Cyber grindgore Music Addiction

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Description

Grindcore, often shortened to grind, is an extreme music genre that emerged during the mid-late 1980s. It draws inspiration from some of the most abrasive music genres - including death metal, industrial music, noise and the more extreme varieties of hardcore punk.

Grindcore is characterized by heavily distorted, down-tuned guitars,[1][2] extreme tempos, frequently accompanied by blast beats, songs often lasting no more than two minutes (some are seconds long), and vocals which consist of growls and high-pitched screams.[3] Lyrical themes range from social and political issues (Napalm Death) to gore (Carcass) and humor (Anal Cunt)

Blast beat

The blast beat is a drum beat characteristic of grindcore in all its forms,[5] although its usage predates the genre itself. In Adam MacGregor's definition, "the blast-beat generally comprises a repeated, sixteenth-note figure played at a very fast tempo, and divided uniformly among the kick drum, snare and ride, crash, or hi-hat cymbal."[5] Blast beats have been described as "maniacal percussive explosions, less about rhythm per se than sheer sonic violence."[6] Napalm Death coined the term,[6] though this style of drumming had previously been practiced by others. Daniel Ekeroth argues that the blast beat was first performed by the Swedish D-beat group Asocial on their 1982 demo.[7] D.R.I. ("No Sense"[5]), Sepultura ("Antichrist"[8]), S.O.D. ("Milk"[9]), SarcÃ³fago ("Satanas"[10]), and Repulsion[11] also included the technique prior to Napalm Death's emergence.

Guitar tuning

The vinyl A-side of Napalm Death's debut, Scum, is set to standard tuning, while on side B the guitars are tuned down 2Â½ steps. Their second album and 1989's Mentally Murdered EP were tuned to C#. Harmony Corruption, their third offering, was tuned up to a D.[1] Fellow grindcore practitioners Carcass also had the habit of the downtuning their guitars - specifically, to B.[2] Bolt Thrower went further than Carcass, dropping 3Â½ steps down (A).[1]

Song length

One well-known characteristic of grindcore and related genres is the 'microsong': songs lasting only a few seconds. In 2001, the Guinness Book of World Records awarded Brutal Truth the record for "Shortest Music Video" for 1994's "Collateral Damage". The song lasts 4 seconds. In 2007, the video for the Napalm Death song "You Suffer" set a new "Shortest Music Video" record: 1.3 seconds.[12]

Along with the microsong, it is characteristic of early grindcore to have diminutive song lengths. Such is the example of Carcass' Reek of Putrefaction (1988), where the song span averages in about 1 minute and 48 seconds.[13]

Lyrical themes

Napalm Death's songs address a variety of anarchist concerns, in the tradition of anarcho-punk.[14] These themes include anti-racism, feminism, anti-militarism, and anti-capitalism. A number of grindcore musicians remain committed to political and ethical causes.[15] Other grindcore groups, such as Carcass, have expressed disgust with the body, and are famous for their vegetarianism.[2] Carcass' work is sometimes identified as the origin of the goregrind style, which is devoted to these bodily themes.[16] Groups that shift their bodily focus to sexual matters, such as Gut, are sometimes referred to as "pornogrind".[17] Both Anal Cunt and Pig Destroyer are controversial for their apparent misogyny.[18] Seth Putnam's lyrics are notorious for their irony and black comedy,[4] while The Locust and Agoraphobic Nosebleed tend toward satirical collage, indebted to William S. Burroughs' cut-up method.[19][20]

History

Precursors

The early grindcore scene relied on an international network of tape trading and DIY production.[21] The most widely acknowledged precursors of the grindcore sound are Siege,[22] a hardcore punk group, and Repulsion, an early death metal outfit.[11] Siege, from Weymouth, Massachusetts, were influenced by classic American hardcore (Minor Threat, Black Flag, Void) and by British groups like Discharge, Venom, and MotÃ¶rhead.[23] Siege's goal was maximum velocity: "We would listen to the fastest punk and hardcore bands we could find and say, â��Okay, we're gonna deliberately write something that is faster than them'", drummer Robert Williams recalled.[23]

