Grindcore

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Grindcore is an extreme fusion genre of heavy metal and hardcore punk that originated in the mid-1980s, drawing inspiration from abrasive-sounding musical styles, such as thrashcore,<ref name="Glasper 2009, p. 11"/><ref>Template:Cite book</ref> crust punk,<ref name=grindcrust/> hardcore punk, extreme metal, and industrial. Grindcore is considered a more noise-filled style of hardcore punk while using hardcore's trademark characteristics such as heavily distorted, down-tuned guitars, grinding overdriven bass, high-speed tempo, blast beats, and vocals which consist of growls, shouts and high-pitched shrieks. Early groups such as England's Napalm Death are credited with laying the groundwork for the style. It is most prevalent today in North America and Europe, with popular contributors such as Brutal Truth and Nasum. Lyrical themes range from a primary focus on social and political concerns, to gory subject matter and black humor.

A trait of grindcore is the "microsong", which is far shorter than average for punk or metal; several bands have produced songs that are only seconds in length.<ref>Metal: The Definitive Guide (Garry Sharpe-Young), US Death Metal and Grindcore</ref> Napalm Death holds the Guinness World Record for shortest song ever recorded with the 1.316-second "You Suffer" (1987). Many bands, such as Agoraphobic Nosebleed, record simple phrases that may be rhythmically sprawled out across an instrumental lasting only a couple of bars in length.

A variety of subgenres and microgenres have subsequently emerged, often labeling bands according to traits that deviate from regular grindcore; including goregrind, focused on themes of gore (e.g. mutilation and pathology), and pornogrind, fixated on pornographic lyrical themes. Another offshoot is cybergrind which incorporates electronic music elements such as sampling and programmed drums. Although influential within hardcore punk and extreme metal, grindcore remains an underground form of music.

Characteristics

Known for being "among the noisiest, fastest and rawest kinds of metal,"<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> grindcore is influenced by crust punk,<ref name=grindcrust>"In Grind We Crust" Terrorizer #181, March 2009, p. 46, 51</ref> thrashcore,<ref name="Glasper 2009, p. 11"/> hardcore punk, death metal<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and thrash metal,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> as well as noise musical acts like Swans.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The name derives from the fact that grind is a British term for thrash; that term was prepended to -core from hardcore.<ref>Template:Cite book</ref> Grindcore relies on standard hardcore punk instrumentation: electric guitar, bass and drums.<ref name=amg/> However, grindcore alters the usual practices of metal or rock music in regard to song structure and tone.<ref name=amg/> The vocal style is "ranging from high-pitched shrieks to low, throat-shredding growls and barks."<ref name=amg/> In some cases, no clear lyrics exist. Vocals may be used as merely an added sound effect, a common practice with bands such as the experimental and jazz-infused band Naked City.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

A characteristic of some grindcore songs is the "microsong," 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 four seconds). In 2007, the video for the Napalm Death song "You Suffer" set a new "Shortest Music Video" record: 1.3 seconds.<ref name="OCW">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Beyond the microsong, it is characteristic of grindcore to have short songs in general; for example, Carcass' debut album Reek of Putrefaction (1988) consists of 22 tracks with an average length of 1 minute and 48 seconds. It is common for grindcore albums to be very short when compared to other genres, usually consisting of a large track list but having a total length of only 15 to 20 minutes.

Many grindcore groups experiment with tuned-down guitars and play mostly with downstrokes of the pick, power chords and heavy distortion. While the vinyl A-side of Napalm Death's debut, 1987's Scum, is set to Eb tuning, on side B, the guitars are tuned down to C. Their second album From Enslavement to Obliteration and the Mentally Murdered EP were tuned to C ♯. Harmony Corruption, their third full-length album, was tuned up to a D. Bolt Thrower went further, dropping 3½ steps down (A).<ref name=johnson200704>Johnson 2007, page 04.</ref> The bass playing is often overdriven.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Blast beat

