” as a start, yet others are a bit lacking. The version I’ve heard also has a bunch of shite live tracks at the end which kills the pacing….

Stardust contains everything that you could want from a Grausamkeit or BSOD-adjacent project of any kind (well, except maybe the noisecore stuff maybe). Shaky yet endearing “dungeon synth” (it always feels weird referring to stuff that predates this genre name as such) gives way to barely audible black metal lost in a thousand layers of distortion and tape hiss. Audio fidelity you shall not find here, but atmosphere is instead brought to you by the…

I have infinite respect for Joan Wasser’s songwriting but I’ve always felt that The Classic was a swing and a miss, with its stronger soul themes not really landing for me. But hey, this is entirely subjective, and there is no way I could argue that this album is bad; the production is fantastic and the songs sound amazing, I am not just not able to personally connect with any of them.

Please pardon my lack of useful terminology around this type of music but fuck, this is class. I love how the smoothness of the jazz elements work so well with the more repetitive, almost-ritualistic throb of the more afro beat parts. The 40 minutes positively flies by and repeat listens are mandatory (often in the same session!).

Inside you are two wolves… lmao sorry I couldn’t resist. Seriously though, this Aufnorden project is absolutely fantastic. This record is no exception. The Bathory cover(s) in the middle of the album’s run time is a weird inclusion, but in all fairness the song choice blends in rather nicely with what Aufnorden is trying to achieve here. If you take the complexities of acts like the covered act Bathory, or even the scope of the…

Fucking great shit. An epic mix of more “trad” metal styles like thrash / power metal but dosed up with some savage hold overs from the more heathenistic pagan black metal world. Both songs on this thing really surprised me by how great they are. To top it off, the production is pretty solid too. Highly recommended.

Manowar’s second record is a logical continuation of their first (even if the artwork is infinitely crummier). You can thank Into Glory Ride for such powerful gems as “Gloves Of Metal”, “Gates Of Valhalla” and the epic closing track, “March For Revenge”. Production is still a bit shite, but fuck if it just adds to the overall charm of this thing. It has such a glowing analogue warmth, it makes me want to go back…

Solid bit of skinhead/oi music from the 80s. Production is a bit muffled but its not too much of a hindrance to these otherwise energetic and engaging songs. These guys know how to write a catchy tune and how to drive it home.

Unfolds with much more subtly and nuance than one would expect from a band named Anal Blasphemy. There are some interesting ideas / motifs present throughout the runtime which are varying degrees of experimental but all sufficiently sound evil as fuck. The best track(s?) are the ones with t the female guest vocals – those are genuinely haunting and bordering on terrifying.

There’s like this wailing feedback effect that happens every time the sampling stops and the music kicks in, which totally overpowers the rest of the music. For as cool as this release looks, it’s purely unlistenable, even for goregrind / gorenoise.

Having only previously been familiar with the early Goatpenis demo era I was therefore totally unprepared for the sound of the latter day releases such as Biochemterrorism. This album fuckin’ rules. It’s war metal / bestial black (whatever) and of course comes with all of the carnage that those genres promise, but also has this innate catchiness to the songs that a lot of artists in that world can’t seem to achieve. Production is a…

Messy yet incredibly enjoyable black metal with a rough and ready production. This does genuinely sound like a war machine that’s seen its fair share of battles, grinding on to the next confrontation.

Heard all (most?) of these Insect Warfare tracks before but that’s absolutely fucking fine with me. Holy shit this band were the fucking goddamn shit. Dobber is an absolute ANIMAL. Super happy to have caught these guys live twice. This shit is seriously, seriously fucking good grindcore. Carcass Grinder appears in my collection several times by proxy of being on splits with bands that I love. They are a fucking great band in their own…

Cool little EP from Doom in the Corrupt Fucking System era. I prefer this to the album even, as it’s short, sharp and hits you right in the fucking face. “Financial Coup” is as good as any classic-era shit. Fucking outstanding.

Intense shit, but would you expect any less? It feels like the bass strings are gonna come out of the stereo and strangle me. Shit is on fire. This thing does not stop. They don’t make ‘em like this anymore that’s for sure.