Repulsion, from Flint, Michigan, cited street punk groups like Discharge and Charged GBH, crossover thrash such as Dirty Rotten Imbeciles and Corrosion of Conformity, thrash metal like Slayer, Metallica, and Sodom, early black metal (Venom) and death metal (Possessed), hardcore punk, like Black Flag, and older hard rock, as inspirational.[11] The group is often credited with inventing the classic grind blast beat (played at 190 bpm), as well as its distinctive bass tone.[11] Shane Embury, in particular, advocates the band as the origin of Napalm Death's later innovations.[11] Kevin Sharp of Brutal Truth declares that "Horrified was and still is the defining core of what grind became; a perfect mix of hardcore punk with metallic gore, speed and distortion."[24]

Other groups in the British grindcore scene, such as Heresy and Unseen Terror, have emphasized the influence of American hardcore punk, including Septic Death, as well as Swedish D-beat.[25] Sore Throat cites Discharge, Disorder, and a variety of European D-beat and thrash metal groups, including Hellhammer,[26] and American hardcore groups, such as Poison Idea and DRI.[27] Japanese hardcore is also mentioned by a number of originators of the style, particularly GISM.[28]

Napalm Death
Main article: Napalm Death

Grindcore, as such, was developed during the mid-1980s in the United Kingdom by Napalm Death. The name "grindcore" is said to have been coined by Napalm Death's second drummer, Mick Harris. When asked about coming up with the term, Harris said the following:
" Grindcore came from "grind", which was the only word I could use to describe Swans after buying their first record in '84. Then with this new hardcore movement that started to really blossom in '85, I thought "grind" really fit because of the speed so I started to call it grindcore.[29] "

Other sources contradict Harris' claim. In a Spin magazine article written about the genre, Steven Blush declares that "the man often credited" for dubbing the style grindcore was Shane Embury, Napalm Death's bassist since 1987. Embury offers his own account of how the grindcore "sound" came to be:
" As far as how this whole sound got started, we were really into Celtic Frost, Siege - which is a hardcore band from Boston - a lot of hardcore and death-metal bands, and some industrial-noise bands like the early Swans. So, we just created a mesh of all those things. It's just everything going at a hundred miles per hour, basically.[30] "

Earache Records founder Digby Pearson concurs with Embury, saying that Napalm Death "put hardcore and metal through an accelerator."[31] Pearson, however, said that grindcore "wasn't just about the speed of [the] drums, blast beats, etc." He claimed that "it actually was coined to describe the guitars - heavy, downtuned, bleak, harsh riffing guitars [that] 'grind', so that's what the genre was described as, by the musicians who were its innovators [and] proponents."[32]

In addition to Repulsion and Siege, key groups cited by current and former members of Napalm Death as formative influences include Discharge,[14] Larm, Amebix,[33] Throbbing Gristle,[34] Dirty Rotten Imbeciles[34] and the aforementioned Celtic Frost[35] and the Swans.[30] Post-punk, such as Killing Joke[14] and Joy Division,[36] were also cited as an influence on early Napalm Death.

980s grindcore after Napalm Death

Napalm Death's seismic impact inspired other British grindcore groups, among them Carcass and Sore Throat, and the Belgian group Agathocles.[3] Early American grind practitioners included Terrorizer and AssÃ¼ck.[3] S.O.B. are recognized as the first Japanese grindcore group, first recording in 1986, and primarily influenced by Siege and early Napalm Death.[28] Patareni, of Croatia, and Fear of God, from Switzerland, are also considered important early practitioners of the style.[37] Filthy Christians, who signed to Earache Records in 1989, introduced the style in Sweden,[38] while Cripple Bastards established Italian grindcore.[39] Guilio of Cripple Bastards asserts that the name itself took some time to migrate from Britain, with the style being referred to as "death-thrashcore" for a time in Europe.[39] The German label TNT Records began to release grindcore recordings early on, advancing the "noisecore" (or "noisegrind") scene, exemplified by the American group Anal Cunt, described by Guilio as "the most anti-musical and nihilistic face of extreme music at that time."[21][40]