{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} {{#invoke:Listen|main}} The blast beat is a drum beat characteristic of grindcore in all its forms,<ref name="macgregor">Adam MacGregor, Agoraphobic Nosebleed review, Dusted, 11 June 2006. [1] Template:Webarchive Access date: 2 October 2008.</ref> 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."<ref name=macgregor/> Blast beats have been described as "maniacal percussive explosions, less about rhythm per se than sheer sonic violence."<ref name=greenway>Strub, Whitney. "Behind the Key Club: An Interview with Mark 'Barney' Greenway of Napalm Death". PopMatters, 11 May 2006. Retrieved 17 September 2008.</ref> Napalm Death coined the term,<ref name=greenway/> though this style of drumming had previously been practiced by others. Daniel Ekeroth argues that the blast beat was first performed by the Swedish group Asocial on their 1982 demo. Lärm ("Campaign For Musical Destruction")<ref>Ekeroth, p. 22.</ref> Dirty Rotten Imbeciles ("No Sense"),<ref name=macgregor/> Stormtroopers of Death ("Milk"),<ref>Stormtroopers of Death, 1985, track 11.</ref> Sarcófago ("Satanas"),<ref>Sarcófago,</ref> Sepultura ("Antichrist"),<ref>Sepultura, 1986, track 10.</ref> and Repulsion<ref name=repulsion/> also included the technique prior to Napalm Death's emergence.

Lyrical themes

Grindcore lyrics are typically provocative. A number of grindcore musicians are committed to political and ethical causes, generally leaning towards the far left in connection to grindcore's punk roots.<ref name=gs46>"Grindcore Special," p. 46.</ref> For example, Napalm Death's songs address a variety of anarchist concerns, in the tradition of anarcho-punk. These themes include anti-racism, feminism, anti-militarism, and anti-capitalism. Early grindcore bands including Napalm Death, Agathocles and Carcass made animal rights one of their primary lyrical themes.<ref name=barchi>Template:Cite magazine</ref> Some of them, such as Cattle Decapitation and Carcass, have expressed disgust with human behavior and animal abuse, and are, in some cases, vegetarians or vegans.<ref>Carcass biography. NME.com. [2] Access date: 25 April 2009.</ref> Carcass' work in particular is often identified as the origin of the goregrind style, which is devoted to "bodily" themes.<ref name="Widener">Template:Cite journal</ref> Groups that shift their bodily focus to sexual matters, such as Gut and the Meat Shits, are sometimes referred to as pornogrind.<ref name="passion book">Template:Cite book</ref> Seth Putnam's lyrics are notorious for their black comedy,<ref>Eduardo Rivadavia, Anal Cunt bio, Allmusic. [{{#ifeq: yes | yes | https://www.allmusic.com/artist/p45080{{

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}}] Access date: 25 April 2009.</ref> while The Locust tend toward satirical collage, indebted to William S. Burroughs' cut-up method.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

History

Precursors

The early grindcore scene relied on an international network of tape trading and DIY production.<ref name=grind44>"Grindcore Special", p. 44.</ref> The most widely acknowledged precursors of the grindcore sound are Siege<ref>Steven Blush, "Boston Not L.A.", American Hardcore, Feral House, p. 171.</ref> and Repulsion, an early death metal outfit.<ref name=repulsion>Template:Cite magazine</ref> Siege, from Weymouth, Massachusetts, were influenced by classic American hardcore (Minor Threat, Black Flag, Void) and by British groups like Discharge, Venom, and Motörhead.<ref name=Siege>Mudrian 2004, p. 50.</ref> Siege's goal was maximum velocity: "We would listen to the fastest punk and hardcore bands we could find and say, 'Okay, we're gonna deliberately write something that is faster than themTemplate:'", drummer Robert Williams recalled.Template:R Repulsion is sometimes credited with inventing the classic grind blast beat (played at 190 bpm), as well as its distinctive bass tone.Template:R 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."<ref name=autogenerated2>"Grindcore Special", p. 41.</ref> Writer Freddy Alva credited NYC Mayhem as a notable precursor, calling them "arguably one of the fastest bands on the planet back [in the mid 1980s]".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

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.<ref name=grind43>"Grindcore Special," p. 43.</ref> Sore Throat cites Discharge, Disorder, and a variety of European D-beat and thrash metal groups, including Hellhammer,<ref name=autogenerated1>"Grindcore Special", p. 45.</ref> and American hardcore groups, such as Poison Idea and D.R.I.Template:R Japanese hardcore, particularly GISM, is also mentioned by a number of originators of the style.<ref name=grind52>"Grindcore Special", p. 52.</ref> Other key groups cited by current and former members of Napalm Death as formative influences include Discharge,<ref name=recollections>"Dark Recollections: Napalm Death, Scum," Terrorizer, issue 183, May 2009, p. 84-85</ref> Amebix,<ref name= knac2003>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Throbbing Gristle,<ref name=mudrian3104>Mudrian 2004, page 31.</ref> and the aforementioned Dirty Rotten Imbeciles.Template:R Post-punk, such as Killing JokeTemplate:R and Joy Division,<ref>Interview with Mick Harris, DVD half of Napalm Death's Scum 20 year anniversary reissue.</ref> was also cited as an influence on early Napalm Death.