This is probably one of the coolest Lymphatic Phlegm things that I’ve come across. This gorgeous transparent red 7” (like blood, innit) features 11 tracks (yes!) from Limpy Flem on one side. It is a compilation of sorts; all their shortest songs together in one place. However, the songs here that have already appeared elsewhere are completely re recorded for this split. The other tracks are unreleased ones. Fucking cool as shit, brah brah. I…

The flexi is a flimsy piece of shit that has slipped or skipped on every record player I’ve ever had (I probably need to weight it down) but damn this cover fucking rules. Super fucking dense and heavy sound from Godflesh, as you can imagine, and the drum machine is really great here. Wish they’d used this sound a little more.

Side A of the 7” version has “Saved”, which if you’ve heard The Burning World then you are no doubt already in love with. Side B has “No Cruel Angel” which to be honest I don’t think I’ve ever heard before. It’s very morose and beautiful at the same time, as was a lot of the stuff released around this time. Jarboe does very little here, a few backing vocals here or there but that’s…

Where Cockgun Blast (lol) ends and the ever-prolific RxAxPxEx begins is beyond my comprehension. This 7”, spinning at 45rpm should feel like it should be over in a flash but due to the earscraping noise it feels like it’s going on and on and on arrrgghhhhh! Pretty fucking brutal for noise, though.

Black metal side project from Mick Kenney of Anaal Nathrakh (which featured his brother on vocals and some other vocalist who I’m not entirely sure about). Good mix of styles. Not too much industrial influence like the more punishing parts of Anaal. Frost has, if you’d forgive me, more cold riffs. I’ve had this 7” for years and I keep forgetting about it.

“Mom, I want a new Graveland CD!” “No, son, we have Graveland at home.” Graveland at home: Undeniably wonky, especially in the drumming department, but if anything this oddly adds to the atmosphere. The production is also fairly terrible. As you can imagine from my opening remarks, Feel the Anger of the Wind (please resist the temptation to make fart jokes) is far from perfect, but those who are inclined to find enjoyment in long…

Somewhat underwhelming entry from Electric Wizard, at least in regards to the great heights that this project can achieve. The Reverend Bizarre side however, is a masterpiece (or it is until it starts to drag on for far too long). Before we get to several minutes of pointless noise and effects over the top of the track, we have a fucking incredible cover of the Beherit classic, “The Gate Of Nanna”. I’m not sure how…

An interesting entry into the Candlemass discography. Chapter XI is noticeably different from the series of Messiah-led albums that preceded it. Yes, even outside of that evolving sound, Chapter XI is a huge leap forwards (or perhaps sideways) into a more “modern” sound, at least for the time. I’m reminded of some of the more straight forward efforts of Tony Martin’s Sabbath days, such as Cross Purposes. I’m not sure if this has held up…

Another seriously fucking killer early release from Fukpig. The vocals are a lot different than the later stuff, and the guitar has more of a Misery Index / early Brutal Truth kind of feel rather than a HM2 pedal in a beehive sound that came later. Also the drums here are spot on. Ticketyboo, you could say.

The name and the art tells me that this is leftovers or additional tracks from the Bastard sessions. Whether or not that’s true, the songs are a little rougher around the edges both in production and also in delivery. Still, there’s a handful of fucking great tunes here.

Bastards is the 4th album from UK crust/grind project Fukpig (5th if you count 3 and The World Is Weakening as individual records). The first noticeable thing about Bastards is that the production is fucking huuuuuuge. As for the tunes, the rabid, hate-filled bile is still in full effect, but there’s more crust here than grind, with those elements pared right back. It still kicks hard as fuck, though.

I’m going for it – I’m gonna give Now, Diabolical a 4. This is probably because of nostalgia reasons, I can clearly see that. Objectively, it is easy to see why long-term fans of the band do not enjoy this one. But, for me, this is where I came in to Satyricon’s world, at least in terms of full-length albums. I remember this coming out, and I saw them on this tour. So I guess…

Super low effort, not very interesting, very one dimensional. Truly uninspired.