1990s

Brutal Truth was a groundbreaking group in the American scene at the beginning of the 1990s.[3] However, Sharp indicates that they were more inspired by the thrash metal of Dark Angel than the British groups.[41] Nasum became the most prominent Swedish grindcore group, addressing political topics at maximum intensity.[42] Scott Hull is prominent in the contemporary grindcore scene, through his participation in Pig Destroyer and Agoraphobic Nosebleed.[43] ANb's Frozen Corpse Stuffed with Dope has been described as "the Paul's Boutique of grindcore", by Village Voice critic Phil Freeman, for its "hyper-referential, impossibly dense barrage of samples, blast beats, answering machine messages, and incomprehensibly bellowed rants."[44] Pig Destroyer is inspired by thrash metal, such as Dark Angel and Slayer, the sludge metal of the Melvins, and grindcore practiced by Brutal Truth,[45] while Agoraphobic Nosebleed takes cues from thrashcore and powerviolence, like D.R.I. and Crossed Out.[45] Pig Destroyer's style is sometimes referred to as "deathgrind",[46] because of the prevalence of death metal influences, as are Cattle Decapitation.[47] The Locust, from San Diego,[43] also take inspiration from powerviolence (Crossed Out, Dropdead), first-wave screamo (Angel Hair), obscure experimental rock (Art Bears, Renaldo and the Loaf), and death metal.[48] Other prominent grindcore groups of the 1990s include Brujeria,[49] Soilent Green,[50] Cephalic Carnage,[51] and Impetigo.[52]

2000s
[55] Regurgitate[56] and Rotten Sound,[57] all from Europe, and the American Circle of Dead Children,[58] are contemporary groups who practice grindcore with strong death metal influences. The 21st century also saw the development of "cybergrind", practiced by The Berzerker and Genghis Tron, which borrows from electronic music.[40]

Legacy

While abrasive, grindcore achieved a measure of mainstream visibility. As James Hoare, deputy editor of Terrorizer, writes,
" It can be argued that no strand of extreme metal (with a touch of hardcore and post-punk tossed in for flavouring), has had so big an impact outside the gated community of patch-jackets and circle-pits as grindcore has in the UK. [...] the genre is a part of the British musical experience.[59] "

Grindcore's impact quickly spread through the world of extreme music.
Industrial metal

Napalm Death's former guitarist, Justin Broadrick, went on to a career in industrial metal with Godflesh.[14] Mick Harris, in his post-Napalm Death project, Scorn, briefly experimented with the style.[60] Scorn also worked in the industrial hip hop[61] and isolationist styles.[62] Fear Factory[63] have also cited debts to the genre.

Noise rock

Japanese noise rock group Boredoms took inspiration from grind,[64][65] and toured with Brutal Truth in 1993.[66] Naked City, lead by avant-garde jazz saxophonist John Zorn, performed an avant-garde form of polystylistic, grindcore-influenced punk jazz.[67][68] Zorn later formed the Painkiller project with ambient dub producer Bill Laswell on bass guitar and Mick Harris on drums,[69] which also collaborated with Justin Broadrick on some work.[70]

Powerviolence

Powerviolence was a late 1980s outgrowth of American hardcore punk that borrowed from noise music.[71] The style was similar to grindcore and took inspiration from Napalm Death and other early groups, but avoided elements of heavy metal.[72]

Digital hardcore

The Panacea, a prominent digital hardcore musician, describes himself as "the digital version of Napalm Death."[73] Agoraphobic Nosebleed and the Locust have also solicited remixes from digital hardcore producers and noise musicians.[74][75] James Plotkin, Dave Witte, and Speedranch participated in the Phantomsmasher project, which melds grindcore and digital hardcore. Alec Empire collaborated with Justin Broadrick, on the first Curse of the Golden Vampire album,[76] and with Gabe Serbian, of the Locust, live in Japan.[77] Japanoise icon Merzbow also participated in the Empire/Serbian show,[77] and has frequently mentioned his appreciation for grindcore.[78]