British grindcore

File:Napalm Death, Lemon Tree, Aberdeen, 16th August 2007.jpg

Grindcore pioneers Napalm Death in a 2007 show

Template:External media Grindcore, as such, was developed during the mid-1980s in the United Kingdom by Napalm Death, a group who emerged from the anarcho-punk scene in Birmingham, England.<ref name="Glasper 2009, p. 11">Glasper 2009, p. 11</ref> While their first recordings were in the vein of Crass,<ref name="Glasper 2009, p. 11" /> they eventually became associated with crust punk,<ref name=crust>"Crustgrind", "Grindcore Special" part 2, p. 46</ref> The group began to take on increasing elements of thrashcore, post-punk, and power electronics, and began describing their sound as "Siege with Celtic Frost riffs".<ref>Glasper 2009, p. 12</ref> The group also went through many changes in personnel.<ref name="Glasper 2009, p. 14">Glasper 2009, p. 14</ref> A major shift in style took place after Mick Harris became the group's drummer.<ref name="Glasper 2009, p. 14" /> Punk historian Ian Glasper indicates that "For several months gob-smacked audiences weren't sure whether Napalm Death were actually a serious band any longer, such was the undeniable novelty of their hyper-speed new drummer."<ref name="Glasper 2009, p. 14" /> Albert Mudrian's research suggests that the name "grindcore" was coined by Harris. When asked about coming up with the term, Harris said:

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.<ref>Mudrian 2004, page 35.</ref>{{#if:|{{#if:|}}

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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:

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Earache Records founder Digby Pearson concurs with Embury, saying that Napalm Death "put hardcore and metal through an accelerator."<ref>Blush 1991, page 35</ref> 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."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

While abrasive, grindcore achieved a measure of mainstream visibility. New Musical Express featured Napalm Death on their cover in 1988, declaring them "the fastest band in the world."<ref>Glasper 2009, p. 22</ref> 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.<ref>James Hoare, Terrorizer, #180, February 2009, p. 1.</ref>{{#if:|{{#if:|}}

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Napalm Death's seismic impact inspired other British grindcore groups in the 1980s, among them Extreme Noise Terror,<ref name=crust /> Carcass and Sore Throat.<ref name="vonhavoc">Felix von Havoc, Maximum Rock'n'Roll #198. {{#invoke:citation/CS1|citation |CitationClass=web }} Archived by Havoc Records. Access date: 20 June 2008.</ref> Extreme Noise Terror, from Ipswich, formed in 1984.<ref>Glasper 2009, p. 273</ref> With the goal of becoming "the most extreme hardcore punk band of all time,"<ref>Dean Jones, quoted in Glasper 2009, p. 273</ref> the group took Mick Harris from Napalm Death in 1987.<ref name="Glasper 2009, p. 275">Glasper 2009, p. 275</ref> Ian Glasper describes the group as "pissed-off hateful noise with its roots somewhere between early Discharge and Disorder, with [vocalists] Dean [Jones] and Phil [Vane] pushing their trademark vocal extremity to its absolute limit."<ref name="Glasper 2009, p. 275" /> In 1991, the group collaborated with the acid house group The KLF, appearing onstage with the group at the Brit Awards in 1992.<ref>Glasper 2009, p. 277</ref> Carcass released Reek of Putrefaction in 1988, which John Peel declared his favorite album of the year despite its very poor production.<ref>Mudrian 2004, p. 132</ref> The band's focus on gore and anatomical decay, lyrically and in sleeve artwork, inspired the goregrind subgenre.<ref name="Widener" /> Sore Throat, said by Ian Glasper to have taken "perhaps the most uncompromisingly anti-music stance"<ref>Glasper 2009, p. 237</ref> were inspired by crust punk as well as industrial music.<ref>Glasper 2009, p. 238</ref> Some listeners, such as Digby Pearson, considered them to be simply an in-joke or parody of grindcore.<ref>Glasper 2009, p. 502</ref>