My initial thoughts after returning to this record 14 years later was that it had not aged well. However, I firmly believe this is due to the production, rather than the songs. By the time the middle instrumental part of “The Madness and the Damage Done” had rolled around, I remembered entirely why I fell so much in love with this record in the first place. I’m not sure if the mix of jazz and…

The fucking samples on this thing lmao – they really lower the tone. Musically, this shit goes hard as fuck. The riffs are sinister as hell. The production is great and the drums sound fantastic. The fills and interesting variations around the blasts send these songs from good to great, but the whacky sampling pulls things back down a little. A strange one. Also, NS as fuck, if that wasn’t obvious.

Really fucking great raw guitar playing and harsh, rabid vocals that had me hooked even if the drum machine had me scratching my head. These drum patterns just do not fit black metal, but after a while, it all started to click into place and I really enjoyed this weird, off-kilter approach. Super cool off the beaten track kinda shit. I am all about it.

Initial reaction was not great, but I sat with this for a while and it really started to grow on me. The mix of acoustic folk and black metal is stranger than it reads on paper. There is something endearing about the tracks, especially the closing title track, which has a really nice vocal melody. Leave your production expectations at the door, however.

I don’t think it would be unfair to say that David Tibet is a bit up his own arse. Respectfully, Current 93 meanders rather spectacularily through many styles and phases over the years. I Have A Special Plan For This World is far from anything you’d get on Thunder Perfect Mind or Dog’s Blood Rising. Instead, it is a 20 minute ramble over some ambient sound effects. I mean, if you’re into that, then fine….

It is rather commendable actually how straight-forward and one-dimensional the music of Ildjarn is. Truly, there is a singular focus here that is not present in most other black metal, even that which is precise and calculated. However, precise and calculated are not words that I would use to describe Ildjarn. At first, Ildjarn’s music can appear repetitive and annoying, and I suppose yes, it is rather repetitive and annoying, but there is also a…

Der Tod und die landsknechte (forgive me if I have fucked that up, German is not my strong point) is the project of former Absurd vocalist “Wolf”. On the fact of his inclusion alone, before you get to instrumentation (although that too contributes), it is easy to compare Der Tod… to Absurd, particularly the 2000s era in which Wolf was main vocalist. This album contains the same bouncy yet morose folk-like riffs that Absurd proliferated…

Really cool and interesting hardcore / punk with a big undercurrent in the “oi” style (without really falling into that genre at all). Highlight of this thing are the riffs, which are pretty powerful. The drumming is fantastic and the vocals are gruff and in your face. A fucking solid 20 minutes.

Fucking excellent, super under-rated black metal. Reminds me of a mix of the first Peste Noire record, War 88 and Deathspell Omega, if I could be so bold. The songs on Všehorovnost je porážkou převyšujících managed to be both cold and clinical as well as produced with a warmth and a balance that makes this intense and uncompromising black metal record almost a pleasure to listen to. Highly recommended.

This shit fucking slaps, if I can be permitted to use a term that the kids are “down” with, Granted, it sounds like complete shit, but in the same endearing way that a lot of black metal or grindcore sounds like complete shit. Feel like I’m sat in some grotty shit heap of a house; people are dancing; I’m 8 cans into some horrible cider; someone, somewhere has smoked some crack and the place fucking…

Hummingbird Of Death (such a brilliant name) absolutely do not fuck around. This record is a stunning example of how to perform lightning fast grind/powerviolence with a DECENT production and still blow people’s fucking heads off. Yes, there are moments of sludgy, head-nodding riffery, but for the most part this is complete sonic destruction at break-neck speeds. Totally fucking awesome.