Metalcore

Coalesce, an early metalcore group, released a split 7" with Napalm Death in 1997.[79] Subsequently, mathcore groups[80][81] such as Dillinger Escape Plan,[82] Some Girls,[83] and Daughters,[84][85] and screamo groups, like Circle Takes the Square and Orchid,[86] have been associated with grindcore by some commentators. These groups also include elements of post-hardcore.[80] By 2009, metalcore and deathcore bands began to describe themselves as grindcore, but have been met with criticism

Bibliography

* Appleford, Steve (1998). The family that plays together. Guitar, 15(12), 40-42, 45-46, 49-50, 53-54, 57.
* Blush, Steven (1991). Grindcore. Spin, 7(3), 35-36.
* Carcass (1988). Reek of Putrefaction. [CD]. Nottingham, UK: Earache Compact Discs, Cassettes & Records. (1994).
* Ekeroth, Daniel (2008). Swedish Death Metal. Bazillion Points Books. ISBN 978-0-9796163-1-0
* Grindcore Special (2009), Terrorizer, 180, 41-56, and 181, 41-56.
* Johnson, Richard (2007). Napalm death. Disposable Underground, 15(38), 02-04.
* Lilker, Danny (2007). "A User's Guide to Grindcore." Grind Your Mind: A History of Grindcore [CD]. Liner notes. Mayan Records, MYNDD056.
* Mudrian, Albert (2004). Choosing Death: The Improbable History of Death Metal and Grindcore. Los Angeles, CA: Feral House.
* SarcÃ³fago. (1986). Satanas. On Warfare noise [CD]. Belo Horizonte, MG: Cogumelo Records. (2007).
* Sepultura (1986). Antichrist. On Morbid visions [CD]. New York: Roadrunner Records. (1997).