In the subsequent decade, two pioneers of the style became increasingly commercially viable. According to Nielsen Soundscan, Napalm Death sold 367,654 units between May 1991 and November 2003, while Carcass sold 220,374 units in the same period.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The inclusion of Napalm Death's "Twist the Knife (Slowly)" on the Mortal Kombat soundtrack brought the band much greater visibility, as the compilation scored a Top 10 position in the Billboard 200 chart<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and went platinum in less than a year.<ref name="RIAA_Certificate">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The originators of the style have expressed some ambivalence regarding the subsequent popularity of grindcore. Pete Hurley, the guitarist of Extreme Noise Terror, declared that he had no interest in being remembered as a pioneer of this style: "grindcore was a legendarily stupid term coined by a hyperactive kid from the West Midlands, and it had nothing to do with us whatsoever. ENT were, are, and – I suspect – always will be a hardcore punk band... not a grindcore band, a stenchcore band, a trampcore band, or any other sub-sub-sub-core genre-defining term you can come up with."<ref>Glasper 2009, 279</ref> Lee Dorrian of Napalm Death indicated that "Unfortunately, I think the same thing happened to grindcore, if you want to call it that, as happened to punk rock – all the great original bands were just plagiarised by a billion other bands who just copied their style identically, making it no longer original and no longer extreme."<ref>Glasper 2009, p. 25</ref>

North American grindcore

File:Seth with AxCx at Relapse Festival 1993 crop.jpg

Seth Putnam of Anal Cunt at Relapse Festival, 1993

File:BrutalTruth by Christian Misje 02.jpg

Brutal Truth live at Hole In The Sky, Bergen Metal Fest 2008

Journalist Kevin Stewart-Panko argues that the American grindcore of the 1990s borrowed from three sources: British grindcore, the American precursors, and death metal.<ref name=usgrind>Kevin Stewart-Panko, "Altered States," "Grindcore Special" part 2, p. 42-43.</ref> As early Napalm Death albums were not widely distributed in the United States, American groups tended to take inspiration from later works, such as Harmony Corruption.<ref name=usgrind/> American groups also often employ riffs taken from crossover thrash or thrash metal.<ref name=usgrind/> Early American grind practitioners included Terrorizer and Assück.<ref name="vonhavoc"/> Anal Cunt, a particularly dissonant group who lacked a bass player, were also particularly influential.<ref name=usgrind/> Their style was sometimes referred to as "noisecore" or "noisegrind", described by Giulio of Cripple Bastards as "the most anti-musical and nihilistic face of extreme music at that time."<ref name=grind44/><ref name=lilker/> Brutal Truth was a groundbreaking group in the American scene at the beginning of the 1990s.<ref name="vonhavoc"/>

However, Sharp indicates that they were more inspired by the thrash metal of Dark Angel than the British groups.<ref name=autogenerated2 /> Discordance Axis had a more technical style of playing than many of the predecessors, and had a much more ornate visual and production style.<ref name=usgrind/> Scott Hull is prominent in the contemporary grindcore scene, through his participation in Pig Destroyer and Agoraphobic Nosebleed.<ref name = m265/> 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."<ref>Phil Freeman, "Gratuitous Grindcore Gross-Out Gimps' Glade and Guns Get Guffaws", Village Voice, 13 September 2005. [3] Template:Webarchive Access date: 19 July 2008.</ref> 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,<ref name="abpd">Anthony Bartkewicz, "Pig Destroyer", Decibel, July 2007 [4] Access date: 24 July 2008</ref> while Agoraphobic Nosebleed takes cues from thrashcore and powerviolence, like D.R.I. and Crossed Out.<ref name=abpd/><ref>Bryan Reed, The Daily Tar Heel, 19 July 2007. [5] Access date: 27 March 2011.</ref>