As many have noted before me, the legendary status of such a composition makes it rather difficult to talk about. Each name in the running order – a mere footnote in the playlist here, is instead a whole epoch of extreme metal history (yes, even the not-so-well-known ones towards the back). I would recommend this compilation to anyone who is new to underground metal and grindcore; the glory days of Earache are truly difficult to…

Nordland II continues where Nordland I left off, but my interest is not as high for this one. Perhaps it would have been different in “real time”, with a year or whatever between the two albums, but back-to-back these two feel like one bloated, overly-long record. It is also an unfortunate reality that many of the least interesting songs are placed here on Nordland II. Don’t get me wrong, I need to speak plainly in…

Nordland is something of a return to form after a series of what many perceive to be rather wishy-washy albums. I’ve enjoyed all of the various detours in the Bathory catalog, but have to admit that Destroyer Of Worlds was one of the weakest. It is with great relief then, that it’s follow-up, Nordland, starts off incredibly strong. Unfortunately, the record is somewhat top-heavy, with my interest waning as the record goes on. The first…

Entirely enjoyable yet also somewhat unremarkable EP from the controversial Graveland. I think some of these tracks are on Creed Of Iron (they sound familiar at least, but it is easy for me to confuse the various and multiple versions of Graveland songs / eras / album rerecordings and what have you). Production is probably “down the middle” as far as Graveland goes; not too disgusting yet also not too polished.

Not a patch on Longbow III. Raw as fuck, and with an interest concept in the crossover of themes from both oi and black metal, but not really all that great in execution.

Not much going on here. Not awful but absolutely zero flare or individuality.

Both bands are a variation on the same theme here. Thankfully, that theme is uncompromising trashcan-beating gorenoise concocted of thunder claps of nonsensical guitar blurs and intestine vomiting vokills. Play it for your gran.

A set of very interesting songs led by a prominant synthesizer which dominates the mix and the songwriting in general. Unfortunately, the record is let down by fairly underwhelming whispered vocals (think post-prison Varg but twenty times worse) which really detract from the overall atmosphere. I’m sure there’s plenty of people out there who like it, but personally I think this would have been better with fully clean vocals throughout (of which there are some)…

Fucking excellent black metal. Production is pretty shite, but not to the detriment of the record. The atmosphere conjured here is one that I hear many people talking about, perhaps overzealously, in regard to NSBM: triumphant. Blood Of Patriots is just that; an excellent balance of mystic, obscure black metal and “triumphant” melodies. Really good shit.

Now this is fukken thrash metal! Hyper speed, hyper energy, hyper intensity! Tracks like “Mother’s Day” and “Funky Noise” are basically just straight up grindcore, but the intensity doesn’t really let up for the whole record, even in the more sensibly-paced numbers. Production is nice and clear; bass is fantastic and super prominent without dominating the mix; the riffs are balanced well and the drums are hard-hitting as hell. Too many good tracks to mention…

Some decent morose riffs and some good vocals on top. Rigid drum machine programming makes there bare structure of the song very plain to see sometimes, but what it loses in atmosphere due to the drum machine it gains back with the excellent synthesizer work, which reminds me of Rob Lord’s work on Discworld II, of all things…

Fukken dirty ass HM2 blackened punk that sounds like it was recorded in Fritzl’s basement. I would highly recommend it to everyone, from my neighbour to my gran.

Imagine my suprise after realising I had gotten all the way to 2024 without writing about Frozen Corpse Stuffed With Dope. Sometimes, I take for granted how easy it is to write about new music where there is no attachment to it other than the experiences you have with listening to it that first couple of times. With something like Frozen Corpse, a formative grindcore album for me which I have heard hundreds of times,…

In the past Necro has mixed metal with rap and it has been uhhh, not so great. For some reason, on Death Rap, this combination seems to work rather well. There’s some respectable names cropping here. That said, I massively prefer the more straight up “hip hop” orientated tracks; the sound just lends itself to the depravity of Necro’s rhymes so much better than some random metal riffs. All in all, Death Rap is a…

Some great riffs and some excellent drumming, but for the most part Marasmus unfortunately fails to ignite any real excitement during the entire listen. It isn’t a bad album by any stretch of the imagination; but I’m not sure if it is the production or perhaps it is because the dreaded 00s Nasum-inspired deathgrind bubble burst long ago.