References

1. ^ a b c Johnson 2007, page 04.
2. ^ a b c "Carcass: Death Is No Escape". Metal Maniacs. http://www.goddamnbastard.org/carcass/interviews/noescape.html. Retrieved on 2008-07-01. Archived at Sex. Money. Food.
3. ^ a b c d Felix von Havoc, Maximum Rock'n'Roll #198. [1] Access date: June 20, 2008.
4. ^ a b Bartkewicz, Anthony (April 2007). "The History of Comedy Grind". Decibel Magazine. http://www.decibelmagazine.com/features/apr2007/comedygrind.aspx. Retrieved on 2008-06-21.
5. ^ a b c Adam MacGregor, Agoraphobic Nosebleed review, Dusted, June 11, 2006. [2] Access date: October 2, 2008.
6. ^ a b Strub, Whitney. "Behind the Key Club: An Interview with Mark 'Barney' Greenway of Napalm Death". PopMatters, May 11, 2006. Accessed on September 17, 2008.
7. ^ Ekeroth, p. 22.
8. ^ Sepultura, 1985, track 11.
9. ^ Stormtroopers of Death, 1985, track 11.
10. ^ SarcÃ³fago, 1986, track 10.
11. ^ a b c d e Matthew Widener, "Scared to Death: The Making of Repulsion's Horrified", Decibel no. 46, August 2008, p. 63-69.
12. ^ McPheeters, Sam (2006-03-09). "Extreme Extremeness". Orange County Weekly. http://www.ocweekly.com/music/music/extreme-extremeness/24665. Retrieved on 2008-06-18.
13. ^ Carcass (1988).
14. ^ a b c d Bartkewicz, Anthony (March 2007). "Justin Broadrick". Decibel Magazine. http://www.decibelmagazine.com/features/mar2007/justinbroadrick.aspx. Retrieved on 2008-06-19.
15. ^ "Grindcore Special," p. 46.
16. ^ Widener, Matthew. Carcass Clones. http://www.decibelmagazine.com/features/dec2005/carcass_clones.aspx. Retrieved on 2007-11-28.
17. ^ Purcell, Natalie J. (2003). Death Metal Music: The Passion and Politics of a Subculture. McFarland. pp. 23-24. ISBN 0786415851. http://books.google.com/books?id=6ZErQs5hCUQC&pg=PA24&dq=%22gore+grind%22&sig=oCv_Tn0ZvXBHf7Yq3NdRfs6lqxA#PPA24,M1. Retrieved on 2007-11-28.
18. ^ Andrew Bonazelli, "Pig Destroyer", Decibel, November 2004. [3] Access date: July 19, 2008.
19. ^ "The Locust: Catching Up with J.P.," October 17, 2007. [4]
20. ^ Travis Jeppesen, Pig Destroyer, Terrifier review. [5] Access date: July 19, 2008
21. ^ a b "Grindcore Special," p. 44.
22. ^ Steven Blush, "Boston Not L.A.", American Hardcore, Feral House, p. 171.
23. ^ a b Mudrian 2004, p. 50.
24. ^ "Grindcore Special," p. 41.
25. ^ "Grindcore Special," p. 43.
26. ^ "Grindcore Special," p. 45.
27. ^ "Grindcore Special," p. 45.
28. ^ a b "Grindcore Special," p. 52.
29. ^ Mudrian 2004, page 35.
30. ^ a b Blush 1991, page 36
31. ^ Ibid., p. 35.
32. ^ Pearson, Digby (2007-04-26). "Godflesh/PSI etc - are they Grind?". Ask earache - BraveWords.com. http://askearache.blogspot.com/2007_04_01_archive.html. Retrieved on 2008-06-15.
33. ^ Atkinson, Peter (2003-02-07). "Fire in the Belly: Interview With Napalm Death's Mark "Barney" Greenway". KNAC.COM. http://www.knac.com/article.asp?ArticleID=1770. Retrieved on 2008-06-19.
34. ^ a b Mudrian 2004, page 31.
35. ^ Mudrian 2004, page 32.
36. ^ Interview with Mick Harris, DVD half of Napalm Death's Scum 20 year anniversary reissue.
37. ^ "Grindcore Special," p. 54.
38. ^ Ekeroth, p. 262.
39. ^ a b "Grindcore Special," p. 43.
40. ^ a b Lilker
41. ^ "Grindcore Special," p. 41.
42. ^ Ekeroth, p. 263, 381.
43. ^ a b Mudrian, p. 265
44. ^ Phil Freeman, "Gratuitous Grindcore Gross-Out Gimps' Glade and Guns Get Guffaws", Village Voice, September 13, 2005. [6] Access date: July 19, 2008.
45. ^ a b Anthony Bartkewicz, "Pig Destroyer", Decibel, July 2007 [7] Access date: July 24, 2008
46. ^ Bryan Reed, The Daily Tar Heel, July 19, 2007. [8] Access date: August 6, 2008.
47. ^ "The Locust, Cattle Decapitation, Daughters", Pop and Rock Listings, The New York Times, April 13, 2007. [9] Access date: August 6, 2008.
48. ^ LA Weekly, September 18, 2003 [10] Access date: July 24, 2008
49. ^ Jason Birchmeier, Matando GÃ¼eros review, Allmusic. [11] Access date: October 3, 2008.
50. ^ D. Shawn Bosler, "Soilent Green", Decibel, September 2005. [12] Access date: October 3, 2008.
51. ^ Kory Grow, "Cephalic Carnage", Decibel, July 2007. [13] Access date: October 3, 2008.