Template:External media The Locust, from San Diego,<ref name=m265>Mudrian, p. 265</ref> 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.<ref>LA Weekly, 18 September 2003 {{#invoke:citation/CS1|citation |CitationClass=web }} Access date: 24 July 2008</ref> The Locust were sometimes described as "hipster grind" because of their fan base and fashion choices.<ref name=usgrind/> In Los Angeles, Hole also initially drew influence from grindcore in their early releases, particularly on their singles "Dicknail" and "Teenage Whore", as well as on their debut album, Pretty on the Inside (1991),<ref name="first">Template:Cite AV media notes</ref> all of which featured sexually provocative and violent lyrics, as well as the heavy distortion and fluctuating tempo that distinguished the genre. Frontwoman Courtney Love stated that she wanted to capture the distinguishing elements of grindcore while incorporating more pop-based melodic structure, although the band distanced themselves from the style in their later releases.<ref name="first" />

Other later prominent grindcore groups of North America include Brujeria,<ref>Jason Birchmeier, Matando Güeros review, Allmusic. [{{#ifeq: yes | yes | https://www.allmusic.com/album/r184749{{

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}}] Access date: 3 October 2008.</ref> Soilent Green,<ref>D. Shawn Bosler, "Soilent Green", Decibel, September 2005. [6] Access date: 3 October 2008.</ref> Cephalic Carnage, Impetigo,<ref>John Book, Ultimo Mondo Cannibale review, Allmusic. [{{#ifeq: yes | yes | https://www.allmusic.com/album/r9778{{

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}}] Access date: 3 October 2008.</ref> and Circle of Dead Children.<ref>Alex Henderson, The Genocide Machine review, Allmusic. [{{#ifeq: yes | yes | https://www.allmusic.com/album/r526333{{

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}}] Access date: 3 October 2008.</ref> Fuck the Facts, a Canadian group, practice classic grindcore, characterized by the "metronome-precision drumming and riffing [that] abound, as well as vocal screams and growls" by AllMusic reviewer Greg Prato.<ref>Greg Prato, Stigmata High-Five review, Allmusic. [{{#ifeq: yes | yes | https://www.allmusic.com/album/r850772{{

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}}] Access date: 21 March 2009.</ref>

Continental European grindcore

File:Rotten Sound - Kuopio Rockcock - 02.JPG

Finnish grindcore group Rotten Sound performing in Kuopio in 2008

European groups, such as Agathocles, from Belgium,<ref name="vonhavoc"/> Patareni, of Croatia, and Fear of God, from Switzerland, are important early practitioners of the style.<ref>"Grindcore Special", p. 54.</ref> Filthy Christians, who signed to Earache Records in 1989, introduced the style in Sweden,<ref>Ekeroth, p. 262.</ref> D.D.T. & Fear of Dog were pioneering grind & noise in Serbia since mid-end of '80, Extreme Smoke 57 in Slovenia at the early beginning of the '90, while Cripple Bastards established Italian grindcore.<ref name=grind43 /> Giulio 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.<ref name=grind43/> Nasum, who emerged from the Swedish death metal scene,<ref>Ekeroth, p. 263, 381.</ref> became a popular group, addressing political topics from a personal perspective.<ref name=jakobson>Anders Jakobson interview, "Grindcore Special" part 2, p. 56.</ref>

Anders Jakobson, their drummer, reported that "It was all these different types of people who enjoyed what we were doing. [...] We made grindcore a bit easier to listen to at the expense of the diehard grindcore fans who thought that we were, well, not sellouts, but not really true to the original essence of grindcore."<ref name=jakobson/> Other Swedish groups, such as General Surgery and Regurgitate, practiced goregrind.<ref>Ekeroth, p. 263.</ref> Inhume, from the Netherlands,<ref>Eduardo Rivadavia, In for the Kill review, Allmusic. [{{#ifeq: yes | yes | https://www.allmusic.com/album/r670927{{

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}}] Access date: 3 October 2008.</ref> Rotten Sound, from Finland,<ref>Paul Kott, Still Psycho review, Allmusic. [{{#ifeq: yes | yes | https://www.allmusic.com/album/r494191{{

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}}] Access date: 3 October 2008.</ref> and Leng Tch'e, from Belgium,<ref>Cosmo Lee, Stylus, 25 July 2008 {{#invoke:citation/CS1|citation |CitationClass=web }} Access date: 23 July 2008.</ref> were subsequent European groups who practiced grindcore with death metal inflections. In 2000s, the Belgium-based Aborted "had grown into the role of key contributors to the death-grind genres".<ref name=allmusic>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Grindcore in Asian countries