Heavy shit, savage shit. There’s a perfect production on this; the balance between raw and well made. It really helps the loaded powerviolence hit home. The whole EP is loaded with this infectious energy that just makes you want to move. Great 7″.

Vocals kill this one dead, fam. Expect similar excellent yet dirty keyboard from BSOD; the same that you would find in Grausamkeit or BB. Trouble is, man here be croaking over this thing like friggin’ Gnar Kill’s “Mustard Man”. Sounds like pure shit, I won’t lie.

Would it perhaps be too overblown to say that this is lo fi art at its finest? (No, I’m not just saying that because she has her baps out on the cover). Expect shaky, wobbly, messy keyboard and synthesizer pieces, augmented by flurries of barely audible programmed drums and screams buried in enough dust, wow and flutter to almost make them redundant. Folelse Dod truly is a record that is greater than the sum of…

For its place as a early 90s classic, Non Serviam has a very dry, almost artificial sound to it. It isn’t loaded with friggin’ VSTs of course, but it does have a bizarre robotic feel to it. Production aside, this is a fantastic set of songs. I love how when both guitars are going they just melt together into one entity, especially when the synthesizers kick in to complement them. Cutting a track or two…

Raw, punk-influenced black metal from Canada. To War is played with a looseness that no doubt will turn some people off, but if the messier / noisier end of the stick is your bag when it comes to hellish black metal then look no further than this disgusting 4 track demo / EP.

Beautiful, mesmerizing, magical – these are some of the words that I would use to describe the music on Darken Wood’s II. I know that dungeon synth is hardly the Superbowl of underground music, but I would say that this is a very underrated project lurking in the shadows. For the quality of the compositions here, Darken Wood definitely deserves more exposure.

Disc 1 is a “best of” collection so is pretty redundant to anyone even remotely familiar with Godflesh. The goodness lies with Disc 2, which is an odds and ends collection of other random shit. There’s some absolute gems here however, like “Love Is A Dog From Hell”, which is arguably one of the best Godflesh tracks ever. There’s also some club remixes from the 90s singles (which have aged better than I remember) as…

I see a lot of butthurt reviews for this thing, as if all these fucking Converge hipsters have never heard a grindcore / hardcore / powerviolence split before and are mad that the whole thing only lasts a few minutes lol get the fuck out of here with that shit. Converge bring the energy with “Runaway” – the production is massive and the drums sound fantastic. Dropdead sound as new and as fresh as ever….

Interesting set of covers from Warsore, of varying quality. Starts off awesome and devolves into live shit by the end (but still OK). Soil Of Ignorance stuff is incredibly well produced. Super vicious grind with precise stop/start bits that really get the blood going. Hard hitting shit that makes you wanna get up and mosh (but not too much, or you’ll make the needle skip).

Honky Reduction era (so bare bones Hull and Randall) ANb hits like a steel girder to the side of the head. You ain’t getting up from this one, homie. 7 tracks in 4 minutes: classic ANb in top form (and the sample here is amazing, I use it IRL too often tbh). Gob are an interesting one. They have the energy of “looser” powerviolence outfits like Spazz or Man Is The Bastard but there’s another…

This is a small EP that came after Utopia Banished and has the same death metal influence yet raw and loose production. Super intense, super overwhelming, super fucking heavy. This one can slip through the cracks very easily, but the tracks are well worth your time, especially as two are exclusive to this release.

Think, heavy, disgusting Carcass worship mixed with that old school Agathocles-style mincecore stomp. Yeah, it’s like Reek and Razor Sharp Daggers in a blender, but Malignant Tumour have their own vibe and their own super brutal and sick take on the goregrind genre, that I would consider their demos, whilst not the most original, as super important to the gestation of the genre.

Starting a grindcore comp with a band of the “slow and heavy” variety is a bold move. Irritate come across like the slower, chunkier moments of 90s Agathocles material (which may or may not be a coincidence since the two bands have split with each other). Murder Company sound like a death metal band on crack cocaine. There’s a fathomless heaviness to proceedings, helped along nicely by the overpowering drumming and low guitar tuning, not…