52. ^ John Book, Ultimo Mondo Cannibale review, Allmusic. [14] Access date: October 3, 2008.
53. ^ Cosmo Lee, Stylus, July 25, 2008 [15] Access date: July 23, 2008.
54. ^ Filip Dupont, Vampire Magazine, March 9, 2007 [16] Access date: July 24, 2008
55. ^ Ed Rivadavia, In for the Kill review, Allmusic. [17] Access date: October 3, 2008.
56. ^ William York, Deviant review, Allmusic. [18] Access date: October 3, 2008.
57. ^ Paul Kott, Still Psycho review, Allmusic. [19] Access date: October 3, 2008.
58. ^ Alex Henderson, The Genocide Machine review, Allmusic. [20] Access date: October 3, 2008.
59. ^ James Hoare, Terrorizer, #180, February 2009, p. 1.
60. ^ Christian Genzel, Scorn, Stealth review, Allmusic.com, [21] Access date: July 24, 2008
61. ^ David E. Flick, Scorn, Stealth, Re:Gen Magazine, January 18, 2008 [22] Access date: July 24, 2008
62. ^ Simon Reynolds, "Chill: the new ambient." Artforum, January 1995. [23] Access date: July 24, 2008.
63. ^ Cordero, Amber (Director). Fear Factory: Digital Connectivity [motion picture]. United States of America: Roadrunner Records.
64. ^ "Grindcore", Allmusic. [24] Access date: September 16, 2008.
65. ^ Brad Jones, "Bore None", Denver Westword, July 6, 1994. [25] Access date: September 16, 2008.
66. ^ Andrew Parks, "Boredoms Explore the Void", Theme Magazine, issue 7, Fall 2006. [26] Access date: September 16, 2008.
67. ^ Bagatellen, "Slave to the Grind", April 21, 2004 [27] Access date: June 21, 2008
68. ^ Christopher Thelen, Daily Vault, 8/17/1998 [28] Access date: June 21, 2008
69. ^ Huey, Steve. "(((Pain Killer > Overview)))". allmusic.com. http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:0xfpxq95ldfe. Retrieved on 2008-07-02.
70. ^ Cosmo Lee, Stylus Magazine, May 15, 2006. [29] Access date: August 8, 2008.
71. ^ "Powerviolence: The Dysfunctional Family of Bllleeeeaaauuurrrgghhh!!". Terrorizer no. 172. July 2008. p. 36-37.
72. ^ Bartkewicz, Anthony (July 2007). "Screwdriver in the Urethra of Hardcore". Decibel Magazine. http://www.decibelmagazine.com/features/jul2007/powerviolence.aspx. Retrieved on 2008-06-20.
73. ^ The Thing Is ... [30]
74. ^ Whitney Strub, Agoraphobic Nosebleed review, July 26, 2007. Stylus Magazine. [31] Access date: July 19, 2008.
75. ^ The Locust Biography [32] Access date: July 19, 2008.
76. ^ Ipecac Records, The Curse of the Golden Vampire. [33] Access date: July 20, 2008.
77. ^ a b "Alec Empire Interview: "People Are Organized But Political Music Is Not Really Being Made", Indymedia Ireland, December 28, 2006 [34] Access date: July 25, 2008.
78. ^ Interview with Masami Akita, 1997. [35] Access date: July 25, 2008.
79. ^ Coalesce biography, Second Nature Recordings. [36] Access date: February 26, 2009.
80. ^ a b Steve Carlson, Hell Songs review, "Blog Critics", October 19, 2006. [37] Access date: September 13, 2008.
81. ^ "San Diego Reader"[38] Access date: September 13, 2008.
82. ^ "Contemporary grindcore bands such as The Dillinger Escape Plan [...] have developed avant-garde versions of the genre incorporating frequent time signature changes and complex sounds that at times recall free jazz." Keith Kahn-Harris (2007), Extreme Metal, Berg Publishers, ISBN 1-84520-399-2, p. 4.
83. ^ Corey Apar, Heaven's Pregnant Teens review, Allmusic. [39] Access date: August 24, 2008.
84. ^ Joe Davenport, Hell Songs review, Delusions of Adequacy, August 24, 2006. [40] Access date: August 25, 2008.
85. ^ Stewart Mason, Daughters biography, Allmusic. [41] Access date: August 25, 2008.
86. ^ Ryan Buege, "Circle Takes the Square is in the Studio." Metal Injection, June 15, 2008. [42] Access date: July 8, 2008
87. ^ "'These kids on MySpace and Headbanger's Ball with the lame breakdown death metal bands really need to quit calling that crap grindcore -- it's offensive,' chides bassist James Delgado of Dallas grinders Kill the Client about this most grating of pet peeves. And he's right, you know." - Scott Alisoglu, "Kill the Client: The Art of Grinding," Metal Maniacs, February 2009, vol. 26, no. 2, p. 92.

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