In 2010, Singaporean band Wormrot signed a recording contract with Earache Records.<ref name="Pearson">Template:Cite news</ref><ref>Template:Cite news</ref>

In 2019, Filipino band TUBERO signed a recording contract with Tower of Doom Records.<ref name="Asia">Template:Cite newsTemplate:Dead link</ref>

Influence

Japanese noise rock group Boredoms have borrowed elements of grind,<ref name=amg>"Grindcore", Allmusic. [{{#ifeq: yes | yes | https://www.allmusic.com/explore/style/d393{{

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}}] Access date: 16 September 2008.</ref><ref>Brad Jones, "Bore None", Denver Westword, 6 July 1994. [7] Template:Webarchive Access date: 16 September 2008.</ref> and toured with Brutal Truth in 1993.<ref>Andrew Parks, "Boredoms Explore the Void", Theme Magazine, issue 7, Fall 2006. {{#invoke:citation/CS1|citation |CitationClass=web }} Access date: 16 September 2008.</ref> The Japanese grindcore group Gore Beyond Necropsy formed in 1989, and later collaborated with noise music artist Merzbow.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Naked City, led by avant-garde jazz saxophonist John Zorn, performed an avant-garde form of polystylistic, grindcore-influenced punk jazz.<ref>Bagatellen, "Slave to the Grind", 21 April 2004 {{#invoke:citation/CS1|citation |CitationClass=web }} Access date: 21 June 2008</ref><ref>Christopher Thelen, Daily Vault, 17 August 1998 [8] Access date: 21 June 2008</ref> Zorn later formed the Painkiller project with ambient dub producer Bill Laswell on bass guitar and Mick Harris on drums,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> which also collaborated with Justin Broadrick on some work.<ref>Cosmo Lee, Stylus Magazine, 15 May 2006. {{#invoke:citation/CS1|citation |CitationClass=web }} Access date: 8 August 2008.</ref> In addition, grindcore was one influence on the powerviolence movement within American hardcore punk, and has affected some strains of metalcore. Some musicians have also produced hybrids between grind and electronic music.

Powerviolence

{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} Powerviolence is a raw and dissonant subgenre of hardcore punk.<ref name=terrorizer>"Powerviolence: The Dysfunctional Family of Bllleeeeaaauuurrrgghhh!!". Terrorizer no. 172. July 2008. p. 36-37.</ref><ref name=decibel>Anthony Bartkewicz. "Screwdriver in the Urethra of Hardcore Template:Webarchive". Decibel Magazine. July 2007. Subscription-only site; interview reprinted in full at blog.myspace.com/index.cfm?fuseaction=blog.view&friendID=52501650&blogID=285587688 (blacklisted link). Retrieved 17 November 2008.</ref> The style is closely related to thrashcore<ref name=terrorizer/> and similar to grindcore. While powerviolence took inspiration from Napalm Death and other early grind bands, powerviolence groups avoided elements of heavy metal.<ref name= powervio>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Its nascent form was pioneered in the late 1980s in the music of hardcore punk band Infest, who mixed youth crew hardcore elements with noisier, sludgier qualities of Lärm and Siege.<ref name=terrorizer/><ref name=decibel/> The microgenre solidified into its most commonly recognized form in the early 1990s, with the sounds of bands such as Man Is the Bastard, Crossed Out, No Comment, Capitalist Casualties, and Manpig.<ref name=terrorizer/>

Powerviolence bands focus on speed, brevity, bizarre timing breakdowns, and constant tempo changes.<ref name=terrorizer/> Powerviolence songs are often very short; it is not uncommon for some to last less than 30 seconds.<ref name=terrorizer/> Some groups, particularly Man Is the Bastard, took influence from sludge metal and noise music.<ref name=terrorizer/><ref name=decibel/> Lyrically and conceptually, powerviolence groups were very raw and underproduced, both sonically and in their packaging.<ref name=terrorizer/><ref name=decibel/> Some groups (Man Is the Bastard, Azucares and Dropdead) took influence from anarcho-punk and crust punk, emphasizing animal rights and anti-militarism.<ref name=decibel/> The Locust<ref>Andrew Marcus, "Buzz Clip", SF Weekly, 6 August 2003. [9] Template:Webarchive Access date: 7 August 2008.</ref> and Agoraphobic Nosebleed later reincorporated elements of powerviolence into grindcore.<ref name=abpd/>

Industrial and electronic influence

File:The Locust.jpg

Justin Pearson of The Locust, originators of electrogrind.

Among other influences, Napalm Death took impetus from the industrial music scene.<ref name=mudrian3104/> Subsequently, Napalm Death's former guitarist, Justin Broadrick, went on to a career in industrial metal with Godflesh.<ref name=recollections/> Mick Harris, in his post-Napalm Death project, Scorn, briefly experimented with the style.<ref>Christian Genzel, Scorn, Stealth review, Allmusic.com, [{{#ifeq: yes | yes | https://www.allmusic.com/album/r1263929{{

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}}] Access date: 24 July 2008</ref> Scorn also worked in the industrial hip hop<ref>David E. Flick, Scorn, Stealth, Re:Gen Magazine, 18 January 2008 {{#invoke:citation/CS1|citation |CitationClass=web }} Access date: 24 July 2008</ref> and isolationist styles.<ref>Simon Reynolds, "Chill: the new ambient." Artforum, January 1995. [10] Access date: 27 March 2011.</ref> Fear Factory<ref name= fear>Template:Cite video</ref> have also cited debts to the genre. Digital hardcore is an initially German hybrid of hardcore punk and hardcore techno.<ref name=dhr>Interview with J. Amaretto of DHR, WAX Magazine, issue 5, 1995. Included in liner notes of Digital Hardcore Recordings, Harder Than the Rest!!! compilation CD.</ref> Agoraphobic Nosebleed and the Locust have solicited remixes from digital hardcore producers and noise musicians.<ref>Whitney Strub, Agoraphobic Nosebleed review, 26 July 2007. Stylus Magazine. {{#invoke:citation/CS1|citation |CitationClass=web }} Access date: 19 July 2008.</ref><ref>The Locust Biography {{#invoke:citation/CS1|citation |CitationClass=web }} Access date: 19 July 2008.</ref> 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,<ref>Ipecac Records, The Curse of the Golden Vampire. [11] Access date: 27 March 2011.</ref> and with Gabe Serbian, of the Locust, live in Japan.<ref name="ae">"Alec Empire Interview: "People Are Organized But Political Music Is Not Really Being Made", Indymedia Ireland, 28 December 2006 [12] Access date: 25 July 2008.</ref> Japanoise icon Merzbow also participated in the Empire/Serbian show.<ref name=ae/>

Electrogrind

{{#invoke:Hatnote|hatnote}}

The 21st century also saw the development of "electrogrind" (or "cybergrind"),<ref name=egrind>Kevin Stewart-Panko, "Shock Tactics", "Grindcore Special", part 2, p. 52-53</ref><ref name="egrind2">Andrew Childers, "The Body Electric", "Grind and Punishment" 15 March 2010 [13] Access Date: 22 March 2011</ref> practiced by The Berzerker, Gigantic Brain and Genghis Tron which borrows from electronic music.<ref name=lilker>Lilker</ref> These groups built on the work of Agoraphobic Nosebleed, Enemy Soil and The Locust, as well as industrial metal.<ref name=egrind/> The Berzerker also appropriated the distorted Roland TR-909 kick drums of gabber producers.<ref>Liz Ciavarella, "The Berzerker: Sonic Discontent," Metal Maniacs, vol. 26, no. 2, February 2009, p. 80-81.</ref> Bands like Libido Airbag and Cumfilled Brain incorporates elements of Grindcore, such as pitch-shifted, gurgled vocals, with the rhythmic structures of Techstep. Many later electrogrind groups were caricatured for their hipster connections.<ref name=egrind/>

Mathcore and screamo

{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} In the mid-1990s, mathcore groups<ref name="Steve Carlson 2008">Steve Carlson, Hell Songs review, "Blog Critics", 19 October 2006. [14] Template:Webarchive Access date: 13 September 2008.</ref><ref>"San Diego Reader"[15] Access date: 27 March 2011.</ref> such as The Dillinger Escape Plan,<ref>Template:Cite book</ref> Some Girls,<ref>Corey Apar, Heaven's Pregnant Teens review, Allmusic. [{{#ifeq: yes | yes | https://www.allmusic.com/album/r815725{{

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}}] Access date: 24 August 2008.</ref> and Daughters<ref>Joe Davenport, Hell Songs review, Delusions of Adequacy, 24 August 2006. Template:Usurped Access date: 25 August 2008.</ref><ref>Stewart Mason, Daughters biography, Allmusic. [{{#ifeq: yes | yes | https://www.allmusic.com/artist/p562421{{

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}}] Access date: 25 August 2008.</ref> began to take inspiration from developments in grindcore. These groups also include elements of post-hardcore.<ref name="Steve Carlson 2008"/> In addition to mathcore, some early screamo groups,<ref>"Another interesting sub-subgenre was this strange crossover of first-generation emo and grind. Bands like Reversal of Man or Orchid may not have stood the test of time, but it was a pretty cool sound at the time and one that was pretty uniquely American. - Greg Pratt, "Altered States," "Grindcore Special" part 2, p. 43.</ref> like Circle Takes the Square and Orchid,<ref name="RB">Ryan Buege, "Circle Takes the Square is in the Studio". Metal Injection, 15 June 2008. [16] Access date: 8 July 2008</ref> have been associated with grindcore by some commentators.

Crust punk

Crust punk had a major impact on grindcore's emergence. The first grindcore, practiced by British bands such as Napalm Death, Extreme Noise Terror and Disrupt emerged from the crust punk scene. This early style is sometimes dubbed "crustgrind".<ref name=grindcrust/>

Deathgrind

Deathgrind is a shorthand term that is used to describe bands who play a fusion of death metal and grindcore. With growing popularity of grindcore in the metal fandom, some death metal bands were noted to feature a heavy amount of grindcore influence; thus, these bands ended up becoming called "deathgrind" for short (sometimes written as death-grind or death/grind).<ref name=zerotolerance>"Grind Prix" (2005). Zero Tolerance #004, p. 46.</ref> Dan Lilker described deathgrind as "combining the technicality of death metal with the intensity of grindcore."<ref name=grindyourmind>Lilker, Danny, Grind Your Mind: A History of Grindcore liner notes. Mayan Records, MYNDD056, 2007.</ref> Some examples of death metal and grindcore hybrids include Assück, Circle of Dead Children, Misery Index, Exhumed, Gorerotted and Cattle Decapitation.<ref name=terrorizer1>Schwarz, Paul, "Death Metal|Death/Grind" (2006). Terrorizer #150, p. 54.</ref><ref name="allmusic" /><ref>"The Locust, Cattle Decapitation, Daughters", Pop and Rock Listings, The New York Times, 13 April 2007. [17] Access date: 6 August 2008.</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Misery Index album review Metal Injection</ref> Assück in particular has been credited as one of the earliest deathgrind acts.<ref name="IO">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Blackened grindcore

Blackened grindcore is a fusion genre that combines elements of black metal and grindcore.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Notable bands include Anaal Nathrakh and early Rotting Christ.<ref>Template:Cite magazine</ref>

Noisegrind

Noisegrind is a microgenre that combines elements of grindcore and harsh noise.<ref name="decibelmagazine.com">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Notable bands include Holy Grinder,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Sete Star Sept,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Full of Hell,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Fear of God,<ref name="decibelmagazine.com"/> Insufferable,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and early Knelt Rote.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

See also

• List of grindcore bands
• Napalm Death: Thrash to Death (BBC documentary)
• Animal rights and punk subculture

References

• Template:Cite journal
• Template:Cite journal
• Carcass (1988). Reek of Putrefaction. [CD]. Nottingham, UK: Earache Compact Discs, Cassettes & Records. (1994).
• Ekeroth, Daniel (2008). Swedish Death Metal. Bazillion Points Books. Template:ISBN
• Glasper, Ian (2009). Trapped in a Scene: UK Hardcore 1985-1989. Cherry Red Books. Template:ISBN
• Grindcore Special (2009), Terrorizer, 180, 41–56, and 181, 41–56.
• Template:Cite journal
• 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.
• Sarcófago. (1986). Satanas. On Warfare Noise [CD]. Belo Horizonte, MG: Cogumelo Records. (2007).
• Sepultura (1986). Antichrist. On Morbid Visions [CD]. New York: Roadrunner Records. (1997).

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